Good to catch up with you Viv for the tutorial.

Critical review– 

Possible title- Does the surface within Above and Below represent a stable boundary, a place of conflict or the collapse of hierarchical distinction? – define the 3 areas of conversation. 

This title works the most as it contains some engaging hooks and is wider and juicier. 

You have made a good start to this, especially unpacking the artwork and its materiality.

It does need to start with some context of what the wider subject is (floods, river beds), where the artwork comes from, and what ‘Above and Below’ is.

This will give the reader a visual to which you are referring to. 

Two artists is enough. Nagato Iwasaki could complement the work you do with the immersion of your body in the water. Embodiment of you being above and below. 

Keep in focus in or out (above or below) the water with both artists so there is a focus. 

Practical work-

There is more of a focus in terms of your subject matter and building up your contextual framework- notions of impermanence, ecological fragility and flux is coming through vividly. 

‘Above’ and ‘Below’ as hooks in your practice are working well, especially though the matter and fabric submerged or semi-submerged in the water. 

It becomes quite aquatic with a personification within the water. 

‘The reflective sky becomes the mediator’ is an important observation. 

Tutor feedback on Learning Outcomes

• Independently organise, manage, and sustain your own creative practice and the delivery of outcomes in response to Identified opportunities

Yes this is being done but think about how the outward public facing practice light seems to passer-bys? 

• Independently engage in the creation and development of your personal practice and professional identity

Acknowledge the public/outside and the site specificity of your work in your blog. Site specificity is an important element because you are responding to environmental elements. 

• Synthesise contemporary theories, histories, ideas, debates, and practices alongside visual, technical, communication and contextual practices relevant to your individual illustration practice.

This will come through in your critical review but make sure there are blog posts that refer to wider contexts of your practice and not only reflections of the practical work. 

• Effectively communicate outcomes and ideas to a range of identified audiences.

Identifying audiences need to be noted so again think about the site specificity of your work and add some context on your blog. 

Student notes

The semi submerged fabric positioned just below the water’s surface is supporting my exploration of the dialogue between Above and Below. The relationship between the fabric, the water, the sky and the reflection is evident and functioning well within the work.

The materiality of the fabric is important and I shall continue to focus on its physical presence, its position beneath the surface, the tension between sinking, floating and suspension and how the water alters its appearance.

Moving forward I shall make at least one more piece of fabric art. The work has strong illusionistic potential. The reflections distort and duplicate the material, there are moments  when the fabric appears to merge with the sky.

Think about reflection, movement, stills, fragmentation, distortion, materiality, flux and the environment.

Action points

• Keep adding to the CR and we can review the draft in the next project. 
• Do more of the fabric pieces- think about the push pull, tension and flow when putting in the water. Even leaving it for 24 hours.  
• When video/ photo documenting, lets see more of the vista so we get a visual context on the vastness of the river. At the minute, the photos are quite concealed. This way we can see the scale and more of the above and below.