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Personal Practice

Updated: Dec 1, 2021

Now that I have figured out my art project for philosophy (and anxiously wrote the brief for the last two weeks lol), I need to sort out what I’m actually going to do for my Independent Creative and Professional Practice module. So far, I have the morning beach painting I was working on up until the philosophy assignment, my work from the life drawing classes and my sketchbook practice. So… not much. I acknowledge I spent too much time working on the one piece. Thats why once I’m finished with my philosophy assignment, I would like to work on more projects at once so as to trick my inattentive brain to be more productive.

As I will mainly be painting for my philosophy module, I would like to break it up with other practices. Doing workshops is a great way of doing this.


I have already been to a couple sessions at the clay workshop and have some more lined up. I would particularly like to focus on stained slips and glazes as it would be a nice way of linking it to the rest of my work. I have been looking at the work of Samantha Keely Smith, who I have spoken about before. I like the idea of using an abstract artist as inspiration as it allows me to focus on the paint application rather than likeness to an image. This is also something I would like to do in my painting.


In my next session, I want to start spinning and hand building so that I can eventually utilise my work to make an object. I know how long the learning curve is, so I’ll hopefully have some (albeit shabby) finished hand built vessels by the end of the semester. I want to go at least once a week so that by the end of the academic year, I hope to be relatively confident throwing.

Other than that, one of the field’s I’ve been particularly interested in is etching. This would be an opportunity to finally try it out, as the only form of printmaking I have done before is lino. I think etching would suit me a lot better as one thing that life drawing has taught me is that my mind tends to think more in terms of tone than line. Etching would be a good way of uniting the two. I’m especially inspired by the medium’s artistic revival in the late 19th century, in part by the société des aquafortistes. One member who’s etchings particularly tickled me is Charles Francois Daubigny, who is mainly known for his landscape paintings.


I also would like to take inspiration from the work of Paul Albert Besnard in regards to his use of various textures to convey a sense of three dimensional space.


Bibliography

Salsbury, Britanny, “The Etching Revival in Nineteenth-Century France”, The Met, 2014.

Van Gogh Museum, Société des Aquafortistes [Online Gallery].

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