Collection: FA Y1 T3

Y1 TERM3 feedback

27-04-2017 Exhibition feedback

Critic part:

  • Algie: orientation, the composition on the wall, the whole composition, figurer?
  • Andrew: the way that space out, and the numbers of distances between every image make you want to make a relationship with the space to see a kind of overall silhouette. when you put all the things in the same wall, you made people wants to see them together, as a whole "figure", my desire made me wants to see this as a whole rather than looking into image. I start between the shape of image as a whole, and the shape in the image, reclaiming a figurer
  • Japan: the nice thing is not quiet settling, flat surface, is quiet hard thing, achieve to give movement to something flat, very tricked, cannot figure out looks not be possible. 
  • Emmy: the middle one to me doesn't  go with the other, made me feel they would go together, they may not a whole, it suppose to be they are not gonna go together.
  • Algie: because the middle one have something in the background like circus something.
  • Japan: One thing how much you talked together in terms of how to display the goes where.
  • Emmy: the work next to these is not mach with each other, in the way of colour, it is difficult to connected.
  • Andrew: thinking about the relationship with curator. and the work next to you, might changing or bringing other interpretation to the work in different way. what space do my work really need, what is the potential of my work. 
  • it is great to see it big on the wall, and potential of it, but I think is too much on it.

 

Self talking and discuss part:

  • Andrew: the choice of these number of images on the wall?

I design the layout in Ps, I want to people see the work in different level, and people will see it up and down. and because my works key concepts are the disorientation, how we broken the boundary to see the space. so the composition is for broken the conventional way of seeing.

  • A: You may could use the ground, or the corner? consider the angle of display the photo. it is great deal potential in your image, in your work with it, I do not think is succeed the way you want, I do not think my eye is drawing up and down. I think if there is more space around it, is more distractive, more draws the images perspective. This emphasize is the wall, I would like to see few less images, in the much big space between, may be around there as well. There is very interested space for your images because there are lots of angles and echoes sort of lines to it, the things you can go with your image. but the image is not picking up on that. the ways your stored to my mind. I think you think a lot of your work. but you do not see it. You though about what you want it, you though about potential, you did not see what was quite doing.
  • Japan:  I think why people always ask you about where the space is, maybe because you give so much hint about the space. (all the images took from Westminster, a same place, so it will emphasize the meaning of this space is important.) you want people see actual work rather than think about where it is.

 

When I hang on my work like this, in the first, I saw it individual, then I go back to see it as a whole. The meaning is more important when it is individual.

  • A: If that's the case, I find it out why you put so much up, if it is individual piece?
  • A: somethings I find very interested in that collage, some image is so powerful on it own, the figure is so powerful, it is lead us to the space, it is interested that the more is less. how can so much of this lead out much interested power from single images.
  • J: each image is doing so much, sometimes conventional way will just give focus on each work.
  • A: STILL FEEL QUITE A LOT, but I think the clue that, you know this things is actually looking at it, and giving it time to think how does it feel know. do not go with what you know is there, actually look and try to feel what is that. I think that is the thing you got your work and looking at your work.
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21/04/2017 Essay Feedback

General comments and advice on how to improve your work in the future

The Unit Grade below and the indicative marks given in the Assessment Criteria above are for the whole of Unit 4, i.e., they are for the Research Presentation and the Essay combined. Refer to the previously published form for written feedback on the Research Presentation. See essay feedback below:

This is a very good essay in which you look at the ways that artists use disorientation in their practice, looking at the work of Gordon Matta-Clarke, Robert Rauschenberg and Catherine Yass. Taking the idea of disorientation is an interesting step as it still contains something of the dream world that you have initially referred to. Thinking about Matta Clarke’s architectural cut outs is very pertinent to your work in which you look for this kind of disorientation whilst working photographically. Whilst this essay is strong it is also relies heavily on descriptions of the work. You have referred to Bachelard, Freud and Krauss, which is good, and in future essays consider how you can use these voices to establish an analysis of the works you are writing about.

Moving forward the concept of disorientation is very interesting for you to consider further. I know we have talked several times about the dream you had which you are trying to represent. This essay and the last work you showed indicate that you have moved beyond trying to make specific representations of that one dream. I think in that case whilst you continue to look at these architectural works it may also be interesting to consider the idea that disorientation can be a liminal space between worlds, to think more broadly about the dream state, the Alice in wonderland perspectives you might explore through photography when you might think about scale, orientation state of mind, etc. Perhaps have a look at the work of Rut Blees Luxemborg or Jane and Louise
  • this kinds of liminal space, neither sleep nor wake up, I think the Alice in wonderland will be a very simple start point, and if I am really big or I am really small, that sort of disorientation.
  • Rut Blees Luxemborg, she work with this kind of idea about disorientation, go in the night. day time and night time, and something about uncanny.
  • Jane and Louise making the image strange.

me: now I working with the image that is no people in there public space but bring the people in other environment like people in private condition, in this public space.

  • Tate has a show called 60 years, there is a people called Goshka Macuga, she is do something like that.
  • Andreus Gurskey: working with architecture
  • it is something about inside factory, people just move around from a to b, in the underground you loose some of individuality, you just become a matter to move from one place to another. the space is about being humans anymore, about the infustrcture and transport.

sometimes I feel very hard to connect with all my thinkings, like both consider the shape, and consider the architecture, or consider the environment.

  • that picture you show for me, it can also become architecture shape. when the image is huge and shows on the wall, and you need looking up of it, perhaps the photography does become sort of architecture. and you sort of think about being something we need looking up and experience in relation to the body somehow.
  • thinking about the way you show it, in some where related with the bodily experience. made that connection because you start putting the view in the gallery in the position of people walking through the tube, and looking up at that. when you think about how you hang the work, you think about the relating to the viewers body rather think...you do see the wall as a canvas to compose the images on if you like. just start to think about that kind of position.
  • Henri Lefebvre-Production of space (book)

    how the space is produced? the different way we can experiences. 
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