Assessment submission

Course aim

The aim of this OCA module was to:

Explore and employ key processes for drawing and painting explore a range of media to create visual work.
Begin to understand how historical and contemporary painters and artistic movements can and have informed your own practice.
Reflect on your own learning experience

Assessment criteria

The assessment criteria for Level 2 are:

Demonstration of technical and Visual Skills, Materials, techniques, observational skills, visual awareness, design and compositional skills
Quality of Outcome. Content, application of knowledge, presentation of work in a coherent manner, with discernment
Demonstration of Creativity. Imagination, experimentation, invention, personal voice
Context. Reflection, research (learning logs)

Learning log

The learning log contains an entry for each exercise, assignment, research point as well as gallery and exhibition visits. The log is organised chronologically as per the headings of the course handbook. Extracts have been taken from the learning log to articulate the research, process and my thinking of the works submitted. All research cited in the log is referenced in accordance with the UCA Harvard referencing guide. Within the leaning log, areas to support learning outcomes are highlighted yellow for ease of reference.

Sketchbooks

Sketchbook inserts are included with some exercises and assignments. Alternatively, all sketchbook pages can be viewed at the learning log at this LINK. Not all exercises run chronologically in sketchbooks but are collated by exercise in the learning log.

Research

All research is included in the learning log. All work cited is referenced in accordance with the UCA Harvard referencing guide. Notes in sketchbooks are expanded in the learning log.

Tutor reports

Tutor reports have been uploaded to the GDrive. Feedback was both verbal and formative. A summary of feedback points is included at Course reflection and progress in the learning log. A summary of learning points are also available at this LINK.

Assessment evaluation

At this juncture of having completed Level 1, I am content with my academic and practical development as an artist. Learning to explore the creative process rather than just focus the outcome of a piece of work, to be expressive in my mark making and have fun with it have resulted in varied outcomes. Included in this submission are what I consider to be the most successful, but also evidence the assessment criteria and learning outcomes. The works selected are supported with hyperlinks to my learning log.

During the early stages of painting one I became self-aware that striving to produce a masterpiece every time I picked up a paint brush hindered my learning development and masked my inhibition to experiment. By adopting an approach that focussed on the process and learning outcomes rather than just the quality of outcome, I was able to uncover the footings of what I now understand to be my emerging artistic voice and style of communicating my work.

In the process of exploring and experimenting with materials and techniques I have developed an understanding of how and when they can be used and manipulated, and to what effect. The use of underpinning and chiaroscuro Teapot and mug (see image 1), blocking in, Self-portrait tonal study, (see image 2), mixed media and collage Malvern (see image 6) and texture Reclining nude figure (see image 7) are a reflection of what I have learnt throughout the course. These works are supported by preliminary sketches.

By working on smaller supports and producing a series of studies alongside one another I learnt to develop ideas and alternative approaches. This also focused my observational skills; the balance of scale, proportion and mark making. When compared to some of the earlier works the brushwork is open, gestural – bordering abstract or unfinished. There is an elusive quality developing in my artistic style which has appeared naturally, and one I like. This approach was embraced during Assignment 5 which led to the production of a series of works themed by the human form.

Learning the significance of mark making and the use of different tools to apply paint, I have developed an imaginative and often intuitive approach to my artwork, which I can only describe as responding to the work as it develops. This is balanced by learning how to control brush marks and apply my own artistic judgment to create artwork that I feel represents my own style. Colour theory was a topic where I had perhaps underestimated its importance. Learning how to use and exploit colour in all genres meant that I was able to produce an array of atmospheric scenarios. One of my favourites is Bridgnorth. (See image 3)

The research, whilst timely has proven fruitful in my practise; my personal artistic voice has developed in the context of my research of art movements and the artists such as André Derain, Paul Cézanne, Guy Denning, Daniel Martin, Paul Wright and Alison Lambert. On reflection there is evidence of being inspired and influenced by recaching the artist Jenny Saville and her exploration and distortion of figurative imagery using fragmented sections of representation alongside geometric and gestural mark making, and different painting techniques. As well as Vincent Van Gogh’s use of impasto and Elizabeth Peyton’s glorious use of colour.

Learning often comes from failure or learning by our mistakes. Inevitably there were aspects of the course that I found challenging. In theory, the abstraction of man-made objects appeared relatively straight forward, but in practice I found it much more taxing. I certainly felt as though I was over-thinking it. That said, I have exploited this concept to be expressive in my mark making.

Painting en Plein was a new experience that provided valuable lessons, such as the challenges of reacting to changing environmental conditions, clouds, light or bright sunshine. When painting outdoors I often found myself painting from a first glance, the short-term memory, rather than continually looking at what was in front of me and reacting to it. From this I learnt to be more perceptive and expressive. As a result, using wider brushes and using colour to create form helped shape some positive pieces that are included in this submission as image 3 – Bridgnorth, and image 8 – Self-portrait.

Research is articulated in a clear and concise manner and informs my practice. However, I know that I must provide more subjective commentary, including more opinions, questions and ideas, alongside historical information, to underpin the contextual ground of my practice.

Selected work for submission

The works selected for submission are a combination of exercise studies and assignments that evidence my academic and practical studies against the assessment criteria and course outcomes. This include studies and concepts that explored and employed key processes for painting and drawing with a range of media to create visual work and encompasses ideas that were inspired and absorbed from looking at the works of other artists. The following pieces are selected for assessment submission: