HND Fine Art/Second Year/Transformation

HND Fine Art - Transformation...

 

Our first brief back from over summer is 'Transformation'. The basic outline of the project is to look at several pieces of art work which I am influenced/interested in, and transform and interpret them into my own artist language and style.

I obviously chose Twombly and Pollock as inspirations, but I wanted to look at art work which was out of my abstract comfort zone. Looking through religious/traditional and mythical work, I came across Peter Paul Rubens, and three of his pieces which instantly caught my attention (above). From researching Rubens work, I noticed a piece called 'Hero and Leander', where I remembered Twombly's 'Hero and Leandro', and to me this is how I wanted to push myself in this project.

Rubens: An Extra Large Story...

http://www.bbc.co.uk/iplayer/episode/b04xnv9t/rubens-an-extra-large-story

I watched a documentary on Rubens and his art work on BBC which was fascinating to watch. With Rubens being a new artist to me, it was interesting to listen and gain a better understanding of his life and his work.

Rubens was influential Baroque painter whose work was largely focused on Religious/Mythological and diplomatic figures at the time. He was also greatly involved in politics.

 Rubens was well known for the nude images he drew of women, who had luscious and curvaceous bodies, which has made the word 'Rubenesque' a familiar term.

For his entire life, he was surrounded by war, catholic versus protestant, which his life and his art was influenced by. Isabella, Rubens first wife was often included in his paintings, either as herself, or disguised as the Virgin Mary for example. His Later wife Helena Fourment also become an important presence in his later works where his paintings often portrayed her in various scenarios.

 His work was painted on several wooden panels placed together to create a large scale surface which made his work seem atmospheric and smooth, along with giving him the opportunity to adjust and change at any time. He was often commissioned to create majestic alter pieces and ceiling paintings.

His large scale paintings, skill at arranging complex figurative compositions and the diverse subject matters which capture energy, vivid invention and detail all aided his success.

Peter Paul Rubens Biography- http://www.peterpaulrubens.org/biography.html

 

Initial Research...

Both Rubens and Twombly's paintings are based on the Greek myth depicting the story of Hero and Leander. Leander was a young man from Abydos, a town on the Asian shore of the Hellespont. Every night he used to swim across the waters at night to Sestos on the opposite side to meet his lover Hero, a priestess of Aphrodite. Hero would guide Leander by holding a lighted torch from her tower. However, one stormy night a strong wind put out Hero's torch and Leander lost his way and drowned. Upon seeing Leander's dead body Hero threw herself from her tower.

Ruben adds intensity to his painting by combining consecutive events to produce a intense, dramatic scene. Firstly Leander's pale, lifeless body being held and supported by thirteen nereids, through the stormy waves, along with Hero plunging to her death. The unnatural twisting and movement of the bodies accompanied by contrasting paleness of the bodies and the darkness of the waves adds an extreme sense of loss, struggle, grief and desperation.

On the other hand Twombly's depiction of the same Greek myth is completely opposite in how he uses non-representational marks, and gestural application of paint to depict the lovers watery grave. The subtle grays clashing against the explosion of red suggest the love, tragedy and loss shared between these two lovers on this fateful, gloomy night. The dripping of the paint could represent the falling of Hero to her death along with the sinking and uncontrollable movement of Leander's dead body in the stormy seas. The almost angry slashing application of paint could indicate the panic and desperation of both Hero and Leander.

Although I am interested in the background of the paintings as it gives me a much deeper understanding of the work, I am simply drawn into both pieces of work for different reasons. I am drawn into all three of Rubens traditional, rubenesque  paintings: Hero and Leander, The fall of the Damned and The Rape of the Daughter of Leucippus because of their; Colour, Shape, Form, Tension, Struggle and Power along with the movement and flow of the overall composition from the entwined, luscious, twisted bodies to the contrast and blending of colour.

Similarly, I absolutely love Twombly's expressive and emotive art work. I look at Twombly's paintings and instantly feel a connection to them without needing to know the background. (It is hard to explain). I just automatically feel SOMETHING towards the gestural marks, and colour.

Looking at the comparison between both of these works, I would like to take my work down a similar route of transforming a figurative image into my individual style through mark making and colour.

RUBENS DRAWINGS-

Not only do I find Rubens finished paintings incredible, his preliminary traditional drawings depict the transformation and process through which the end paintings are created. Researching his drawings enables me to figure how he explored and created vasts amounts of studies to reach his final compositions. It is extremely useful for me to see the progression in others work, as I can understand and contemplate the journey that is needed to produce successful artwork. The marks, line, movement, form and proportion that can be seen in Rubens drawings are hugely influential towards project, as these are areas I wish to focus on.

Before I started creating any studies, I wanted to play around with the original image on Photoshop. With Photoshop I could add effects to emphasies the line, colour, tone and form within the image. Being able to focus on certain aspects, I began to create tonal experiemental pieces, using both the oringnal and the editied photos for influence. Simply by editing the photo's opened up different directions for me to work. The editied versions I found, later on in my project were also more applicable for me to work from in my abstracted style, as they deterred away from the figurative aspect. I know that throughout my project I intend to use traditonal media. I use media I can physcially use because it is important for me to gesturally make marks, and create work which I have physcially had to battle with.

My initial starting points...

  

To begin my artwork I focused on Rubens, The fall of the Damned, The Rape of the Daughters of Leucipuss and Hero and Leander. I wanted to look at traditionally painted canvas's so I could transform them into my own abstract, emotive style. I started working in tonal mixed media, as I wanted to capture the movement and light/dark in the image I was looking at. At this point I was also struggling getting back into my work so I wanted to create quick A1 size pieces to try and inspire myself back into working. Using the inks, charcoal and paints I created really loose drawings, I knew from the start I wanted to incorporate the figures, but not in a representational way. I wanted the lighter/white tones to resemble them, so I could create a movement and contrast between the bodies and the surrounding areas. Whilst working on these I kept Twombly as a constant inspiration in my mind. However, although I was using Twombly's mark making as a reference I was in my own dark  place which I think subconsciously affected my work.

Once I had exhausted myself with my tonal work I knew I should move onto colour, but I was struggling to push myself to the next step. Looking back on my tonal pieces, I am in two minds. I know I sometimes 'overdo' the composition because I do not leave any white space, and I think this may be something I need to learn to control. However, When I am working on a larger scale, I believe I do not need to leave any white space, because I can use various hues and tones of colour to allow the painting to breath. I think this is something I will work out in time and practise with my work.

Transformation' Proposal...

 ‘Transformation’ is the title of my next project. The basic outline of this theme is for me to look at several pieces of artwork that I am influenced/inspired by and to analyse and interpret them into my own emotive language, leading to several creative outcomes. 

CY Twombly and Jackson Pollock are always a constant inspiration towards my work, but to challenge myself I am going to look into the traditional, mythological paintings of Peter Paul Rubens, mainly focusing on ‘The Rape of the Daughters of Leucippus’. The title, narrative, dominance, colour and form all draw me into this painting, which I want to analyse and explore further, throughout my own personal and independent investigation.

To do this I will begin to explore and create tonal and colour experimental compositions in my own individual and gestural application of media to capture the light/dark, movement and tension within the painting.

For my final outcomes I am aiming to create a series of explorative and emotive canvases. To arrive at these, it will be a process of exploring various painting and mark making techniques, along with widening my contextual knowledge.

I will document my journey through my workbook and my personal blog, where I can analyse and reflect on my progress.

 The image I wanted to work with was 'The Rape Of The Daughters Of Leucippus' for various reasons. Firstly I was attracted to the overall composition of the entangled male and female figures. I was also drawn to the use of warm and cool colour hues, that creates pictorial space and contrast within the painting from the background, horses, male figures and finally female figures in the front.

The painting itself has a dramatic title, 'The RAPE of the Daughters of Leucippus', which is a part that I really wanted to focus on and bring through my work in some way. However, although the title, depicts dominance and power, the painting depicts an almost sexual, ecstasy like image, with the women being in a seemingly erotic, vulnerable state. Within the image there are several power struggles. You have the obvious struggle between the male and female figures, creating a downward movement within the canvas, especially with the dominance and angle of Castor, who seems to be bearing down and possibly forcing himself onto the female figure. There is also a struggle between the figures and the canvas, with the outstretched limbs reaching very close to the edges of the canvas, creating an explosive tension coming from the center of the image. Tension is also created from the contrast of the women pales bodies against the rapist's darker tones, along with the dominance of the bright red material creating a space between the two unnatural twisted figures.

Again I was stuck in a rut and feeling really down so my work was being affected. Lee gave me an idea to start working on the white board to create some quick line studies, which would hopefully help me step up. I enjoyed the process of working fast and loosely.

I created a few different compositions, either looking at the full image, (The rape of the daughters of Leucipuss), or looking at smaller sections. When creating my studies, I was focusing on the form, shape and tone within the original painting. Progressing on, I attached my pen to the end of a cane so my marks would be flowing and continual.

One aspect I wanted to bring through the composition was a flow of form and of the tangled bodies. Having less control would create a different mark, which could represent the loss and suppressed control of the women.

I tried to re-create these on brown paper, but I could tell they where not going the way I wanted.

The lines where too thick and the composition was not what I wanted it to be.

I realised these were not what I wanted to produce,

so I did not want to waste any more time by carrying these on, as I was struggling for time anyway.

 

I jumped into life class to draw Daisy. Daisy has a curvy body which related back to the luscious figures in the Leucippuss painting.

I drew these with the page facing away from me so I could not see what lines I was creating. I saw Claude Heath's work in Liverpool, which inspired me to try this technique. I found the distorted figures look skeleton like, which I thought was quite interesting and eerie.

Doing it this way allowed my marks to be flowing whilst maintaining a figurative shape. I loved creating these small studies, but I feel I am going to struggle to keep these delicate lines present throughout my work, especially when I move onto larger scale canvases, as I do not usually have a delicate approach when working. 

 

I was still struggling to progress my work into colour, so I started to work with a few small colour studies in my workbook. With these I stuck with my delicate lines which would come through under the paint. I also worked the lines over the top.

These where interesting little studies for me to work on, but I was still fighting with myself with how to tackle my larger canvases. However I can use these small studies to influence my larger scale work for colour placement etc and as little studies I quite liked them.

For some reason I was struggling to find my style and confidence again in my paintings, As you can see below.

This was quite hard for me to come to terms with as I am usually at home working on a larger scale.

 

From these images of my first painting you can see I was not finding my feet at all, and I completely disliked this work.  I knew in my head what I wanted to produce and I really had to fight with myself to keep trying with this.

I limited myself using the same sized brush along with focusing too much on the figures. I also had my canvas up on an easel which I finally realised was restricting me. I don't think I have ever been so upset and frustrated with my work.

Still being far from happy with my work I decided to overpaint the previous layers with lines and shapes similar to my white board drawings.

Thinking this would give me a better direction. However, this restricted me EVEN more as I found myself working within the shapes, and the block lines where childish and far from my own style. At this point I knew my own personal issues where effecting my work and my concentration, and that I had to snap out of it, I told Lee about some problems I was having, as I was worrying about my work.

Robin had little chats with me as he could see I was feeling low. He pretty much said 'crack on', which was the start of my second canvas.

Starting my second canvas I decided to go back to basics and do what I loved doing. 

Firstly I decided to lay it on there floor where I could move freely around it. Previously my canvases had been up on a easel but I felt as if they were confining me and restricting my movement and application of paint.

I felt like I needed to get physical with my work and let go of some of my frustrations, both with my work and myself.

I went back to where I finished with my first year H.N.D FMP canvases where I applied the media without over thinking anything and not worrying about the outcome. Because I was so frustrated with my previous work, I just wanted to slap the paint onto the canvas and drag it around. And I finally started feeling slightly more confident and positive about what I was producing.

 

These are images of the early stages of my two canvases. I completely over painted my first canvas, but I still left the circular shapes, resembling the heads to show through.

I still wanted the composition to be relatable back to the original but I wanted to put my own mark on it and transform it into my own work. Although initially I expressively applied the paint with not much direction, my direction would come later on through the later stages of the painting.

Working on these two canvases simultaneously allowed me to have the freedom I felt I needed moving between both of them.

My first few layers where the outline for me to begin over painting, which I would do a lot. I wanted to build the colours and pictorial space up within my work allowing underneath colours to show through. From the start of my canvases I wanted to capture the light and dark contrast from the original painting. I wanted my work to take on a form of its own and its own dialogue, so using complimentary and analogous colours would allow me to create pictorial space and an unpredictable outcome.

 I see all my work either it being little studies or large canvases as my individual drawings and responses to my projects and emotions. Being able to explore with various media from pencil, paint and print I can develop and push my ideas, which media can influence and transform itself.

Canvas work...

       

Once I had started to work expressively with my work I began to feel slightly more confident and excited about what I was producing and what I wanted to produce. However,  I always have the constant battle with myself about what I am doing and do I classify it as 'art' and would other people call it that especially in today's world? Is it good enough? etc... But I think this is something that I could or possible not ever grasp.

Deciding to leave this canvas as my starting point, I wanted to progress onto another piece, using this one as a reference and seeing how I could take inspiration from this onto my next piece.

        

On my next canvas I felt more confident so I really wanted to create a contrast and clashing of colour to emphasis the battle and tension which I wanted to portray. I used bold, dark colours to portray the male figures, strength, and power, whereas I used fleshy, soft pale pinks and yellows to depict the women. Inspired by Twombly I used drips to stress the tension between the figures reaching out, almost out of the canvas. I also used the drips to contrast with the block shape to show compression, control and power. Even when I allow the paint to drip I like to control their direction. Although the drips and marks may seem random, they are not.

I have decided to leave these two canvases for the time being, as I am happy with how they are now, 

I may work back into them into the future, but I am pleased with them as outcomes, and I can move and progress onto a new piece. 

This is my own representation of ''The Rape of the Daughters of Leucipuss'', and how I perceive Rubens painting. Although my inspiration came from another artists work, I think I have put my own stamp on them as individual pieces. 

My own thought process effected my work a lot, along with my application of paint. 

Within my paintings I wanted to focus on ''The RAPE'', as this would challenge my own perception on the subject and how I could portray this through my mark making. 

   

I wanted to photograph my work in a clearer space to see if they worked or not as a series.

When I work I like to work on several canvases to create a series of work that compliments each other or clash together, so there is a progression and dialogue between them, which the audience can follow. To see them in a clear space also helps to clear my head and to look closer at what works and what doesn't so I can move forward.

Hospital exhibition space...

We have been given great opportunity to exhibit some of our work at Wigan Royal Albert Edward Infirmary in December. This will include my group; HND Fine Art Level 5 and the Level 3 Fine Artists, so it will be a collaborative effort to make sure we put on a good show. This is an exciting chance to publicly display our work and hopefully build future contacts, as there are a few hospitals under this trust.

With the show being in the hospital we are limited to 2D work, scale and health and safety restrictions which we will need to discuss and solve as a group. Exhibiting work here is very different from exhibiting at college or a studio and we will have to communicate and work together with Nick and the maintenance team in a professional manner. This will be an important learning curve for me, with working with outside organisations to curate and exhibit a proficient show.

We visited the hospital were we are going to be exhibiting our work in December. This is a fantastic opportunity for us to present work in a public space. We have quite a vast area to work in, from a long corridor near Highfield ward, and several sets of staircases. The space available on the walls is slightly restricted because they have a border running along them. However, the staircase can occupy larger scale pieces of work. Our work also has to be dusted down frequently so I am going to invest into a gloss product which will add shine, along with protecting my canvas. 

The corridors at the minute are bland and the light is dull/yellowish so I want to create something that will brighten the area up, along with something that will catch the eye of  the staff, patients and visitors. 

Because Level 3 Art & Design second years where also exhibiting with us, we had the chance to take up a mentoring role. Within this role we had several group critiques where we  would discuss each others work and concepts. It was a good experience for the second years to discuss their work with us, but also for us to advise them, in ways which we thought they could push or improve upon.

By working alongside another course, it also gave me the chance to look and discuss other peers ideas and styles, outside of my usual group. It was important that we worked as a team, as the show would reflect on our ability, courses and college. I would like to carry this role on in the future. 

 

To start my work, I usually use watered down paint to create the backgrounds. This is so I am not immediately starting work on a blank canvas, which I find really off-putting and difficult. Using a light wash, I can also indicate where the light/dark areas will be present, which gives me a good starting point to progress from. 

When working on my background layers I do not concentrate to much on techniques, I prefer to use block colours and shapes to start to build up pictorial space and form. The details and mark making comes through the later stages of my development. This always seem to be the stage where I start struggling, in bringing the the canvas together. 

For my fourth canvas, I wanted to create a more controlled yet still gestural outcome. For this I needed to take my time and have patience with my work, which sometimes, I find quite difficult. I wanted to have more control over my application of paint for various reasons. Firstly, I wanted the controlled marks to represent the power, dominance over and the constraint of the women. Secondly, I wanted the contrast between the controlled marks, drips and the dragging of paint to indicate the power struggle between masculinity and femininity, which still to this day, is a major social argument. 

The colours I use when painting are thought about in depth, and so is the placement. The colours I use are important because these represent my own emotions as well as the emotions I am trying to portray. I hope that when people view my work, they will feel some kind of emotive connection, although they may not understand it.

 When creating my canvases recently each one, seems to be physically and emotionally draining and a constant struggle to get them to a place where I am satisfied. In the past my work has been difficult, but more-so recently, which is something I need to keep trying to overcome. 

I left myself a week to finish my final canvas for the show, which I found was a close call!

Whereas with a few of my previous canvases the bold colours where the most dominant, I chose to use the pale, fleshy colours as the forefront colours on this canvas. 

Using these colours on the top, I wanted to portray the sense of explosiveness and the attempt to escape. Also in the original painting the females are the centre, main focal point of the image, creating an outward explosive movement and direction.  I love contrasting darker and lighter colours together. It gives the paintings an energy and life to them. Although in the original the women are being overpowered, I wanted to show in this that the women were not easy targets. Also using the paler colours, I wanted to emphasise the fleshly, womanly figures that the females embodied. 

Throughout the progression and development of my canvas work I have wanted to keep them expressive and explosive relating back to my starting point 'The rape of the Daughters of Leucippus', and the word Rape. I have wanted to explore in marks and colour the dominance and tension that surround the word rape and message the original painting is portraying. I have used colours, marks and space to build up a narrative of subjects all intertwined together, from the womens fleshy figures, to the males solidness and muscularity,  from the constraint of the women to the sexual appearance they are showing. These either being in harmony or opposing each other, this is for the individual viewer to discuss.

 When painting my canvases, I apply the paint in a physical manor, which I wanted to portray as ''raping the canvas'' meaning my marks and application of media was physical and dominant, along with scraping away and working back into the paint, leaving imprinted marks and textures. I could relate to some of the emotions being represented in the original image from the anger, frustrations and constriction, but more in a mental sense rather than physical, which is also a underlying aspect of my work. Creating work is my own way of letting these emotions out and trying to understand them, or come to terms with.

However, my paintings are also representations of my own emotions and thought processes, so there is a constant dialogue between me and my work. They become a sort of portrait of myself.

We Are The Change Exhibition... 

I have been asked if I would like to submit a piece of work for a show at Cafe Nero in St Helen's.This is a great opportunity for me to get some work out into the public, which is a chance I do not want to miss. 

I need to submit any work I would like to show by Friday 28th of November. This only gives me roughly 7 days to create a successful piece/pieces that I would like to exhibit. I am limited to a scale of 50cm square, so I am going to work in the print room, and create a series of prints influenced by my canvases.  If these are unsuccessful I may photograph my current canvases and mount them.

Print...

I went into print to to work on studies influenced from my work. If my prints are going to  be successful I would like to send one into the 'We are the change' exhibition and put some forward for the hospital exhibition. I enjoyed the change and being able to play around with mono-printing, and applying the ink quite thickly and freely to get different marks and outcomes. In regards to this, mono-printing is a similar process to my painting style, where I can keep over-printing and applying the ink expressively. With mono-printing the outcome is unpredictable and unique.

 Prints are exciting because I can do a whole series quite quickly, although not all of them turn out successful, they can still have qualities about them that I can investigate. I can use my prints to influence my future work, which may lead me into a new direction and exploration. Once some of my prints had gone through the press, I would then work ink back into them using the roller and pallet knives, to create over-painted marks and textures. 

These are a few of my prints which I have produced. As you can see not all of them are successful. However, I intended to over paint and experiment with the unsuccessful pieces.

The Print I submitted to the 'We are the change exhibition' has been accepted to be exhibited.

This is the first show I have been chosen for outside of college, which I am excited about. Although it is only a small show, I am excited to see other local artists works and this may also lead to other shows in the future.

Over-painted prints...

 

  

With my unsuccessful prints, I decided to over paint them with acrylic paint. I enjoyed creating these colourful, textured compositions. Some of my unsuccessful prints, once over-painted ended up being my more successful prints, which I am going to frame for the Show at Wigan Hospital. When creating these studies, I applied acrylic paint, before scraping and removing it with a scalpel allowing the underneath ink to come through, resulting in layering and pictorial space. The pieces I created are quite atmospheric and dynamic, with the direction and marks of the colour.

 'The Rape of the Daughters of Leucippus' and my canvases where my influence in how I over painted the prints and my colour use and placement.  Working on a small scale was slightly a different experience for me but I loved working on these, and I think they may influence my future work.

Private view night @ Cafe Nero...

 

I went to the private viewing night @ Cafe Nero where my work was being displayed. This was my first time at seeing what other work was being displayed and how mine would compare. We had a busy turn out for the show, with people being incredibly impressed with the work on show. I was pleased to be part of this exhibition, and to be included in the talent that was being shown from local artists. Along with people actually enjoying my work.

Once I went to collect my work, the curator of the show asked me if I would like to be part of some more shows and opportunities that they are organizing this year, Where I may be able to exhibit some of my larger scale canvas work... I have made some great contacts to be involved with.

Hospital show...

Exhibiting our work at the hospital was a difficult, challenging but exciting experience. With it being a busy public environment, we had to change the way we went about organizing the placement of the work, as we could not place the artwork along the corridor floors for safety reasons.

To decide where the work was to be hung, we worked together with our tutor to make sure each work was placed in a suitable position, but also that the exhibition would flow and look professional.

Once we had finalized the placement of the pieces, we labeled the corridors and spaces along with each piece of work in accordance to the corridor and space it was to be hung in.

Using this system we were able to safely store the work until it was time to be hung, whilst knowing what position they were to go in.

Once we had finished the planning we were expecting to work with the maintenance team to start the process of hanging the work. (We could not hang the work ourselves for health and safety reasons).

However, Once we had spoken to Nick and the Maintenance team it was clear that there had been a misunderstanding, as the team were unaware that they were to hang the artwork. We would have to come back tomorrow.

This had delayed our plans and was slightly frustrating because we had done everything we had been asked to do and I felt like we were not being taken seriously. As well as now being pushed for time. At this point I wanted to bring my work back and I would of preferred not to exhibit my work.

The next day, we arrived at the hospital and found that there was a more prepared maintenance team to aid in the hanging of the artwork. We made good progress throughout the day, and the exhibition was coming together nicely. Straight away we noticed that we were causing a disruption, with people commenting about the work etc... which was intriguing to listen to.

Once we had completed the hanging of the work, the show looked interesting and it certainly added colour and appeal throughout the corridors. I was relived once everything was up and I could relax knowing we had done the best we could. I knew that organizing the show would be hard, but it was harder and more challenging than I had expected, which did create a better learning experience.

I know now that working with outside organisations can be unpredictable and that you have to be willing to put work in and work as a team to achieve a good show.

Overall, I am pleased with the outcome of the show and the work my colleagues had produced. We each titled our work and wrote our own artist statement to place next to our pieces. This would give the viewers a insight into the artist thought process and inspiration behind the artwork.

I hope the staff, patients and visitors enjoy our exhibition for the period it is up.

Artist Statement... 

The theme of my work is ‘Transformation’. The subject underlying my work is my interpretation, individual depiction and transformation of the traditional, mythological painting, ‘The Rape of The Daughters of Leucippus’, by Peter Paul Rubens. This painting portrays several power struggles between male/female, light/dark, control/vulnerability, space and tension.

The title, narrative, colour and form all enticed me into this painting, which I wanted to analyse and explore further, throughout my own personal and independent investigation. My work is grounded around the dominance authority and struggle associated within the original painting, and how the colour relationships cause distress and supremacy within the piece.

Inspired by Rubens, CY Twombly and Jackson Pollock, I have used and explored colour and mark making to find my own perspective and emotions surrounding these subjects. I have used physical and gestural application of acrylic paint onto varying large scale canvases and prints, generating a series of conceptual and responsive outcomes.

My work is largely concerned with mark making, colour and gesture. This statement offers the viewers a chance to relate and comprehend the concepts behind my work.  

Charlotte Stockley

HND Fine Art Level 5 Year 2

Exhibition Work...

Although initially I got of to a (very) slow start with my work, I think I have made reasonable progress throughout the project and created purposeful outcomes relating to the transformation theme.

However, I am hoping to develop and progress my work during the course of my FMP into a contextual, exciting and interesting project as I still believe I can explore new directions within the transformation theme.

I am still unsure which direction this will lead me in, but it will be developed through a process of playing and exploring. During my FMP I also want to work in the printroom, as I believe my paintings and my prints can influence and compliment each other. I also want to experiment with charcoal and inks.

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