Learning Plan 381
ART381 EXHIBITION NEGOTIATED LEARNING PLAN
Please discuss all the questions below during initial studio tutorials and before completing your
ENLP by 9th February
Name: Anna-Marie Gallares Date: 09/02/2023
Studio tutor: Ralph
RELEVANCE
Ability to present work which shows distinctive artistic identity in which ideas can be communicated within the form and context of a coherent exhibition; what is your project, and why is it relevant/contemporary (give contemporary/historic precedence/context(s)
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My project is the continuation of A Year In My Life. I want to paint my 20 digital images in a different format. I want to create something tapestry-like, including art techniques like embroidery, crochet and Lino printing. I want to explore another type of storytelling involving putting the scenes on one strip of canvas. I also want to work with a space that I'm given, always thinking thoroughly about the composition of the room with the art from an audience point of view and how they navigate through it.
I will take inspiration from religious art and artists such as Giotto and Fra Angelico. Religious art has always been about storytelling, and the link to religion in my family is vital. I already add elements of faith into my artwork without thinking, and researching it will make me use this technique effectively.
I will also search into modern artists such as Grayson Perry and Emma Talbot, where storytelling is very prominent in their work. I like the reactions they add, giving the story more depth just by changing the colour or pattern.
I feel patterns will become very prominent in my work as I will explore Filipino indigenous practices again, as I did in the first year. I will keep my colour pallet of red, blue and yellow as it is a running theme in my work as the colours are used in the UK and the Philippines flags, which I strongly relate to both countries, in a way representing me.
KNOWLEDGE
Knowledge and ability to research and develop a personal project based on conceptual and theoretical understanding and an awareness of contemporary and historical precedents used to inform appropriate choices concernings and processes. Briefly describe your working practices/methodology. What do you hope to discover and understand through your project/work? What research do you intend to do?
When starting a project, I tend to do artist research first, along with having a vague idea of what I want to achieve in the end. Doing the artist research gives me a clearer understanding of the steps I need to take to complete my outcome using other artist work as inspiration. I build upon my practical work with what I find out and the experiments that turn out right. I work with experiments that I think will turn out best to continue with the project, problem-solving along the way.
I hope to understand better storytelling—ways to use pattern and colour to add more meaning to my work. Go back to basic techniques in painting and drawing to sharpen my technical skill. To use my talent in embroidery and crochet in my career that will work well aesthetically and meaningfully. I will not learn any new techniques in this project as I felt during the three years in university I have experimented with different modules, and I now know what strategies work for me and what I need to improve in my practice.
CRITICAL EVALUATION
The ability to create an exhibition based upon analysed studio practice research, reasoned arguments, and self-critical evaluated judgements. How will you analyse and critique your work? How will you measure your success/failure? How will you further develop and apply your skills?
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Throughout my project, I naturally critique my work. I am always thinking of ways to present it better, either by changing its position, changing the colour or just taking it out together and considering a piece an experiment instead of the final product. I always work with what I have and never throw any previous idea away if I change my mind—trying to be as flexible in my project as the outcome can be created differently as there is no one right way.
In my project, I try not to lose my objective of what I want to be presented in the final project and what I want the audience to feel and learn. I will further develop my skill in self-curation of my work to know what is necessary for a piece of work. I do not need to include everything to create a great exhibition, but experimentation is required within the creative process that can spark a new project.
PROFESSIONAL EXHIBITION AND CRITICAL SELECTION
You are developing specialised and innovative ways to communicate ideas within the form and context of a critically selected solo professional exhibition, with supporting artist statements, thereby helping to enhance career planning and graduate employment. What are the current thoughts on the presentations/installations etc.? What have you seen that has influenced your thinking on this matter?
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At the moment, I don't have any clear ideas for representing, apart from creating a tapestry that will be hung from a wall.
I visited the Baltic a few weeks ago and saw the exhibition, Hinterlands. I liked Alexandra Hughes's piece, with pieces that layer on each other while hung from handmade stands. I like the idea of layering, and having it hanging gave it a different effect than just laying them down onto one another. I am thinking of making my stand similar to Hughes's and placing experiments on the shelves.
I will also use patterns in my project with solid ties to Filipino culture and my primary family's childhood photographs. I was thinking of having a wall spray painted using a stencil creating dimension in the space, so it's not just plain white space.