Overall comments
How interesting that you have worked with the love/hate relationship with the water by having to change your usual processes. Were you forced to work differently? Just an observation to keep the love/hate conversation alive.
In retrospect, bringing the water home has allowed you to move onto some exciting stained surfaces and fabric manipulation. You can do more of these.

‘Above and Below’ as themes is engaging you to think about the structure of the water but also the formats of how you lay down the found items. The fabric and in particular the long scroll and strips has worked very well. Where you have dumped them in a pile fits in with the debris/seaweed that’s washed up. Play more with the placement of the strips.

This format of long strips and scrolls makes sense to emulate the length of the river and the length of the history of the flood warnings. It’s a visual documentation of the ongoing troubles of the flooding you have experienced- the length of it.


Action points
● Great, you were inspired by Tan Zi Xi- think about what it was from the work that made you inspired. I can see some installation coming on…above and below the viewer?
● Definitely play with the situation, scale and placement of the long drapes. Allow the viewer to be submerged.
● The weaving goes back to you trying to control and being ordered. This disrupts the flow and the eroded debris on the surface. Too domesticated and neat.
● The collection of found matter, bundling them up and unpacking to leave the residue is an inventive process and should be done more. Keep doing this process for now.
● Bundled up the found matter and unpacked it is a great process
● This is a very apt explanation from you “Overall the work negotiates the human intervention and ecological process demonstrating the material sensitivity as well as being open to change by recording residues as well as the boundaries formed by the overspilling water.”
● Think deeper about the external facing project. Perhaps think about your wider community and how you share experiences with others, community belonging, use the texts and messaging, gather the photos of the flooding as material for now, including your own house.
● Just to remind you of what the outward facing part is-
-How will you create opportunities to connect with external partners to support your creative practice?
-Present work in real life settings
-Engage a level of involvement from those who encounter your work.

Reflection

We talked about moving forward with the work on fabric and how successful these pieces had been, bringing  a different dimension with their fluidity being fabric and not paper. The way they were placed and can be placed in the future to emulate the river flow or seaweed, and how possibly these pieces could engage an audience, either while in situ or being hung or placed near the open water to start a narrative. The weight of the water, holding the river path as well as being able to pull, stretch and extend the strips. To some extent the river is throwing back what has been thrown in.

The silent crit I run every four weeks with a group of mixed discipline HE6 students has had enormous value and input into my work. We are all talking about our next stages, exhibitions, books, and how we push ourselves outwards.

Vicky and I are continuing our collaboration on ‘Water’ from our different perspectives.

The collaboration I started with five students is due to finish at the end of March. I will curate this on a Padlet and share with Diana.