Yesterday I had a really hard day at uni. I was presenting my progress to date, and it went really badly. Antje was not interested in all the research I had done to get my ideas in order; she did not like any of my samples; she did not like my ideas for application to objects; or ideas on where to site my finished work. Feedback received was that I should be working towards fine hand drawing of worn domestic objects for application as fine art pieces, mostly likely made up as little panels for the wall. I am really hacked off with this. I loathe and despise little art panels for the wall. Someone even said my artwork in Wreck This Journal was pretty! This comment really upset and hurt me.
Then I went upstairs to see the textile technician, wanting to just lick my wounds, and got told "don't be stubborn. If you want a first, then you need to make art pieces". This irritated me even more. I don't find emotive labelling helpful, getting a first is not critical to me, particularly if it involves me compromising my integrity; and I get so tired of pointless art pieces - they bore me.
So this morning I went for a swim, (Keri Smith says "move your body") and had a think about it. If I wanted to do fine art, I would have done a fine art degree. I want to apply my art to useful objects. The object has a deeper meaning, and I can see all sorts of analogies between women's work, and art applied to working objects.
Two students were kind enough to write up the feedback while I was presenting.
Work can be placed in places other than just female specific sites ie Women's Library
My tutor Steve had said I needed to identify a specific suitable site to fit my theme, as I don't want to make commercial objects with a message, or create installation pieces. Therefore I had to identify a site that fitted my domestic objects. Yet, now I am being told site is unimportant, art installation is a better goal.
Cushions are a secondary art form
To the art establishment, quite possibly they are. However I am not seeking to be the next Damien Hirst, or a commercial artist. I am playing with the concept of representing women's work on a working object, such as a cushion or lining, where the functionality of the object shows a parallel of improving life's experience while being easily overlooked.
Consider working with folded and draped fabrics - to give respect to the art piece
I am not sure how folding and draping gives respect.
Explore linocuts further - there is an element of purity about them.
Draw many more kitchen utensils. Draw a colander with more detail. Draw older kitchen tools. Draw the feeling of the piece.
I agree that I need to draw more - when I am peaceful and contented.
Elegance and delicacy. Element of purity in drawings. More observation of kitchen. Draw, Draw, Draw.
I find it most surprising when people say my best work is the very detailed and complete drawings. I like the ones that are freely drawn, not accurate but energetic. This is when I can see the affection and respect in the object drawn.
Images selected are very important - must be refined. Images in Wreck this Journal seem more attractive.
I find defining my "best" images very difficult. Sometimes people like the free fast drawings, other like the detailed cross hatching.
Quality of prints needs to be more sharp. Make them more defined; more detail, not like the colander linocut.
Most people who saw the linocut colander really liked the simplicity of it. Now I am being told to do the detailed cross hatching, which was slated last term for being "careful shading".
Single objects. Put more than one object on the print. Consider use as place mats; tea towels; table cloths etc. More celebration to the object.
My work is refining and becoming simpler, as my life simplifies. I don't want to put more than one item on each drawing. I am not into layering and making work busier. Increasingly I realise my work speaks more when there is a selective placement of the drawing in space. Creating multiples or repeats in my work does not add to the message.
Consider the alternative to the cushion. Does not need to be used on a functional item. It can be looked at to be admired rather than just function based.
I really struggle with this. I feel this says "make something 'just' to be admired" as being worthy for pure decoration, and that functionality is a dirty word.
Take a specific item and create a story from it eg measuring jug - you need to measure everything to cook.
This is what I thought I had been doing!
You don't need an application yet.
So why did I have to write a proposal last month, that defined what I was going to make, and against which I will be measured?
Take the theme further. Consider Sunday roast; jam; bread; soup; ingredients.
Yes, I can do this.
So some samples of printing on flour bags. Relationship between materials and object. Narrative!!!
So why did my use of muslin, as a fabric that is used in cooking to strain fluids, get rubbished? I thought this contributed to the narrative of what I was making. I can draw on flour bags, and print from them. My narrative of the analogy between women's work and the domestic object appears completely lost.
Use numbers that relate to being recognised for volume of work undertaken.
I did this on the Yokes piece, very successfully. I have not added words and numbers to samples for this year yet, as I was exploring fabrics, dyes and techniques.
Take the best of what worked last year and expand
This is what I am trying to do. And obviously failing!
Try to discover what you like about the kitchen - is it meal preparation; everyday meals; celebration meals; food ingredients?
What I am interested in is the huge volumes of under-valued work that women do. I want to provide recognition of the repetitive, often unthanked work that women do, and give it value by portraying it on fabric that can be used. The everyday use of fabric is important to me, as my work is not about being portrayed in art galleries, where it might be looked at for a few seconds, then forgotten: it is about a portrayal in any environment where you find people who benefit from women's work, so it can be domestic or public service environment (eg library).
It is about the everyday, mundane, repetitive cooking tasks that provide wholesome, nutritious food that is often taken for granted. It is about the manual processes and the tools. Not specific ingredients. Not specific occasions, but the mundane times and humble objects that should be valued.
Possibly draw on to flour bags and other wrappings
OK
There needs to be a story. More detail needed. Last year's work told a detailed story.
Agreed. I want to expand on this story.
Possibly find another story, another narrative.
No. My work is about people who are under-valued. I may move on to other themes such as the under-valued work done by migrant workers but I will save this for higher level studies.
Colour is very important
Previously my work was very high colour. The final Yokes piece last year was monochrome, which is unusual for me, but at the moment I am struggling to incorporate colour into my work.
I find the whole situation very demoralising.
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