Dear Assessors,
My physical submission was received at OCA on 26 January 2016.
My online blog is at: https://james415039.wordpress.com
There are three word documents (one for each main subject MP, PP, and CS) to be downloaded from the Tab titled ‘Selected Posts.’
Each document is specific for one main subject and holds a list of links to my pathway posts from parts 1 – 5 for MP, PP and CS subjects.
Kind regards,
James
After the Exhibition
Self-Assessment
How can you make the most out of the space you have got without suffocating the objects that you install in the space? You need to make room for the viewer to be able to see all what is on show without the viewer feeling uncomfortable being in the space, which should be conveying all the right thoughts to make the exhibition a success.
In my exhibition I had one advantage, which was the fact that the artist who was showing their work previous to mine used a similar size canvas about 90 x 90 cms square. The walls were just long enough to display three canvasses per wall and the canvasses were hung side by side with about ten centimetres gap between each canvas. The space still looked very claustrophobic so why was this, other than the fact that three canvasses filled a wall?
The artist was a street artist (no labels on the wall or name of the artist present) all his work was of very large sized women’s heads. They bore down on you and made you feel small. Or at least that’s the impression I got from being surrounded by these ten large painted heads.
When I installed my work I did not have the same feeling and I wonder why. I put it down to the image. The work I installed or at least some of it had a sense of depth and the overall forms were not as large as the ‘very large heads’ in the previous exhibition. So I felt that my work sat/hung better on the same wall space as the previous exhibition. This is something that needs to be considered when you are limited to a certain size of venue.
Think how the work hangs together compositionally to avoid creating a phobia in the mind of the audience.
As El Lissitzky said in his manifesto for the Proun Space installation at the Great Berlin Art Exhibition of 1923, “establish an interchange station between painting and architecture…treat the canvas and wooden board as a building site.”
In Lissitzky’s exhibition design – the Demonstration Room for the International Art exhibition in Hannover and Dresden in 1926 where he had to display a large amount of work in a limited space he used thin wooden strips attached vertically to the wall at 90-degree angles and evenly spaced. One side of the strip was painted black and the other side painted white while the wall was grey. From standing at different positions in the room the viewer could see a different picture within the same space.
I remember visiting a café somewhere in Thailand and there was a similar idea designed on the wall where, when you look straight on to the wall you see one picture and through the picture are the vertical strips of panel evenly spaced with the design on one side of the strips which makes an image when seen at an angle and another design on the opposite side of the strips to make a third image. This is a form of triple advertising in one space.
Did I follow any tips while preparing for the launch?
1.Artist’s statement and labels.
My work was labeled. I printed out the text and spray bonded it to white card then plasticized it for durability and blue tacked it to the wall beneath the bottom centre position of each painting. The room was too small to put the labels to one side of each painting.
I had my artist statement on the wall and all painting labels had brief introductions for each image.
I had a welcoming opening and had plenty of time to install the work.
A friend gave me some assistance and we worked together efficiently.
I described my work to the audience without being dictatorial and delivered my thoughts and feelings step by step. The feedback I received told me the audience had grasped the idea behind my work and showed approval of what I was trying to achieve. For an audience that are not normally regular visitors to art galleries such an experience can be an eye opener and a chance to take away a new train of thought on a new subject.
I had a free exhibition and provided for water, soft drinks, beer, cider, white wine and cheese biscuits on the preview night. I asked at the Grundy Art Gallery as to what they normally provide on their preview nights. The galleon grill was still open for customers and if any guests wanted tea or coffee it could have been served downstairs.
I had prepared a comments book with a copy of my brochure on the front and inside cover of the A4 notebook. I attached one black and one blue pen to the notebook.
One guest said it was good to write in blue as black affected his eyes.
I had verbal reviews on the night and on subsequent evenings of which I have taken the comments onboard.
The local newspaper printed a review for the exhibition and even published one of my favorite paintings in the show. A full page spread what more could I ask for.
The venue location was fully advertised on all my main literature, which included; e-magazines, newspaper, poster, brochure, e-flyer and mailing list addresses.
I exhibited ten paintings and intend to submit these works for assessment at the end of January 2016 in time for the March 2016 event.
At this present moment in time I think it is better not to sell these works for the above reasons. I had thought about selling them but was also advise not to display any price tags. The argument being if an audience wants to purchase a work they will ask for the price.
There were enough brochures and business cards at hand for people to take away with them. I spent around £250 on advertising materials.
I have been sociable to all who were involved with my show. There were new owners taking over the cafe/gallery just as I had been given the opportunity to exhibit. This was a new experience for them as it was a new experience for me to have an exhibition in a café/gallery.
My exhibition was on for one month and I made regular trips to the exhibition and arranged for people to visit if and when they were able to.
I contacted gallery owners, art college staff and local art groups to come along to view my work.
I sent out weekly e-flyers to my mailing lists and changed the image on the page. I re-worded the e-flyer to advertise a ‘meet the artist’ ploy in as much this was advertising another preview night.
In future exhibitions I may just repeat this practice and advertise to different audiences at different times to gain as much coverage as possible.
The audience is welcome to take photos at my exhibition.
There is a problem with the ceiling light (it doesn’t work) at my gallery space. I arranged for an electrician to come and take a look at it but the owner was not keen on paying to get it repaired and my electrician warned me there could be problems with the wiring to other parts of the building. Our back-up plan was to use two lights stands instead which worked perfectly fine in the evenings. The lighting was not required during the day because the room had three large windows.
I had a conversation with Tom Ireland Gallery Operations Officer– Grundy Art Gallery Blackpool. Tom is also the Director and Curator of Supercollider
http://www.axisweb.org/features/news-and-views/in-focus/the-influencers-march-2015/
I met Tom at the Galleon Grill on 15 Sept 2015 to talk about my work and receive his constructive criticism. I started by explaining about some of the pieces in the show and how I have started with a representational view before moving onto a semi abstract painting of the first view.I mentioned I have series five yet to paint in the same size and series six will be painted on small canvases to please my wife who says I am painting too big for the walls in peoples houses.
Tom mentioned he couldn’t see where the study paintings end and the actual paintings begin. He referred to school days when you had to show the working out of a formula of a mathematical calculation. You don’t need to show how you arrived at the final painting by showing the painting before the final one.
He mentioned how some should be a work on paper and some works on paper often sell more than the original. Do all your working outs on preparatory A4 drawings as an evidence of the final painting.
We talked about over painting a work and I mentioned Hi-So Gallery 3 where it could have been over painted. He said that one was weighted well with one dog being over painted and the other not as much.
Tom mentioned Dan Perfect as an artist who starts on A4 and scales up to 2m x 3m.
Tom said some of my work reminds him of George Condo who would joke at the art world in his work.
I have prints of some works to show how I arrived at the work on the wall and Tom said he does not need to see that but Steve (present at the time of the review) said he does because he is not from the art world and therefore needs a longer lead into the work.
Tom pointed out four works he would use in a show together which were Hugo Park 2, Hi-So Spirits 4, Hugo Shop 2 and Hugo Gallery 2.
His recommendations are to keep building up a body of work and keep networking to get you out there. I can only agree with that.
Photo album of images showing the various stages of working through the process from beginning to end.
Review all five parts
Professional Practice Part 1. From Studio to situation.
I feel I have progressed in several ways as an artist and curator through this course from part one to part five.
I get more use out of my computer. I store documents and images into folders instead of pile them up in one large folder.
The ‘lightbulb’ sections of the course are used to guide the student in areas of research that are relevant to the subject. This provides for an insight into the subject and in effect casts some light at the end of the tunnel. The activities and research involved is useful to my development. I can say I know more about some aspects that I would never have considered before attempting the ‘lightbulb tasks’.
I think my painting has developed although I know it has further to go before I can mention any sense of satisfaction with it.
I did not have any lists of my past achievements in art until I started to collect my data on an artists CV, Biography and statement.
Admittedly the practice was probably not wholly clear to me that an artist statement is about the work, a biog is about what personally makes me do the work and a CV lists my achievements.
Things begin to make more sense after you have read through the instructions – several times.
Applying for an exhibition space is not much more different from applying for a job. You fill out a job application check your essential and desirable skills to your own skills set and if you reach the interview stage then you make your presentation and answer all the relevant questions. Writing a curatorial / artist proposal is a similar application process.
Did I know that before I started the course? Well no, not really and I have learned how to go about doing it.
It has been useful to learn how to contextualize my work. When I look back at the beginning I didn’t really have any specific work to focus on but now I have reached a stage where my work has a sense of direction.
I have gained practice in creating my own blogs and presenting myself online in a commercial field as well as in a student capacity.
Part one helped me to complete a project plan and list my potential viewing platforms for my work. It also enabled me to start making my artist statement.
My Major Project work began to take form at this stage so I was able to share my professional practice with my tutor. My Contextual Studies was useful for finding artists to research and eventually I latched onto one single artist who has provided me with inspiration and a sense of direction for my future in art.
Professional Practice Part 2. Contemporary curatorial discourse.
I think by part two I am beginning to understand more of the depth of planning my research through the Internet online journals, OCA study resources and books from the library as well as ordering books through the wider library system (British Library). The timeline of viewing platforms proved to be a minefield of information overload but that’s just me. I tend to sometimes get bogged down with a project when it comes to research, either for the want of putting too much information in to a subject or by shooting off course at a tangent.
A typical case in point is when I was living abroad and I had to research a couple of artists (for Contextual Studies) I liked from inside the book, Painting Today by Tony Godfrey. Because I had no access to the book I could not see the artists work. All I had to go on was a list of the artists in the book, all 240 of them. I got the bibliography of artists through the OCA and through my contextual studies tutor. I had Internet access and so I embarked on the mammoth task of researching 240 artists’ work on the Internet to then pick out a handful of ‘favourites’ to write about. I was researching different artists and so I made notes on them all.
I can see now how an artist has to be able to play the role of a curator. Who knows their work better than the artist? This part two puts the artist in the shoes of the curator. Learning about the life and energies of Hans Ulrich Obrist and the art of curating was like learning about an accountant balancing the books but a hundred times more interesting. The research on curatorial strategies helped me to prepare for my own exhibition and understand more clearly about how other artists’ display their work in front of an audience.
An art exhibition has to be engaging and worth the visit in one way or another. In some respects every art exhibition supports another art exhibition. If some art exhibitions became the same old boring experience then people would stop visiting them. So it is up to the curators of each and every exhibition to put on a worthwhile show so it can be remembered as an intellectually satisfying and serious event. This part two assignment has helped me to find the right space to exhibit.
It is true that what may be your first and only choice to exhibit may turn out to be the wrong choice after all, for a number of reasons. It could be too far into the future and so planning becomes important at the outset.
In my case I had planned for an exhibition, which would have not provided enough time to complete my studies and submit to OCA deadlines. Galleries work one to five years in advance for planning exhibitions and high profile galleries are very particular on who they choose to exhibit.
I was very lucky in the end to have an opportunity to exhibit in a period on the calendar that gave me enough time to work my Professional Practice assignments around the practical part (the exhibition) and have enough time to submit my work for assessment. I feel like I have achieved both goals together by doing the theory together with the practice.
Making a self-assessment at this stage and working to deadlines helped me to put my plans clearly into perspective.
Professional Practice Part 3. Aesthetics and realization.
Making links with my space; that is my new space because my previous space seems light years away for this particular course. The new space where I had my exhibition in September 2015 was at first hand slightly smaller than I imagined having an exhibition. When I finally installed the paintings the room didn’t seem small at all. Maybe that was because all the work was done on a similar size and there was no dimensional change to the size of the paintings and they were all hung at the same height.
I completed my intentions and realized my goal of showing ten out of twenty acrylic paintings on canvas. I positioned my work in the best possible way to show the work as a story and select samples of the work that would run a seam through it up to its present point in time. So it was a kind of running commentary.
The colour scheme was constant throughout because my habit with colour is to use it.
There could be a niche market in cafes but I would probably need to downsize my work, which certainly would please some of my critics and my wife. They think my work is too large and I should select smaller supports to paint on.
All the bullet pointed list of ideas on how to promote myself has been extremely useful. I have covered them all and during the course of working on this assignment I am currently in an area of the country where networking events and professional workshops opportunities have been in good supply.
I feel I have benefitted from participating in these events and they have only strengthened my writing and learning to help to become art savvy.
I have been on: starting out as a freelancer, grants for the Arts, finding and getting work, navigating the art world, managing a project and dodge the shredder. The courses have helped me to build up some professional friendships if not so much with the ones delivering the workshops but more with the participants and staff at the organizations responsible for hosting the events.
The promotional and publicity side and designing my shows identity was most useful because it provided me with the tools to set out my stall for deciding what to display and how to design it.
I designed all the business cards, brochures, posters and e-flyers for my exhibition. Although I used Microsoft Word for Mac there were the usual steep learning curves to climb when a lot of these things are being practiced for the first time. Just working with the printers company was different because they need the right pdf in the right format. The ‘back and forth’ with colour changes and text changes, not to mention a 4-5mm discrepancy on the business card dimensions caused extra problems to work out with the printing company I was dealing with.
Collecting my publicity material I had found from previous exhibitions gave me some useful ideas on what to print on my own material. The outline structures for my press release proved to be very useful when I approached my local newspaper. They printed the full-page article and press release for my exhibition.
This part 3 assignment is a long piece of work and so by splitting it up into nine sections helped me to work through it in stages.
I found this assignment filled with practical advice and useful avenues to follow in preparation for my exhibition. You only need to compare the titles as above in the screen-print and take a guess as to what they involve to see that it is heavily loaded with the practical stages from finding a viewing platform right through to sweeping up after the work has been stored away in preparation for the next showing.
I have moved from studio to situation when I consider that in the beginning I had no idea I was going to take the path of, in a small way trying to convince an audience we are all living a dog’s life be it rich or poor and we should help those in need of help.
I first started taking photographs of Hugo the family dog in June 2014 and made the first acrylic paintings on paper in August 2014.
I visited The Bloomberg Contemporaries Liverpool 19 October 2014. During that time I made a detour to see the John Moores Painting Prize on the same day. It was in that exhibition when I saw Liu Gang’s 2013 oil painting 190 x 130 cm
‘I saw your eyes’. The description sums up my feelings on ‘It’s a Dog’s Life’, completely.
Liu Gang said, “Seeing a stray dog is too common a thing. But this time, I suddenly felt that its eyes looked similar to most people’s eyes in today’s society. On this dog’s face I found a human-like expression. I was astonished and thought to myself, what is the difference between its suffering and ours.”
I ask myself could the experience of seeing this painting have spurred me on to arrive at the creation of all my work I have made on this similar subject? I don’t remember when exactly I took note of the picture in the John Moores catalogue (purchased on 19 October 2014) but it did boost my enthusiasm for continuing with my project once it was firmly placed in my mind.
If Thomas Edison had died before he invented the light bulb there would have been a runner up to take the prize. Art is the same, many people often work on the same ideas in total ignorance of others making similar work.
By making an exhibition of the pieces of work, decisions on what to include and exclude must be made and not left up to the end to decide on which is important which is not. It’s a bit like going on holiday with only one suitcase and a limited weight allowance. Even the cost of that excess baggage could be a waste of money.
The Professional Practice assignments are set out as a learning guide for present and future activities in the world of art. I am sure that I will be using this material as resource for future exhibitions and work practices in my career.
By the end of assignment three I was ready to take my position forward into exhibition. I tried to gain funding through sponsorship deals and public funding. I soon found out the public funding route was not suitable for students. I can understand why, if it was available then all the students in the country would be studying art courses so they could claim back their university fees through arts grants for final exhibitions. But with not more than 2% of art students gaining meaningful employment in the art industry there would be a lot of unemployed art students and not enough professionals in other fields.
My thoughts on doing this art course regularly passed through my mind at various points and I am still working on it because of my passion to create work in 2D and 3D for people to look at and think about. The assignments help the artist to work out what to do with their work and how best to show it to the audience by the latest means and technology available.
Professional Practice Part 4. Curating as art.
This assignment – part four was the running around, doing, meeting, installing and showing part of the process.
I may have said it before now but it perhaps fits better here that I am glad I did not wait any longer to have this show and I have some ‘thank you presents’ to give to the gallery manager for letting me use the space at the same time as he was just opening his business to the general public. I also need to thank one of my previous contacts that directed me to this location and then left it up to me to arrange the space in the un-used gallery room while working with the new management in the building.
By now I had agreed with my Major Project tutor on a number of paintings to exhibit (20 in all). I could not have shown all twenty, as that would double the amount of work to submit for final assessment. I had to further whittle down the number to show for my exhibition and because the gallery space could only comfortably fit ten paintings. It’s as if I had chosen a space large enough for what would be shown at assessment. That is a question for the future because I’m not sure how much care and attention the work receives at assessment.
I wanted my audience to see more than the purpose of the course to gain a qualification through a specific chosen subject being the dog as a symbol for rich and poor in society. I also wanted my audience to see a righteous cause for choosing this subject and for them to think about it a little in the way I did. Artists’ do things to entertain and make people feel interested about a subject in a way they would not normally see it.
Professional Practice Part 5. Your exhibition.
My final set of paintings for exhibition was sent to my tutor along with my written statement about the pieces. I had provided evidence of my exhibition plan and am now a paid up member of a-n.co.uk just in time to gain the use of the public liability insurance and the wealth of knowledge available on the website.
My launch went off without a hitch but could have done better with a larger audience present. I was up against competition from the opening of the Blackpool Illuminations. Unlike TV programmes, you can watch one and view the other on catch-up. The exhibition was on for one month and people came to the exhibition at various times in the month. Assignment five provides information on preparing for the launch and useful resources with a long list of tips on how to display and describe the work. I also gained advice from people who have a certain mindset on what they want to see in an exhibition and what they don’t want to see. I had to weigh up between both camps what to display and how to display the work. These thoughts and ideas will filter down into how I should organize my work for assessment.
From this assignment I was able to hone in on my hosting skills, provide refreshments, make sure the audience had free access to the venue and be able to make written comments during the show. I was originally intending to sell my work but decided against it just before the opening. My argument was that if someone wanted to buy a piece they could ask. I also had to consider my chances of the assessment becoming diluted if I sold the strongest pieces.
My most important established links and resources have been getting to know some of the team at LeftCoast.org.uk. LeftCoast is a programme of activity arts and facilitators for training workshops happening in Blackpool and Wyre District.
In turn they have provided for a variety of professional artisans to visit the town to deliver a series of day courses on a number of subjects related to the arts industry.
The courses have given me an insight into how the business of art ‘ticks’.
Through the courses and working through the OCA assignments I have learned how to:
I have plans for another exhibition in January 2016 at The Solaris Centre, Harrowside, New South Promenade, Blackpool FY4 1RW.
This will be as a freelancer in art and will gather together my original work and new work I have yet to make on the theme of It’s a Dog’s Life –Rich or Poor.
I have made a lengthy proposal for funding and am now waiting for the decision on my application. The funding is for a nominal amount and the exhibition will happen with or without it but at least I have made the effort to put my theory into practice. It is actually my second request for funding an exhibition as the first proposal was knocked back due to my budget not balancing correctly.
My future plans for more training
I am continuing with my day courses, if and when they are advertised through LeftCoast and I have a further two more courses to attend this month, how to develop yourself and your organization and finance for artists.
My future work prospects in the field of art.
I will continue with my painting in preparation for my next exhibition and look for voluntary and paid work in an art environment, along with any freelancing opportunities and future saleable art projects after completing my next exhibition. Future exhibitions need to be planned for, pretty soon too.
“LeftCoast are launching a volunteer programme that will give people of all ages, backgrounds and abilities the opportunity to be at the centre of the arts and culture in Blackpool and Wyre”
http://www.leftcoast.org.uk/leftcoast-envoys/
Five pieces of my work, surplus to requirements for assessment are now on sale at Drift Arts and Crafts Gallery 3 Alexandria Drive, Lytham St Annes, Lancashire. They work on a six to twelve month holding contract and take 30% commission on the sale price. The work should be exhibited in areas local to Lytham St Annes in the near future.
Professional Practice Pathway Selected Posts
Professional Practice Pathway
These posts are the milestones on my journey to my final destination.
From Professional practice Assignment 1
My curatorial artist proposal.
https://james415039.wordpress.com/2015/05/19/my-curatorial-artist-proposal/
My artist statement.
https://james415039.wordpress.com/2015/05/19/my-artist-statement/
Putting work on Saatchi art.
https://james415039.wordpress.com/2015/05/12/putting-work-on-saatchi-art/
From Professional practice Assignment 2
Historical grounding which anchors my work and the viewing platform.
Roll of the artist curator.
https://james415039.wordpress.com/2015/06/15/role-of-the-artist-curator/
Curatorial strategies.
https://james415039.wordpress.com/2015/06/15/curatorial-strategies/
What is exhibition standard?
https://james415039.wordpress.com/2015/06/16/what-is-exhibition-standard/
The roll of critic on my own future exhibition.
Self-assessment on my current body of work and progress for preparing for public exhibition.
Promoting my work in a Bangkok café.
https://james415039.wordpress.com/2015/06/16/promoting-my-work-in-a-bangkok-cafe/
Evidence of research for looking for a viewing platform.
https://james415039.wordpress.com/2016/01/18/evidence-of-research-for-a-viewing-platform/
More ideas for potential viewing platforms.
https://james415039.wordpress.com/2016/01/18/more-ideas-for-potential-viewing-platforms-pp-part-two/
From Professional practice Assignment 3
Booking my review platform.
https://james415039.wordpress.com/2015/08/11/booking-my-review-platform/
Promotional and publicity material arts PR.
https://james415039.wordpress.com/2015/08/12/promotional-and-publicity-material-arts-pr/
Designing my shows identity.
https://james415039.wordpress.com/2015/08/12/designing-my-shows-identity/
Professional Practice Part 3 Self-Assessment of my current body of work.
From Professional practice Assignment 4
My Degree show at the Galleon Grill 05.09.2015.
https://james415039.wordpress.com/2015/09/05/my-degree-show-at-the-galleon-grill-5092015/
Logistics and practicalities.
https://james415039.wordpress.com/2015/09/12/logistics-and-practicalities/
Galleon press release 04 – 30 September 2015.
https://james415039.wordpress.com/2015/09/12/galleon-press-release-04-30-september-2015-2/
The audience
https://james415039.wordpress.com/2015/09/12/the-audience/
Creating dialogue between the works
https://james415039.wordpress.com/2015/09/12/creating-dialogue-between-the-works/
Galleon intro for the wall
https://james415039.wordpress.com/2015/09/12/galleon-intro-for-the-wall/
Final Galleon exhibition paintings.
https://james415039.wordpress.com/2015/09/13/final-galleon-exhibition-paintings/
From Professional practice Assignment 5
Revised artist statement.
https://james415039.wordpress.com/2015/11/18/revised-artist-statement-2/
James Loy biography revision Oct 2015
https://james415039.wordpress.com/2015/11/18/james-loy-biography-revision-oct-2015/
Video Documentation.
https://james415039.wordpress.com/2015/11/18/video-documentation/
The conclusive essay
https://james415039.wordpress.com/2015/11/18/the-conclusive-essay/
Contextual Studies Pathway Selected Posts
Contextual Studies Pathway
These posts are the milestones on my journey to my final destination.
From Contextual Studies Assignment 1
What is Contemporary Art 1a, 1b, 1c.
https://james415039.wordpress.com/2016/01/16/what-is-contemporary-art-1a-1b-1c/
1c My initial proposal for a research project from assignment 1.
From Contextual Studies Assignment 2
Painting Today (with link).
https://james415039.wordpress.com/2015/04/08/painting-today/
Painting Today – comments on artists’ biographies.
https://james415039.wordpress.com/2016/01/16/painting-today-2/
The indiscipline of painting.
https://james415039.wordpress.com/2015/02/07/the-indiscipline-of-painting/
My revised proposal for a research project (assignment 2) CS.
Artists’ to reference for painting the dog.
https://james415039.wordpress.com/2016/01/16/artists-to-reference-for-painting-the-dog/
From Contextual Studies Assignment 3
My final proposal for a research project.
https://james415039.wordpress.com/2015/06/22/my-final-proposal-for-a-research-project/
From Contextual Studies Assignment 4
Writing my first draft
https://james415039.wordpress.com/2016/01/13/writing-my-first-draft/
From Contextual Studies Assignment 5
Peter Doig on YouTube
https://james415039.wordpress.com/2016/01/13/peter-doig-on-youtube/
Major Project Pathway Selected Posts
Major Project Pathway
These selected posts are the milestones on my journey to my final destination.
From Major Project Assignment 1.
Initial Project Plan:
https://james415039.wordpress.com/2015/12/06/initial-project-plan/
Major Project Artist Statements 1 -5.
https://james415039.wordpress.com/2016/01/18/major-project-artist-statements/
From Major Project Assignment 2.
Pointers for the next assignment Part 2 Embodiment
https://james415039.wordpress.com/2015/12/11/pointers-for-the-next-assignment-part-2-embodiment/
From Major Project Assignment 3.
Draft course plan (re-done) Painting 3
https://james415039.wordpress.com/2016/01/17/draft-course-plan-re-done-painting-3/
Hugo Ten Paintings
https://james415039.wordpress.com/2016/01/17/hugo-ten-paintings/
From Major Project Assignment 4.
Art Thoughts April 2015
https://james415039.wordpress.com/2015/05/05/art-thoughts-april-2015/
Selected images of the painting process of series 3
https://james415039.wordpress.com/2016/01/17/selected-images-of-the-painting-process-of-series-3/
The Hi-So Dogs of Bangkok
https://james415039.wordpress.com/2015/05/09/the-hi-so-dogs-of-bangkok/
Revised course plan asmt 4 – 5
https://james415039.wordpress.com/2016/01/17/revised-course-plan-asmt-4-5/
From Major Project Assignment 5.
Hi-So Series 4 Palimpsest Images
https://james415039.wordpress.com/2015/07/14/hi-so-series-4-palimpsest-images/
Lightbulb Manifesto Part 5 MP p45
https://james415039.wordpress.com/2015/07/14/lightbulb-manifesto-part-5-m-p-p45/
Series 4 Abstract Images made from Series 3 Hi-So.
https://james415039.wordpress.com/2015/07/14/series-4-abstract-images-made-from-series-3-hi-so/
The journey so far.
https://james415039.wordpress.com/2015/07/14/the-journey-so-far/
This post highlights the work I am doing on my exhibition at Solaris Centre Blackpool throughout January 2016.
These posts are the milestones on my journey to my final destination.
These posts are the milestones on my journey to my final destination.
james415039 