Critique notes

Thought it would be a good idea to have a blog record of the notes taken for me at my critiques.  Thank you to Margaret, Margy and Julie for writing it all down!  🙂

Notes from Critique One:

  • Photographs as stand-in or replacement of memories
  • Slippage in translation
  • Some interesting looks with regard to formal qualities
  • Photographic ‘moments’ limiting the view
  • Memory exists as fragments, some in black and white some colours, blurs versus details.
  • Ideas of nostalgia (negative?)
  • Dealing with different representations: marks, shapes lines
  • Photographs are not actually memories.  No one prints off photos anymore – loss of history and experience
  • Perspective, interest in the idea of looking down at a crowd.
  • Cinematic, ‘God’s eye view’
  • Idea of a frozen moment of time rather than focus on memory
  • Clues about context of imagery
  • Suggestions to work larger
  • Less focussed, more abstract, pixelated? Dots?
  • References to new technology
  • Re-looking, remaking
  • Surreal, uncanny
  • Drawing telling lies
  • Held back by need to justify statement.
  • Does it matter that they don’t look alike?  Does this represent forgetting?
  • Too respectful to the object
  • How does viewpoint and scale alter perception?
  • Images as a sequence
  • Drawing from memory
  • Look into colour
  • What is working formally?
  • Play with dexterity –give space to focus on the making
  • Disruption of the drawing
  • Colour too pretty –maybe merit in leaving them as-is

Notes from Critique Two:

  • Circles, empty space, lost memory.  Enjoyment of white space as much as image
  • Peepholes
  • Evidence of a decision making process vs complete image
  • Man reflected in mirror: Interest in the images around the mirror
  • Use of watercolour ties in with memory visually, strength in combination
  • Crowd scene –use of watercolour indistinct like memory
  • Photo, drawing, photograph of drawing –what gets lost in translation?
  • Interference with the image by drawing.
  • Translation a key word
  • Adding things, reinventing, leaving things out (ie what is not remembered)
  • Re-enacting the ideas, performance as a strategy
  • Suggestion of losing detail by adding a semi-transparent layer, ethereal, loss of memory
  • Maybe memory is too simplistic?
  • Memory in contemporary times is different looking
  • Blade Runner
  • Chris Marker: La Jetee/ Sans Soleil.
  • How do I select photos?
  • Lots of things going on: memory, precious objects, translation/transfer, removal of information
  • Drawing as a distancing tool
  • Interest in loss, but not in a nostalgic way
  • Depictive –action between the works
  • Performative act of making copies
  • Mike Kelly
  • Erica Van Song?
  • Painting at the edge of the world
  • I love Dick by Chris Kraus –autobiography as cultural theory

Notes from Faculty Panel:

  • What are my hunches?
  • What is out of my comfort zone?  Marks less considered
  • Pencil + Watercolour -fluid medium as ‘other’ to the pencil
  • The crowd image as a jumping off point for investigation
  • some works have a sense of fidelity to recapturing it, vs a journalism approach which is an interpretation of it.
  • Ideas of slippage and loss
  • limited tonal range, like a faded rendering of original
  • Sense of ownership of the documentary image more than the idea of translation
  • Bathes and Berger have a specificity in their writing: sight, vision, etc
  • Documentary image: you understand the image, yet so much is pattern like.
  • Sight, seeing, inventing
  • flattening the practice through it being only one of translation.

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