Bank Holidate

Nature documentaries are wonderful things - particularly those exploring the deep sea. There is nothing more incredible than seeing high definition footage of underwater worlds, therefore these programs make regular week-night-time viewing for me and the bf. I think he is in love with Monty Hall, but then again I have serious lust for Attenborough's voice, so I'd call ourselves even. 

So with an entire day to ourselves and each other exclusively(!) this August bank holiday (mostly because we're both too broke to have gone away with friends), we decided to further indulge this mutual interest. And to the Natural History Museum we went! (Along with half of London's parent-infant population...)

Standing in the queue to get in was actually particularly enjoyable (despite all my boyfriends' jokes involving the Britishness, summer days, rain and queuing.) It allowed us to appreciate the amazing architecture of the building, an activity that continued inside. I also liked seeing all the umbrellas in the landscape, I wanted to draw them (and shall in due course.) 

Coral Reefs: Secret Cities of the Sea.

I really liked the design of this exhibition - with complex 3D structures made of slotted plywood hexagons, used to guide visitors around the displays, representing the structure of coral itself. This method of construction is one I am pushing in my own personal work, and it was interesting to see it on this scale.

As a scientific exhibition (rather than of art), I wouldn't say my review could be in any way critical or analytical. I thought it was really good fun, really informative and had lots of nifty highlights. The 4D interactive viewing chambers were genius (a installation pioneered by the sponsors Caitlin Industries). I liked that the museum had provided some coral you could touch, as most of the specimens were behind glass cages. 

The grouper made a fantastic selfie opportunity! 

The use of video, text and visual displays together  explained things very well I felt. Lastly the tank with live coral and fish donated by the Horniman Museum, and video explaining their studies into breeding in captivity were a perfect end to the show. 

Coral interests me as it really does form underwater architecture. I'm not often drawn to nature as inspiration due to it's wildness and rounded edges, however coral really does have a clear pattern like structure to it, so a nice juxtaposition of nature with architectural-like structure. The colours are so vivid and fantastic, and patterns are formed everywhere you look. 

I very much look forward to drawing (from memory) the coral I see. Though it would be fantastic to have an underwater camera, I think I will make interesting illustrations this way. I can always top them up with visits to aquariums. I particularly liked this print that I saw in the gift shop.

After leaving the exhibition (which was nicely peaceful), it didn't take much spent in the overrun permanent collections for us to have had enough of screaming children. Still I got some nice shots of the building, which would be a joy to go back and draw on a more quiet day. The marble floors and warm glow of the stonework reminded me slightly of grand central station in New York (one of my favourite buildings ever.) 

The rest of the day saw us enjoy a delicious Dim Sum dinner at New World Chinese in China town, and wonder through the back streets of Soho, where we each picked up some gifts in little purple Liberty bags! Though I shopped in the stationary department (HAY), I spent a good while fawning over the prints in the scarf hall. All the more motivation to get some of my own textiles made up! (Though unlikely on such fine silks..) 

Our last stop was the Chesham Arms pub, a jolly little local near Sutton House in Hackney Central. I particularly love the fact that it's at the end of 'Isabella Road'. I literally could buy a house with my name on it! And what a great local to have. A game of monopoly and a few pints later, we were ready to roll home to bed. 

With one last thing to do of course...; decide what nature documentary we'd be watching tonight... 

The RA Summer Exhibition 2015 - Review and inspiration notes

The Summer Exhibition is hands down my favourite art event of the year. So much so, that for the last couple of shows I have made it a celebratory thing to go on my birthday (a tradition I hope to upkeep for as long as possible...). As a result there is a lot of fun to be had in comparing shows year on year, from recognising favoured artist's work to seeing the contrast in curatorial styles. 

The emphasis on curation is one element of the show that I am really fond of. It still seems amazing to me to have a show in such a grand setting which any member of the public can enter (as I have tried, but alas, failed). However what can be seen as maybe more amazing is that it's a select few individuals who take on the challenge of turning this vast mixed bag of the weird and the wonderful into a beautiful seamless patchwork to inspire and enthuse the viewer. 

Michael Craig-Martin is the head curator for this year, and his influence is best highlighted by the bright colours on the walls, an alteration I highly commend. A simple change, but incredible in such a context. Overall I thoroughly enjoyed the whole show, more than some previous. I think this is down to the curation, well explained by the boards on the walls. Though in saying this I think it is important to try to see every piece with fresh eyes. I see the curators role similar to a conductor's in front of a 100 piece orchestra; the final result is one piece of music but every musician has it's own sound and melody, which must be considered independently. (This can make it particularly exhausting, though all the more reason to reward yourself with coffee and cake after!)

I kept notes on individual pieces, simple details which made each stand out to me. By doing this, highlights and key themes became apparent. That's possibly the greatest thing about the show; you will always see something you like, and dislike, and by doing so learn a bit more about yourself. I challenge anyone to visit it and not love it. I am challenging myself to get selected one day. That would be an excellent birthday present. Fingers crossed!  

Wohl Central Hall

The octagonal Wohl, Central hall has always been a fantastic entrance for the summer exhibition, and this year had been painted the most brilliant shade of turquoise. Vistas looking onto further brightly coloured walls, as seen through the grand arches, only ignited my already great sense of excitement. The room was brilliant framed from the ceiling by Liam Gillick's 'Applied Projection Rig', featuring large transparent squares of plexiglass colour. The room information board aptly described Craig-Martin's approach to curating it as 'immersive', he had considered the relationship between the viewer and the space. The audience is encouraged to 'circumnavigate' Matthe Darbyshire's grand figure 'Captcha No.11 (Doryphorous),made from similar materials as Gillick's hanging piece. This introduction was colourful, lively, bright, moving and fun; a hint of what was to come.

Nice Frame, painted a similar pattern to the image. A good way to frame work on the cheap - 'Jasmine Flowers Provence, Turkish Bowl V&A' - Leonard McComb

Room III

Now a vivid magenta, the wall colour played a serious and evident role background to all the works hanging in this room. The large monochrome work 'Mississippi River Blues' by Richard Long RA was hung on the back wall so it could be observed by the entrance arch at the opposite end of the room. A simple and perhaps obvious decision, yet it is a key point of curation to ensure there is something eye catching; a focus point which puts the rest of room into context.

A set of four fun canvases with 3D pieces set back into them - 'The Four Elements A-D', John Tilson RA. 

I particularly liked the colour in this one, especially on the pink background, his work reoccurred later in the exhibition - 'Stealing Things: Bag Snatcher', Stephen Chambers RA

Room II

I particularly noted the style of hanging in this room curated by Jock McFadyen, as spacing was used (and not used) in such a way that it really added to the viewing experience. Perhaps by making the constraint obvious between being engrossed in an artwork, and taking a step back to viewing the wall and room as a whole. The theme 'radical landscape' was taken on by McFayden, and was a good balance of rural and urban landscapes I felt. Here were my highlights

'Manoeuvres II', Rae Hicks. - I like the composition and emphasis on geometric shapes, I would like to play with this in my own style with my own colours. It could also be a good way to design forms out of drawings and photographs using tracing paper over the top. 

'Dungeness', Jock McFadyenRA. - I like the contrast between the vivid colour and sweeping stokes of the background and strong architectural shapes in the foreground. This technique works well with oil, and would be a good process to use for large paintings of my own.

'Launderette', Dominic Mallin and Laura McEwen. - This '2 and a half D' mixed media collage is framed and an edition of 100 at £190 each. This is an approach I could start to take if I create 3D drawings (and could paint the frame). It also highlights the manufacturability of collages, if I was to submit one I could recreate I could make some money of it. 

'Calton Hill', Jock McFadyen. - I personally liked this piece, even if definitely very dreamlike and easy on eye. With it's large moon and night sky scene, it seemed to hold memories, of the artist and of every viewer who had beheld it. A cliché down well.

'Time off (Diptych)', Trevor Sutton, and 'Second', Jane Bustin. - Both of these artworks were simple geometry, so lacking in concept or narrative, however they appealed to me as a striking piece of design would. I suppose it is their purpose, to hang on the wall and be viewed,  which puts them in the art category than those of craft and design. Interesting materials used; with former being 'oil and pencil on board' and the latter being 'acrylic, oil and copper on wood'. Simple yet striking and aesthetically pleasing.

Room I

The curatorial shake up became obvious in this room, as this was the new 'smaller works gallery'. This is usually one of my favourite rooms (I think I found it's cramped clogged up aesthetic rather  charming, the location where I hope a work of mine will end up someday.) However this year there wasn't all that many which jumped out at me, though I suppose it was a far more pleasant viewing experience not being squished on like sardines!

'Beneath the Horizon', Daisy Cook. - I liked the aesthetic of the materials used - oil and pencil on board. It allows the gentle graded colour of the oil to be defined by the soft fine lines of graphite. It also appeared to be layered; oil, pencil, oil, pencil etc. I feel like a I should pick up my oil paints and give it a shot! 

'A view from the bridge' and 'Cornered' by Mandy Payne, spray paint and oil on concrete. Observing these, you really got a sense of contrast between the weight of he paint and of the concrete. I found this really interesting, as materials are a large part of my work. Think of paper and stone. Also maybe I should start painting more 3D objects, even if just experiementally. Spray paint would be best. 

'Seafood Medley', Dame Elizabeth Blackadder RA. - This print, and another one of Blackadder's later in the show, caught my attention through the use of space and a white background. The artist clearly has a very strong sense of composition, and her bold use of white is something to be envious of. 

Large Weston Room

As well as being in a new location, I felt the architecture room had a slightly more surreal feel. Maybe because it followed on from 'radical landscapes', I felt that the concept of architecture had been challenged. Artworks in the form of models reflected sculpture (and in one case a design products MA graduation piece*.) 

I enjoyed looking at the models, for the spatial composition and material features, and Norman Ackroyd's Galápagos series was a joy to see. One piece which really got my creative mind whirring was actually a combination of two works; 'The tale of the washer' by Tim Robinson and 'An iconographical map charting the creation of Helsinki' by Jaime Lilley. The placement of an illustrative map next to text got me inspired as my personal work involves drawing, mapping and writing. I would have loved to have seen this as one work, though the juxtaposition in theme did cause me to reflect a little. 

Upon a similar theme the juxtaposition of a small pastel watercolour near to a pastel Perspex 3D model made me think about moving writing, drawing and mapping into 3D and materials. All things I need to play with.

All works mentioned and unnamed

All together now - plywood model - Alma-Nac Collaborative Agency

The museum of Danish resistance, Copenhagen - 3D print, laser-cut card and oak - James Lilley

Old Church Banyuls - Watercolour - Sir Phillip Downson PRA

A library of libraries - Perspex - Penoyre and Prasad 

*Urban Flora Propagation Field Box - Pinn, Kirk and Diggle

Room IV

'Mimic (Black)', Paul Hoskin. - This mirrored acrylic on aluminium work was extremely impressive. Laser cut acrylic marquetry is nothing new, it is the basis of some of my favourite jewellery, though when intricately done and well-polished I simply drool over the stuff. This piece completely pushed scale to the limit, it would make a fantastic (albeit dark) mirror! 

'The cone of vision', Andrew Taylor . - I personally like this piece, bold yet understated and calm. Great use of colour.

'Really free labour', Emma Biggs and Matthew Collins. - This was probably my favourite painting within the whole exhibition. It really spoke to me; the colour, the geometry, the patchwork pattern effect.... It makes me want to paint again. Their other piece 'Building the City' was pleasing, though someone about the controlled spontaneity of the first really captured my heart.

Room V

Norman Ackroyd had curated this room as it was considered the print room. Unfortunately I wasn't as impressed with the prints this year as times before, many were nice but I felt few grabbed my attention. (Though saying that they were prominent at a later stage of the show, as my attention span is flailing). Still I could tell there was a great emphasis on painting, I suppose it is natural for one medium to take the forefront. As more of a printer than a painter, I very much appreciated being able to see them in different lights.

'Stolen Thunder III', Cornelia Parker. - I still find it funny, though you have got to wonder how long the joke will go on for...

'Wild Flower', Dame Elizabth Blackadder RA. - As with her work before, I am surprised how much it grabs me as I'm not usually a fan of flora or fauna. However it is a beautiful print, seemingly naive but obviously very tastefully done.

'London map of days', Mychael Barratt. - I'm drawn to any work that revolves around maps due to my hazy dissertation topic focusing on Cartography (in some yet unknown manner.) This map focused on dates, locations, images and words. My mum was completely absorbed in it, trying to make sense of the information. 'Inside Lloyds of London' by Adam Dant was another map like image, with components of the image being featured and described in the border, as though some kind of key or legend.

VI

'First and Last', Keith Milow. - I was very interested in the method used to paint this, it has involved peeled back making tape to create a top and bottom layer. It would be interesting to apply this in layers or paint the whole bottom and whole top covered in masking tape, then choose what to peel away.

'Screen', Gerard Hemsworth. - Simple use of lines and markings, communicates like language. However considering the scale I would like to see more down to composition or colour palette. 

'Baby Shimmy', Alison Wilding RA. - the construction of this sculpture made form mirrored stainless steel interests me. I could use this technique, working in solid materials such as Perspex and/ or metal.  

VII

'Claros', Gillian Ayres RA. Materials: woodcut on unryushi Japanese paper - I love the colour of this piece, and I find the process interesting as it looks a lot like a collage. It reminds me slightly of  Matisse's later work, with a poetic composition and bright bold shapes.

'Wall of sound II', Humphrey Ocean RA. - I am a big fan of Ocean's work, and he had quite a few pieces in the exhibition. But I particularly liked this one for the colour and composition (and originality - NOT a boat!). This would make a gorgeous print, I should have more confidence I n keeping my work simple, as Ocean does this wonderfully. 

'Badger, Baby rabbit and squirrel, Bird and fox, Rabbit', Tracey Emin. - Though being beautiful things in their own right, the price of these prints is what really caught my attention. Costing £525 or £875 for a limited edition print (of 50 each),I can only start to dream that my work would be worth something like that one day. Designer art it may be, but I still want one...

Le loi, Christine Baumgartner. Materials: woodcut on Japanese misumi paper. - This piece is a woodcut also, to compare to the Gillian Ayres piece. It has a very different aesthetic, but I feel works well by translating the texture of carved wood into print. 

Land of my father, Chris Orr RA. Materials: engraving and watercolour. 

Redoubt, inspired by Richmond Yorkshire - Chris Orr RA. Materials: lithograph and screen print. - I have always loved Orr's work, my fascination started with the high contrast black and white cutout piece I saw in my first ever time visiting the Summer exhibition. Landscapes and scenes of London often feature in his work, these pieces were softer and more sketchy than some I've seen before, but I still really like is aesthetic. 

IX

'London, the streets', Kim Rugg. Material: ink. This piece worked brilliantly as a map, solely formed by hand written street names and locations. A great way to highlight the relationship between words and space. Exquisitely executed, peacefully simple and utterly eye catching.

'French shrimpers 3', Joel Redman. Material: photography. - I loved the composition of this photograph. I often find it hard to warm to photography, but the celebrated simplicity of this shot and random flecks of colour were perfectly suited to it. 

'A painting of three stories', Stephen Chambers RA. Materials: - oil on wood. Three words sum up my warming to this pieces; narrative, technique and colour. I have been wanting to create a series of works, inspired by ones such as those of Sonia Delaunay, reflecting the pages of a book. This piece is interesting as each image would work by itself but come together to tell a bigger story.

Lecture Room

I hate to be critical, but I did not like is room at all. Being the sculpture room, it was far too crowded, and all the little works clumped together made them look like nick- nacks you'd find on a cluttered mantelpiece rather than being deservedly homed in a gallery. It's a miracle nothing has been knocked over by someone, it seemed like a total afterthought considering all the marvellous space the paintings in the previous few rooms had been given. Well, with that rant over, I look forward to seeing what they do next year. 

'Ombro', Loukas Angelou and Vasso Asfi. Materials: powder coated steel. - I liked this piece because it looked like a well designed piece of furniture. As a 3D form, I was very inspired by the different angles it can be viewed by and the way this changes the form you can see. This relates to the space around the work, as in the context of the work. These are all points I find inspiring and need to bear in mind in the 3D model making part of my design process. 

X 

Tom Phillips RA - A Humument 1966-2015  - This example of book arts was particularly striking, due to the regularity of the pages individually framed, all made unique by the artist. It played with words and imagery, and also was presented a series (all themes that interested my throughout the show.) The manipulation reminded me of Nigel Peake in some places, with sketchy delicate lines. It seemed as though Phillips had decided a set of rules to follow, and also was interested by what little stories or ditties he could communicate by editing the text visible. A very interesting and eye catching piece, it definitely made me reflect on my relationship with book arts (a little bit love/ hate... As in I hate to love it.) 

Exeunt 

To conclude, I'll keep it short; bring on #SummerExhibition 2016! 

Day Trip - The National Centre of Craft and Design

The national centre for craft and design, located in Sleaford (in Lincolnshire for all those wait-there's-an-England-out-of-London?! types) is quite the hidden East Midlands gem.  I say hidden, as it only just recently came up on my radar, but it's link with the crafts council and £9 day return ticket to Nottingham makes it a new future firm favourite

The principle exhibition I came to see was the craft's council 'Space Craft' - though the whole building was full of inspiration. From the rooftop viewing platform to the ground floor design and gift shop (essentially the new Tate Modern!), I collected a whole load of photos, drawings notes. I'd probably be leaving with something from the shop too if I wasn't so far into my overdraft...

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Object a Day

The staircase is even a fine thing, with its 'Window Collection' - showcasing Helen Pailing's 'Object a day' installation, featuring lots of fun little material experiments. Like characters or creatures, they have a narrative to them, particularly as the the materials used have been 'found, scavenged, borrowed, purloined or recycled'

Helen Pailing - Object a day

I particularly liked the way the installation used light and space, creating a subjective sense of scales to the works. These could be domestic fish tanks, or on an aquarium scale. The presentation was colour coded - which I can aids the viewer to appreciate the designed nature of these experiments. Though still the greatly varied forms and materials still praise the beauty of material play and undesigned, seemingly functionless  objects. 

Colour coordinated 'object a day' display

It reminded me of the the 'material wall' of my foundation course, which became a dumping ground for unwanted samples, transforming them into inspiration for future years. 

Look at all the lovely creatures!

More about the collection, which 'possesses it's own rich tapestry of meanings and possible narratives' - can be found on her website at www.helenpailing.wordpress.com

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Lesser known architecture

This exhibition was the showcase for Theo Simpsons's ongoing research project that celebrates the forgotten icons of British architecture. As photography exhibitions go, I particularly liked the curation and coherent styling of the images. 

Lesser known architecture - Theo Simpson

The concept and content is simple, the real beauty to this display was the way it was presented. Each framed image stands alone, with no context or title. These exist in the accompanying guide, which uses alphabetical ordering, and contact sheet style images in clear correlation to text to make access to information really easy. This allows the images to speak for themselves at immediate glance, making them more powerful, as the viewer is swayed by notions of function, location and identity.

Along with great curation inspiration, I also learnt something new - that London had a mail rail in the early 20th century. With it's relevance to culture, society and history, it's all hardly 'lesser' architecture, I'm glad someone's putting it on a pedestal.

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Space Craft

This exhibition brings together two disciplines; craft and architecture, considering the relationship between them by presenting work by makers inspired by architecture and by architects that are deeply connected to making. I feel the term 'spatial' connects the two together well, playing on senses and scale. The exhibition quotes Edward de Waal on the subject, who said that when a pot is thrown 'you're making a volume in a very short space of time; you're creating an internal space.' 

As with the previous display, I was really taken by the curation - more specifically the exhibition design - in the form of upright cardboard tubes laid out in a manner to change the function of the space in which these objects sat. More specifically, making it impossible to enter. Rather than solid walls or railings, as motifs of architecture, by using cardboard objects to create an abstract forms of barrier, the exhibition design mirrored the concept and reason behind the display. These tubes came in a variety of shapes and colour detailing, relating more to a craft or making I feel than architecture, playing on the idea of batch and bespoke production.

Space craft Exhibition design

I also had a personal connection with these forms - as they relate to a 3D piece of work I recently made, aptly named 'peg board'. I designed it in order to 'draw in 3D' - making my illustrations and interpretations spatial. Of the many unexpected and pleasantly surprising outcomes, one was that it looked like an architectural scale model, which is why I feel it links to this exhibition design. It therefore could be seen a map, which this space has turned into a reality. I like the way maps offer a varied perspective, so what looks I 'drew' (using elastic bands) looked different at different angles, had different shadows, presented different restrictions in space etc. As I feel this large scale installation version does. I also liked the idea of small changes, and traces being tracked, which relates to the relationship between time and space (perhaps how maps vary). It quite interesting to consider what it would mean to "draw spaces". 

Of the high quality on offer, the individual displays which caught my imagination best were ones which came in a form or used a process that I felt familiar with and interested by. Ute Decker's interesting and inspired jewellery which played on themes of scale and function gives me hope that I could potentially translate my practice into body adornments (I've had many unsuccessful attempts so far.) 'Articulation' is a necklace which has been designed to enable the wearer to play and display it in different compositions on the body. 'In the praise of shadows' describe a set of earring which invite curiosity, playing with scale and light. They pay 'homage to Tanizaki's Classic essay on the aesthetics of shadows in Japanese architecture' - which has gone straight on my research list.

The FleaFollyArchitects' work was perhaps my favourite of the exhibition, I'd definitely describe it as being the most conceptual. It is a shame the actual 'Grimm City' wasn't present, the project was instead demonstrated with a film and a book. The latter cunningly titled 'Grimm city: an architectural fairytale', due to the project being inspired by the Brothers Grimm. The project saw a 'miniature universe' being hand-crafted, like a story-telling architectural model 'translating the Grimm characters into an elaborate cityscape.' 

Stills from the video. Watch it here: https://vimeo.com/102012309

FleaFollyArchitects is a 'spatial storyteller using narrative to invent unique architectural propositions'. The studio describes itself as 'crossing the fields of architecture, design, craft and contemporary art' and highlights 'the importance of making by hands to create original and often surreal observations.' This all obviously greatly interests me as I feel my work crosses the boundaries between art, craft and design. 

The presentation of a video (showing their final outcome) and a published book also resonates strongly with the way I wish to start presenting my work. As a commission piece (as noted in the video), this style of conceptual design is one in which I wish to work towards within my own creative career. With intentions to write more about my work, the fairy-tale style of the book was very interesting. This is maybe more engaging and conceptual than an essay or report (being short stories), and also featured 'plates' (black and white photographs with poetic text underneath). Rather than being a report on the process of design, it explains specific visual elements of it in relationship to the inspiring concept of the Brother Grimm tales. So starting with the end outcome, and explaining backwards, rather than in a chronological progression (a strong contrast to this blogpost huh.)

The pleasantly familiar yet colourfully striking work of Anton Alvarez was a great companion for the new-to-me range of designers and crafters. Alvarez's thread wrapping machine is potentially one of my greatest inspirations - and I have made the most of every opportunity presented to see the work which he has created with it. Alvarez's current practise 'focuses on the design of systems and the creations of tools and processes for production on a domestic and architectural scale'. The piece on display here was an arch, which perhaps isn't quite as loveable as the little stool that I saw on display at Libby Sellars last year (not with such a little price tag unfortunately.) Though it is interesting to the diversity of the outcomes this process can make - in terms of scale, form, colour and function. 

The ceramics of Adam Furman were definitely of a medium that I have no interest in pursuing (clay is not my friend). However I found the reference to 3D manufacturing processes, and the fun quirky sculpture-esque titles he had given his formed outcomes interesting. (Think memetotem, kitschpot and scrollascaper - spellcheck loves them...) I suppose the real draw of my attention was the fact that he had developed these, as the well as the culminating piece 'Identity Parade', as part of a residency for the Design Museum in 2013, which is a position I would love to find myself in. 

Jewellery: Ute Decker. Ceramics: Adam Furman. Wooden furniture: Simon Jones

Finally, the work of Simon Jones in the form of space saving self-assembly furniture sparked interest in me as I feel my project and practise connects quite strongly to tools, and toys. I'm interested in the functions of these objects; their interactive properties and the fact they directly benefit human capabilities. Toys particularly interest me, as I feel they are tools for developing the brain, both intellectually and creatively. 

This got me thinking about how self-assembly furniture is like a toy for adults. It's problem-solving, engaging, and often comes with wordless instructions. These instead rely on symbols and diagrams for construction, in the same way Lego and K-Nex often did, which rely on some kind of Semiotic understanding. I'm quite drawn to the term 'construction', as I feel this relates to me drawing practise. There is also a novel approach in the fact that toys and tools are to be re-interpreted. You can imagine the fun things you could create if you assembled IKEA furniture incorrectly (though you might need some extra nails...) 

To conclude and reflect upon the exhibition Space Craft, I certainly gained a lot of inspiration and further research sources to take forward with this current project. As an opportunity for 'Personal Exploration', it's a large build up for what I see myself taking forward next year. I've realised this year that I like to use my creative process to investigate things, as if using design to research. So I have quite a conceptual process, (ideally) leading to a well designed outcome. I feel the works exhibited are excellent examples of this. All in all I need to make sure what I'm doing is fun and interesting, so that I can enjoy it and hopefully what I do will get featured in similar future exhibitions. 

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Kate Bajic: Lichenology

This exhibition focused on one specific designer/maker, Bajic, presenting examples of her material research, design process and final outcomes. As a jeweller, I particularly liked her use of concept, linking to the biological traits of Lichens, as well as her material research, similar to scientific experiments.  

The concept behind the final pieces was explained through writing, though the brooches were definitely beautiful and interesting objects themselves. For the brooch 'Xanthoparmella semi - viridis' (vagrant lichen), the physical form of the Lichen has inspired the design as well as how it's used in research being symbolised. In this way I feel like this pieces could be used educationally. I also feel this dual function of displaying physical and symbolising information links these pieces to maps. 

As I enjoy learning about Bajic's design process, it's also important to notes that her work is as much about being product to sell as well as display in an exhibition. This is a way of working which I find difficult to imagine myself doing, however obviously I really enjoy her work. One of the pieces on display, the 'Flourish Brooch', is explained to be a collaborative piece, designed to be part of an American exhibition. This is a process I would enjoy, though it is nice the thought of having my own range of well designed objects which I enjoy to make and sell (for hopefully quite a lot of money) alongside this statement work. The reason I find this hard to desire is because I feel like design and craft are two markets which can be very wasteful, exhausting and saturated with rubbish. I'd really need to feel like what I was doing was good and important, therefore I see myself aiming more towards the conceptual-product-displayed-to-inspire market, rather than the manufactured-to-own.

Though in saying that I feel like Bajic has got it right. I feel like what she is doing is original and inspired, due to her consideration to concept and extensive material experimentation.  

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Closing Thoughts

I will accompany my concluding thoughts on my project that I've developed today with an image of the gift shop (one of the good ones!) . I suppose the question is 'Is this the dream?' Seemingly successful graduates of my course have their work here, as do designers that inspired me to choose the course I have, such a Donna Wilson. I always wanted to make work that was adored, and celebrated, though I'm now starting to question whether I really want my things to be owned, or more considered inspiring and referenced in future art/craft/design projects. Beautiful and interesting is the key, which has to come through initial concept as well as process of making (particularly see Anton Alvarez for the latter.) I'm strong at exploring the former, though I still feel like I need to refine the latter, which I feel like I am with this project, and by considering 'drawing in 3D'. Understanding my end function is also a big leap forward, and I've realised I am really keen for what I do to be interactive and engaging. I feel like I've gained a lot through really evaluating and reflecting upon previous projects, as well as discover new work that inspires me and presented in a way that I aspire to. Which I would say describes pretty much everything I saw today to an extent.

To conclude on my day out at National Centre of Craft and Design; I had a lot of fun. I think that's the most important thing right now, having fun with my work and doing what I want. I know I want to return again soon once the current exhibitions have rolled over. Hopefully anyone else who gets the chance and needs/wants/enjoys some inspiration will do too.  

A Sunday in Edinburgh

Wondering through the nice bit of town to get to Stockbridge Market, still slightly dreaming. Warming up in an oak floored with a brunch of toasted banana bread and a flat white. Wondering through the Sunday market, with farmers, butchers and bakers selling their wares. Taking a scenic walk along the waters of leith, getting a little lost as the mud scuffs build up on my shoes. 

Wondering through Modern art galleries in the early afternoon to escape the rain, losing my gaze in constructivist and surrealist masterpieces. Finally winding down with a pint in pub and losing track of time on Rose Street

And finally a lovely BYOB dinner with my best Edinburgh-living lass!

The Scottish National Portrait Gallery

'History'

I was originally drawn to go to this gallery because of it's heavily advertised and rather disappointingly small exhibition considering changing attitudes to female body shape within art and design. I feel this could have been further pushed, however It was a collaborative show with the arts collage here so there is merit to be had there.

Lace jackets demonstrating changing size of women 

Still, silver linings. I very much benefitted from visiting the 'Ponte City' exhibit, an installation presenting two artists study into a socially and structurally troubled high-rise housing complex in Johannesburg.

Here are some notes I made touring (for personal recollection) 

Ponte city - recording location one place

Repeated views

Many windows

Many lift encounters

The beauty in repetition - studying people

Presentation thought - long table of books like zines - images words. One big box with picture of skyrise. Layers of paper like the layers of floors

'Visual essays'

Use of photography as powerful medium

I really enjoyed the spatial presence of this exhibit, bits of photographs and collage were strewn across the room. It wasn't like each item was separate, they all merged into one, meaning their presence was greater. The one tying elegant example of coherent structure came in the form of the series of visual essays (each an A5 booklet, placed  in sequence out on a long white table). I feel the presence of these well formatted items enhanced the fine art surrounding it, and vice versa. It all brought the focus back to the fact that this is an important social study, whether conducted by sociologist  or artist. 

Also lunch was very satisfying, and the neo-gothic building is a beautiful thing (as most Edinburgh buildings seem to be!). 

Tate Britain and Tate Modern

In light of my recent acquisition of a Tate Membership (an xmas present which I have surprisingly never received before), I felt very excited and determined to visit both London galleries as soon as possible. So the second day of the new year it is! (A necessity as I have to hot-step it back up to Notts and several exhibitions finish this Winter.) 

Tate Modern viewed from Millenium Bridge

One thing I love about Tate is their offering of regular late-opening hours, suitable for artsy pre-dinner dates, after school refresher and/or late night pre-bar solo outings. (Tonight fits into that final category if anyone was interested.) But still, Tate is Tate. I've been many times to see the permanent collections, and keep coming back for their well-curated dynamic range of temporary exhibitions. Which my shiny new card gives me free entry to... 

Tate Britain Rotunda

One motivator in particular to this visit was the soon-ending Turner exhibition (which you can always tell by the ticket queue.) Despite being mad busy, I greatly appreciated getting to see this show. I had not planned on seeing the large London Turner/ Constable (at the RA) shows when they were announced last year, due to the amount of times I've seen and studied their work. However this exhibition proved to me that I have changed (hopefully improved) my tastes and thoughts critically and culturally. So I had a different experience viewing the work as I might have done a few years ago.

For the full review click here (link to come)

Gaining entry to the gallery tailored  members rooms felt pretty special in these spectacular buildings. Unfortunately, due to choosing to visit on a day the world and his wife seem to be off work, both were horrendously busy. I look forward to future visits on a quiet weekday daytime. The Tate Britain rooms overlook the recently renovated Rotunda, which makes a stunningly opulent yet tranquil space. The Modern's channel the modernist sleek vibe, with stunning views across the Thames to St.Pauls. There also seemed access to a balcony, but it was far too cold and windy to investigate. I'm glad to know I can come back on a more pleasant day and hopefully do some drawing. 

Tate Modern members room

In all this appreciation of Art and Architecture, inside and outside the walls of these great institutions, I feel quite nostalgic in leaving London. 

(Though considering the hike in rail prices and the amount I spend on drinks I'm quite glad to be heading back to pound-a-pint Nottingham, even if only temporarily.)