For this first journal entry into ASU2 and SNU, I think it is important to discuss general feedback and prints I have been working of since the submission of the pervious units.
Feedback for this unit demonstrated that the work that was made alongside the general inquisitiveness of the Sedgwick Museum, was well thought out and was provided clear thinking towards my research and the outcomes that were produced. Throughout the concepts of Discourse and Exposition, working with the museum enhanced the understanding of these concepts in a professional contexts. I found working directly with the source provided excellent researched that pushed my projects to excel.
There are, of course some issues around the drawings that need to be considered and developed further, during a feedback tutorial with Judith, she mentioned that my smaller drawings are something that is well developed and are pieces that demand attention, she suggested that I should try to place these drawings on a large wall, because they are so detailed, the audience would be drawn to their detail.
The larger drawings seemed less convincing as they lacked depth, however, it was suggested that I continue with macro photography and print to create depth in my drawings which is needed for them to be engaging.
The focus on drawing is key to my practice so it is important to pursue and develop a method of 'slow time' which I mention in relation to my research of the Renaissance period and the actor of examination within my practice.
For the development of ASU2, I intend on developing the way an etching can change the initial image of a delicate drawing, by enhancing my research of local heritage at the Norwich Castle Museum, investigating old prints, paintings and lost ephemera. It is important for my practice to connect with museums, their research to further develop skills of an environment which I would like to work in.
There is not a lot of feedback for my RIPU unit, however, Susie mentioned that I keep my focus on the relationships with museums, but change up where I work, so that the pieces are not repetitive. It is important to keep developing the relationship between museology and drawing and how the drawing can develop a depth to them that allows a new level of scrutiny. It is important to keep developing this level of inquiry, and even write some journal articles as there is so much to write about on this subject.
For the work itself I was adamant that a level of museum display is what was needed for this work, it all seems a little bit too cliche, I need to develop a way of display that enhances the work from the environment it came from, not place it back.
Development of this needs to be explored further for the development of my practice.
No.1 Artists Proof, with annotations. No.2 Ghost Print No.3 Artists proof with aquatint
I decided, after hand in that I wanted to keep developing my drawing skills through etching and I found this the perfect time to work on some plates that are bigger than what I have worked on so far. Combining all the skills that Jessica has taught in the workshops I began working on some hard ground plates, to create delicate,prominent lines which a soft ground plate would not do. Above shows a three step print which still needs some development as the image is very multi tonal.
Below illustrates some images of the next prints I aim to work on: