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By: Marion Piper
BA (Hons) Fine Art.
To read my blogger profile
# 41 [17 June 2011]
Studio Update | Angelika Studios
An exciting recent development for me is being invited to join Angelika Studios, founded by four Bucks Fine Art Graduates last year. I will be sharing an interesting space with fellow student Gill Gregory. The studios are located in an old re-purposed furniture factory in High Wycombe.
The timing feels right for us, both to be working in the space and having involvement with studio projects. Blurring the line between pre and post graduation. We have been painting out the room and feel primed for action.
Bucks Uni Degree show 2011 is down. So, now alerted to the fact that I have already had my part-timer’s head start into Level 6, I need to get to grips with the documentation side of studio practice. Not complicated, it just needs regular attention and application…I’ve bought the folders. I do want the contextualisation files to work for me, rather than for the module alone so I’m thinking of how to organize the material.
Painting and thinking.
# 40 [11 June 2011]
Wolfson College Oxford
[..} the incidental, the transitory, the peripheral – that aspect of our experience that is both there and not there, the object and not the object of our sensations, perceived but seldom attended to. These transparent phantoms disappeared into their envionments, and yet, upon occasion, almost at the corner of our eye, there they seemed to shiver – a gleam*
Painting and drawing form the main part of my practice through which I investigate the memory and experience of walking though urban space, sound, rhythm and time. The paintings record this enquiry and contain many concealed layers of interaction, decision making, surface tension and resolution.
Research of Brutalist architecture and early Italian Renaissance painting provide abstract entry spaces for me to begin this process. The paintings despite their geometric elements are not planned in advance but are made intuitively by responding, with colour and line. Surface incidents and accidents are retained as a witness to the progression, as is the history of colour slippage on the stretcher edge.
Marion Piper June 2011
*Lawrence Weschler, biography of Robert Irwin,
Seeing is Forgetting the Name of the Thing One Sees, University of California Press, 2008
# 39 [24 May 2011]
Bucks Uni Studio | Update
The studios have been cleared ready for the degree show build. As with the previous years this time always seems to arrive abruptly just as the work is flowing. The space I had this year was 8ft x 4ft, sometimesa challenge with the larger paintings when the ‘grab’ space had already been grabbed.
It is an odd time for the part time group I am in as we have already started our final ‘year’ and need to keep the momentum going so we don’t slip between the focus on the full time student’s timetable. We have kept the conversation about our work moving with each other as we have had no formal crits etc. and this has been very helpful. When we are back in September things will very quickly speed up and we will need to manage our time well. Although the course is longer for us we obviously have the same number of elements as the full time students. We do however get the extra benefit of having the opportunity of helping with five exhibition builds and seeing how the layout is taylored each year to the content and the students requirements !
How does it work for you? Can you request a specific space or build for your work? Is it organised by negotiation or by tutors?
# 38 [15 May 2011]
Studio Shed | Update
I have been working on several canvases for an upcoming group show curated by my fellow student at Bucks, Danielle Teper. The exhibition will be at Wolfson College, Oxford, June 12th-July 1, 2011.
I do have some recent work I could show but I really want to make something new with the space and wall in mind.The deadline is close.
My current work is a continuation of the small drawings I started during our dissertation semester. By incorporating drawing and painting my aim is to find the ‘meeting point’ where these elements encounter each other and only just hold together; when the visual rhythm, sound, surface tenson and illusion coincide. The exciting activity in the studio is the decision making.
# 37 [8 May 2011]
Prompted by the excerpt of my blogger profile published in the a-n Degree Show supplement, I re-read the interview and have been reflecting on the changes in my practice since last summer. Everything mentioned is still relevant. However there are some significant developments taking place.
I have realised how little I knew/know of current international painting and through researching my dissertation the axis of my view point has shifted which has given me both context and confidence.
Drawing has become very important. As activity and also within the paintings.
I realise that my relationship to ‘source material’ is changing. I feel now that I was looking for/at, certain places and things as source material. Now I recognise that these ‘inspirations’ are in fact simply examples of what I am already thinking about and responding to. So, now I am attempting to work directly from this position. It feels good.
My experience in February of four days in New York, walking in the city and visiting galleries and museums, had a huge impact on me. From the strength in the simplicity of the work of reductive artists, Kelly, Judd, Le Witt, Ryman to the punch of the masters at the Met and MoMA; everything was humming. An inspirational trip to Brooklyn to meet Matthew Deleget at MINUS SPACE (Dissertation subject) was very motivating.
I have been working on several canvases in the studio, layering drawing and painting.
# 36 [7 March 2011]
I have enjoyed reading through the blogs this morning. It is interesting how several lines, written by others, have link up with seemingly random questions in my own head, giving momentum to my thoughts.
John Harris’s opener, ‘What does John Harris want to make work about?’ has an echo; so what is it I want to make work about?. For my first level assessment I filled the room with work and was asked what it was about. I could not answer; it wasn’t clear to me at all. Three years on, and post dissertaton, the answer is much clearer or should I say nearer.
Angela Dow-Wright’s unravelling of her personal influences scratch at my own reaccuring themes that beg more investigation. Objects, colour and experiences that I had thought to have a narrative role in my work, now appear to be related to visual perception and kinaesthesia.
Ryan Hughes mid-point review experience of installing work too high reminds me of a similar occasion and his consideration of viewer interaction with his work brings me back to, how is what I want to make achieving my aims?
I shall go and reflect on articulating my practice and perhaps select some work for a mini retrospective.
Thanks everyone, I was going to write about my fantastic trip to New York, but this has been a genuinely valuable experience. NYC later in the week.
# 35 [11 February 2011]
Glazed with Crimson Lake
# 34 [6 February 2011]
I'm still in dissertation recovery (see the comment below the previous post) and glad to be back in the studio As part timers we now have the luxury of three semesters in which to complete our final level.
I have been working on some mixed media drawings during the last few months and armed with these and a few canvases, left over from other projects, I have eased my way back into studio work. My thoughts are buzzing from what I have learned and I am enjoying the play with paint; letting slips, spontaneity and serendipity lead me for now.
# 33 [28 January 2011]
Dissertation handed in today!
(What is the Ideology of MINUS SPACE and Contemporary Reductive Painting?)
# 32 [12 October 2010]
Tomorrow my only activity will be working on the dissertation. We have under a month until our first draft hand in date. It is in our interest to give in as full a draft as possible. I have my initial meeting with my dissertation tutor on Thursday and I am finding it hard to get writing. I feel I want to start in a similar way to painting, preparing several surfaces (chapters) at once and working across them in layers simultaneously building up the content. I’m definitely in the priming and small sketch phase. As with studio practice, I love researching. The more I read the more ideas I have. Got to stay focused.
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Final year Fine Art student, in my fifth year of part time study. Associate member at Angelika Studios, High Wycombe.