ASSIGNMENT 3 – My Response

  • …but for your next assignment I would like you to explore more.

I wish I could – I am trying to be more adventurous but finding an inherent stuckness over this some of the time.   Compiling a list of alternate materials to try out – the non-artistic type.

  • I think you have been pleasantly surprised by what you have managed to achieve in 1 hour, well done.

This part of the course has been the most challenging and the most surprising so far.  I loved doing the trees and my introduction to landscape was a revelation.   Had a much greater response to it than I had expected even though most of it was completed through the winter months when I could not hang around and “enjoy the view”.   It did however teach me skills for bringing back into the studio which is very useful.

  • It would have been better perhaps to work on a series of developed ideas taken from your initial studies to play around more with tone and depth as well as widen your drawing tools to push the edges once more of what drawing means to you.

These comments refer to some of the townscape work and the architectural studies which I found the most difficult.   The views of Shoreham-by-Sea over the river from different angles I did find interest and if the exercises had not been as specific there would have been views that I would much have preferred – over the river, mudflats, taking in the tide at different times etc.

Buildings I find difficult and my sense of perspective still goes out of the window – literally.  I could I admit have taken more time over them but in the end they are not my area of interest.

  • …. had you have used a sturdier paper

I have discovered good 300 gsm watercolour paper which bears a lot of work – although I have yet to push this too its limits.   Something which I need to undertake in the name of experiment.

It is very satisfying allowing water based materials to blend with the surface – and move them about – take them back when necessary. Just beginning to experiment with different supports.

  • Working in parallel will help you see where you are going wrong. Don’t fill in any detail until you have those measurements right.

Again referring to the buildings – a symptom of my irritation with the subject matter.

  • Again for me the tonal definition is lacking which makes the piece lacking in the overall lustre that I can see in the preliminary.

This comment has cropped up over the last few assignments.   I am still not making enough decisions about dark, medium and light as well as fore, middle and distance.  Again this is about becoming more critical and then being bold enough to express what I see.

  • More in depth critique and understanding of the work of others could benefit you in terms of extending and widening the research aspect of your studies.

As yet I am unsure how to address the research aspects of the work.   My note taking is not effective at this stage and I am going to revisit some of the early papers and HE Study assignments in order to apply order to this part of the work.

  • Try to see a range of exhibitions away from drawing and painting. This will help you consider your materials for drawing in closer detail. Think carefully about what drawing is and can be for your next assignment. Don’t always use traditional drawing materials to draw with…try lots of other things particularly things that surround you.

I have seen quite a number of non-traditional fine art work now.   Some of it I respond to really strongly and am aware that from my previous textile work it would be easy to lapse into 3D – textile pieces drawing me away from the focus of this course.

Again the reference to other materials is highlighted.   My list is growing of the non-traditional items some of which I have tried in the Part 4 assignment.

As to the question of what drawing is – I remain confused.   I have looked at the book Eight Propositions a number of times but this does not as yet make it any clearer.

  • …. in order for you to become more fluid in your approach to drawing.

Looking at other artists – in some cases I can see how this is relevant to development of a drawing style but in others I could not identify what my tutor was trying to have me see.   I drew on the styles of Degas, Auerbach, Dix and Schiele in the next Part 4 drawing.

  • Continue to take more risks with your drawing

Still not doing this enough and have not yet grasped a willingness to create the un-successful or non-traditional in my work.

When I look back I realise that I have often played too safe – —-


ASSIGNMENT 3 – Tutor Report

Project 3 Expanse

Overall Comments

Feedback on assignment

Demonstration of technical and Visual Skills, Quality of Outcome, Demonstration of Creativity
Thank you for submitting Part 3 for Drawing 1. You have worked hard at grappling an unfamiliar area, landscape, and have worked hard to connect with it on a personal level. You have had some successes. Take the time to work on tone. This will give you the depth and weight to what you are trying to depict with conviction.
You have a good sense of how to develop an idea from your first preliminary sketch. Working widely with a range of materials has made you embrace some difficult aspects of your studies but has brought a richness to the type of work you are making. Keep looking and take the time to slow down and observe before making a mark. This will help you make decisions prior to execution, something that will make your work easier to handle. Your material enquiry has broadened but for your next assignment I would like you to explore more. You research widely so why not bring some of that into your own exercises, controlled of course so that you don’t get too distracted from the coursework.
Project1: Trees

Exercise1: Sketching individual Trees

You have made a good start in your sketchbook observing trees with good supporting annotation.

Exercise 2: Larger observational study of an individual tree

For this exercise you have managed to sketch out some strong compositional considerations in some smaller boxes. The tonal contrast of light and dark is striking. You have taken some good photographs of the trees you have observed whilst out and about considering texture and form. Keep playing around with looking at form from varying viewpoints to enhance the work.

Exercise 3: Study of several trees

Again you have considered a strong sense of composition from selection to depiction. Working through a series of exercises you have developed a way of working from each study from pencil to coloured crayons to charcoal and then through to pastel. You are proceeding well but taking an idea through to another medium, so well done.

Consider tone, depth and space to add other dimensions to the work.

Project 2: Landscape

Research point: Research artists that use landscape across time. Albrecht Durer,

Claude Lorrain, L.S. Lowry, George Shaw and Sarah Woodfine.

You have submitted wide and varied research that is reflected upon carefully. There is a visual link to many of your selected artists. There is a similarity of palette, mark making and textural qualities, where dynamic marks are reduced to their simplest form.

Exercise 1: Cloud formations and tone

You have submitted sound critical reflection on the work of Vija Celmins. You haven’t as yet found the time to complete the cloud exercises so I am unable to give you feedback at present.

Exercise2: Sketchbook walk

From the drawings you have submitted you really get a sense of the winter’s cold and unforgiving nature. As this is a new experience for you have managed to get as much information down as you can as well as the textural qualities of the sea and beach in your local vicinity. The black and white charcoal studies are quick and confident in their mark making. I think you have been pleasantly surprised by what you have managed to achieve in 1 hour, well done.

Exercise3: 3600 studies

The work you have produced for this exercise is reminiscent of Paul Nash for me with its sweeping blocks and almost flat sense of the landscape overall. It is important to balance the sense of place with closer observation. Make sure that the balance produces an image that can be read reasonably clearly by the viewer as tonally they could be improved upon for depth of field within the work.

Research point: Monet, Cezanne, Hockney, and Nicholas Herbert.

You have produced a widened sense of landscape research looking at a variety of contemporary artists that draw the landscape from different viewpoints. The pooling of your ideas, your artists research and your outcomes comes through well in your sketchbook. Again, excellent research on Nash.

Project 3: Composition

Exercise1: Developing your studies

You have annotated well throughout this exercise in your learning log. Moving on from your initial studies made in October you have produced a vibrant drawing that denotes the light and dark of our chosen landscape. Again, further understanding of building up the foreground would give you a broader sense of depth so experiment with this where possible to gain more experience. At the moment this drawing lacks the depth due to the lack of tone and detailing throughout. It would have been better perhaps to work on a series of developed ideas taken from your initial studies to play around more with tone and depth as well as widen your drawing tools to push the edges once more of what drawing means to you.

Research point

Again, you have submitted wide and varied artists research, which is enigmatic and compelling at the same time. It will be interesting to see if you develop any of these techniques in your own work at a later stage. You have analysed these images well.

Exercise 2: Foreground, middle ground and background

This exercise has brought with it some challenges that you have reflected upon well in your learning log. For this exercise you have produced a subtle yet complex drawing, which, had you have used a sturdier paper could have been worked and worked upon in terms of building up tone. The lightness of colour overall is quite flat throughout so perhaps this drawing could be worked on further in the further perhaps as a mixed media piece. It would have been good to see the eye travel through this drawing through careful execution of the foreground with perhaps a lighter area on the horizon to pull the eye through? Again, tonal aspects need to be worked on further s o that you get a sense of distance in the work.

Your reflection on this part of your studies is well considered. It is good to see you explore and further the potential of drawing from the landscape by working through collaged drawings and studies from the collections of things you have found from your winter walks. Your combination drawings from the hard pruned trees outside the Tate have a wonderful energy to them and I hope that this will propel you through any future considerations you may have towards working in and with the landscape.

Project 4: Perspective

Exercise 1: Parallel perspective – an interior view

Perspective is a hard area to grasp as we take so much for granted. Marking out your eye level as well as parallel perspective can be a slow process that takes both patience and time, often resulting in an image that has very little detail and a series of lines lightly filled in. Whilst this is possibly the antithesis of what you enjoy doing, getting to grips with the basics can really allow your seeing skills to develop.

Exercise 2: Angular perspective

There are a few smaller errors but overall this is a good attempt. It might be a good idea to reverse the process by drawing in your eye level and angular perspective first, and then measure the buildings length and height against it. Either that or start by drawing the information lightly and then fill in in more detail once you realise that the information is correct. Working in parallel will help you see where you are going wrong. Don’t fill in any detail until you have those measurements right.

Stating that previous drawings are more accurate isn’t really doing the exercise the justice it does deserve. The drawing that you have submitted does suffer, as you have recognised in your learning log, with slight errors in the perspective. Slow down and get the architectural qualities right, then fill in with the fun stuff. Mark it out as much as you can before filling in. This can see very laborious at times or use a viewfinder that is gridded up to help you translate the information in front of you onto a lightly gridded sheet. This type of repetitive exercise will be a huge investment in terms of time but will improve the overall look and visual understanding that is, at times, required.

Exercise 3: Aerial or atmospheric perspective

You are starting to consider the tonal aspects of drawing more in this exercise. Working in black and white is easier than working in greens if you are having difficulties. Perhaps if you squint more the varieties of different greens will be revealed a little bit more to you? You have been very aware of the lack of attention you have given to preparing your materials. All of these things that you are considering at the same time can get confusing. You will get better at taking time over the prep and the working of a drawing as you gain more experience. Again, slow down and take your time in considering what needs to be done before putting your drawing medium to paper.

Project 5: Townscapes

Research: John Virtue and others

Good research; just remember to expand your written critique and reflection wherever possible.

Exercise 1: Sketchbook of townscape drawings

The sketches you have produced for this exercise are demonstrating a keenness to respond more emotively to your subject than to draw carefully what you see in front of you. I understand that making work needs to feel attractive as otherwise the interest is soon lost however I do think that some level of studies drawing needs to come to the fore so that you getting more experience at working with the difficulties. Be mindful of how you draw. Only draw what is needed rather than the whole when it comes to making studies o your subject. Our brains often fill in the rest of the image if incomplete.

Exercise 2: Study of a townscape using line

Working on the long view has been successful you, particularly the view by the road bridge. . You have completed this exercise developing the drawing as you move forward. The final drawing is a more illustrative representation of your first drawing and I like the way you have handled the roofing and architectural aspects in this way. Although not accurate I would agree the depth is starting to come into the work as you have managed to lead the eye up the river for this drawing.

Exercise 3: A limited palette study

Your second drawing for this exercise is the strongest by far. You have by now managed to get to know your landscape quite well and all is appearing to fall into place much more smoothly than the first drawing. The limited palette has been carefully considered and you have managed to leave space where necessary to balance the view. The reflective qualities within the water works well and the mark making throughout is understated yet successful in its execution, well done.

Exercise 4: Statues

The drawings of statues after Cezanne for me feels the most compelling and well executed. The roundness of the form and the light that you have depicted have grounded this form through carefully execution of line, light and tone. The hand made qualities of the paper adds something more textural to the last drawing and the editing of what you chose to depict makes this drawing the most successful out of all the works you have submitted for this exercise. The viewpoint adds a more visceral feel and the way you have handled the light, mid and darker tones makes this a successful drawing, keep it up.

Assignment Three

You have started off well by returning to drawing after a bit of a break and the series of drawings on tracing paper where you have played around with various approaches feels lie a strong start to returning back to drawing your garden. There is an excitement in the mark making and the mindfulness to push the boundaries of your normal approach has paid off. The building up and stripping back as well as taking care to look and understand in closer detail the composition has allowed you to make a sustained drawing using a build up of varying materials. The successes I think are the chair and the right of the image with the statuette against the dark ground. Well done for this.

Your smaller preliminary studies and sketches for this Assignment explore a range of compositional viewpoints to see the effects that these can bring to your final assignment as suggested as well as evidence a sustained development of an idea through different mediums. Further reflection on what you have learnt so far in terms of techniques, materials and processes have helped you to take more risks in your preliminary studies.

Your larger preliminary sketch feels confident, energetic and overall is very successful. The composition, tone and perspective of the study works well as does the colour study. Areas where you have depicted the darker tones has lifted areas in the foreground so continue to explore this as you move forward o your next assignment.

The final assignment piece for me lacks the clarity of the larger preliminary sketch although I do like the complexity of the layers and the references to your artist’s research. Again for me the tonal definition is lacking which makes the piece lacking in the overall lustre that I can see in the preliminary. Perhaps when it comes to assessment the former larger study should be submitted…one to consider in the future perhaps


Demonstration of technical and Visual Skills, Demonstration of Creativity

You have a sustained confidence exuding from your sketchbooks as you explore a range of possibilities at every turn. The pages of your sketchbook are energetic, enquiring and full. Continue to work like this as you move to the next assignment. You manage to extend and force new ideas for exploration in your sketchbook demonstrating your idea development as well as the development of your drawings.
You are visiting a range of exhibitions and are keeping notes and postcards in your sketchbook, well done. Your technical, visual and creative skills in regard to materials, is improving, just remember what has worked before after reading my report and continue to experiment as you do so. Time investment often pays off.

Learning Logs or Blogs/Critical essays


Your learning log is articulate, reflective and wide in its content, particularly with your artist’s research. More in depth critique and understanding of the work of others could benefit you in terms of extending and widening the research aspect of your studies. An ongoing dialogue between your work, the work of others and its critique as a whole will be most beneficial to you and your studies so keep going.

Suggested reading/viewing


Try to see a range of exhibitions away from drawing and painting. This will help you consider your materials for drawing in closer detail. Think carefully about what drawing is and can be for your next assignment. Don’t always use traditional drawing materials to draw with…try lots of other things particularly things that surround you.

Pointers for the next assignment

  • Your next assignment is ‘The figure and the face’. Look at the work of these artists in order for you to become more fluid in your approach to drawing. Gustave Marchetti, Egon Schiele, Ron Muek, John Currin, Otto Dix, Ana Mendieta, Sam Taylor Wood, Tracey Emin, Hope Gangloff
  • Have a go at replicating the techniques of other artists to bring to your own working aesthetic.
  • Continue to take more risks with your drawing

Assignment 3 -Dialogue


Because of the nature of this assignment and the whole of the Part 3 module I have decided to have a dialogue with myself whilst I prepare the piece.

6 March 2017

I have found the whole of Part 3 very difficult for a variety of reasons:-

  1. I had not tried drawing landscape in the past and was surprised how quickly I was pulled into particular places and views especially those which I am intimate with and are near to me.   Places where I walk my dogs regularly and look at in different weather conditions and light.The span of the subject matter.   Having not ever tried to do anything in the landscape I struggled to get going and then I had I found that I really responded to it.

Having engaged with this subject matter I really wanted to continue with my investigations and was further aroused by visiting the Paul Nash exhibition at Tate Britain.  However the coursework requires you to move on which I did reluctantly.

2.The next major area for investigation was buildings and townscapes for which I have no empathy whatsoever.   This was the biggest struggle of Part 3 for me.   Although I did learn something about perspective  I spent a lot of time getting myself very confused by it too.

However I was drawn to the drilling rig in Shoreham-by-Sea harbour which was repairing the sea wall.   Rather than the town I liked  the strong image of the rig itself and its size compared to the buildings.   Also the reflections of the rig in the river as it ebbed and flowed through the tides was engaging and recalled the work of Monet and Whistler and their drawings/paintings of London and the Thames.   Again it is not surprising that the most evocative for me are night or early morning sketches/paintings.   I was not able to access the harbour at these times  and now the rig has been dismantled.

(N.B. Brighton Festival is hosting an event – Five Short Blasts which will take place on the river Adur at Shoreham in May.   The times of the events vary through the day depending on the tides.   I have booked  6 am and one 7 am trips on different days. Looking forward to being on the river early in the morning.)

3. I had forgotten how much I enjoyed the tree section at the beginning of this part and could have stayed with this subject matter for much longer.

4. My frustrations were further added to by trying to complete this part through the worst time of the year weather wise.  I kept trying to get out for longer and being beaten back by the cold or rain.

This has led to the choice for this assignment piece being one close to home i.e. my garden.

Day 1 – getting into the rhythm

Because of various family circumstances I haven’t been able to draw much for the last few weeks so need this preliminary stage to get back into the drawing again as well as testing various media.

As usual I had done a lot of preparation thinking and looking at the garden and taken many photographs. I find I am using this as part of my process and preliminary decision making towards finding a composition to begin to work with.


This just looks boring although I have the man made and the natural elements.   I was thinking about how to capture the garden in winter.   The table which has come apart during the winter seemed to epitomise this thought as well as the flat cloud covered day.


Then the next day the sun came out…not sure that I find it any more interesting.

So I moved a few things about to create some layers, depth, colour and focal points.


Then cropped this down as well as taking a lower eye level to create a more intense composition.

So then attacked the sketchbook with this in mind.  The first I tried to work in tones and then wanted to rub back to find the lightest tones of the chairs and tables.


Didn’t really get it in terms of the chairs but structurally it works with the flagstones and the walls receding which is something I will be able to emphasise with tones when I work the main piece. This was taken from the larger image and probably has too much in it to make it work.

Then I thought I would try working on watercolour paper so that I can load the paper more effectively and build up the layers.   Unfortunately I put too much graphite/pencil in first so the whole thing has gone muddy.  However I will work back into this one again.


Finally I worked on another piece of watercolour paper on which I used some inks initially to block in different areas.   Over this I was drawing with the water soluble crayons.


Although I seem to have moved things slightly and ignored the chairs for the moment I like the start on this one better than the rest.    I can see how I could build up the tones and work into this kind of media.   However I am aware that I wanted to work much more freely on this assignment and want to keep this in mind as I test different media. Additionally I worked from the closer image and lower viewpoint which I think is going to be the better option.

Questions to self:-

  1. Am I aiming for a “real” copy of the scene – in other words like an exterior still life?
  2. Am I prepared to be brave enough to push my media and method more?
  3. Can I keep reminding myself that it is not only about surface texture but also mark too?

Day 2 – 8 March 2017

The challenge of day 2 is to keep my options open and not go back to tried and tested methods and media.   I know I can make a good image with the ink and water soluble crayons – they are my tried and tested formula.

However I have promised myself that I will push the barriers on this one so today’s task is to try and combine different media and use in new/different ways.

At the beginning of the day I am resolved to try at least the following:-

  1. Oil bars/conte stick/turps
  2. Collage
  3. Tracing paper + coloured pencils

Question to self:-

How can I remain loose whilst being deliberate about mark making/tone + colour?

I read about this method in The Sketching & Drawing Bible by Marylin Scott.   I thought it was interesting that you could draw on both sides of tracing paper.  However I added by own take by making the background page a collage of 4 different papers which I worked on in various ways before working on the tracing paper.

Assignment 3 sketch 4

I could have worked on it longer but I had planned to do 3 different sketches in the day and decided to stop.   I think it is more successful than I thought it would be and with effort – particularly in reversing the shading etc….it could be a very successful method.   I like the way it is the one sketch which allowed to me to highlight the chairs and tables and allow the background to recede well.   I think it would be a struggle to decide how much to work the background papers and both sides of the tracing paper but having said that apart from the foliage which I worked on quickly it is more successful that I expected.

Assignment 3 sketch 5

This is the conte stick and oil bars.  Again I gave myself limited time on this.   But I like the way you can blend the colours and create the distance.  I did not work on it long enough to introduce the lines which would have given it more perspective.   I enjoy the messiness but need to be aware of how important t is to get the composition down accurately in the first place.   Did not do enough standing back in the early stages.

Assignment 3 sketch 6

First stage of the third sketch of the day. Ink base both water soluble and acrylic.   Sort of indifferent about the piece at this stage. Do however like the way the chairs are there and not there.

Assignment 3 sketch 6 final

Worked into with more inks and soluble crayons. Don’t know if it was just the end of the day but lost the composition and am a bit fed up with the chair in the foreground.   Not feeling it adds anything to it.   So probably taking it out.

Day 3 – 9 March 2017

Day to make decisions.   So although there are elements in all of yesterday’s sketches that I like I have decided to work with the oil bars, conte stick and oil pastels. The other decision is that I have taken out the second, leaning chair, and added something else!

As I set to work I am thinking about how to retain liveliness in the drawing and not flattening out all the surfaces by too much blending and smudging.   I also have to pay more attention to the composition as I set about the task.  More standing back and assessing.

Assignment 3 first blocking

I have bought some A1 300gm HP watercolour paper as the surface.    Have tried NOT before and it doesn’t work if you are stripping back) First stage was drawing with the black conte stick and then blocking in with the oil bars.   I only have limited colours of oil bars so went with the best match.   So far I think I like the composition better without the 2nd chair which added a lot of confusion and the statue added.

Assignment 3 blending layer 1

This second stage I blended in the first layer of oil bars.   Started to use a pallet knife which kind of works and doesn’t.   It strips the surface right back to just dyed paper.

Assignment 3 end of day 3

AT the end of the day having thrown everything at it.   Used oil bars, oil pastels, water soluble crayons, coloured pencils, pallet knife, craft knife, 7B graphite pencil and more.  Some parts I like and some I don’t   I had to reaffirm the composition again and again and in some parts it is still not accurate enough.

Spent quite a lot of time trying to achieve detail and then decided it was too fussy.  I am not sure it is as strong structurally and some of the original sketches.   Particularly don’t like the palm behind the chair.   It is very soft and looks far too generalised in the outcome. I feel that some of the sketches had more life and spontaneity whereas this final piece is a bit mundane.

Day 4 – 12 March 2017

After some reconsidering I have decided I find the composition of the drawing above rather mundane and boring and have decided to try a different view and endeavour to keep the working much looser.

Assignment 3 reworked

This drawing was worked on green pastel paper with water soluble crayons.   I thought that the view is more dynamic with a higher eye level and more perspective angles.   It is interesting to me because in some ways it is more successful and in others less so.   Whilst the light remains flat grey cloud and overcast I am not sure that the drawing encompasses the mood of a garden before Spring has Sprung!


It has been some little time since I have completed the last 2 drawings and standing back from them I have decided to submit the 2nd drawing as the assessment this time round.  My reasons for doing this are:-

  1. The composition is more dynamic than the first drawing   The long view draws the eye into the distance emphasising the perspective.
  2. The position of the objects is more interesting than in the first drawing
  3. The rather subdued dull flat light is more indicative of the February weather and grey overcast days.


My overall thoughts on this Part 3 module is that it has been a struggle for me.   Moving from one kind of subject to another without the time to develop my own relationship with the subject particularly landscape has been difficult.

I also have found that for the same reason though I connected strongly with Paul Nash and what has been called the “English Romantic Moderns” I did not have time enough to spend on this or increase my understanding with reading and research.

  1. Demonstration of Technical and Visual Skills

    In some ways I feel that my skills have fallen off a bit in trying to depict all these different subjects.   Also I have tried to extend my repertoire of materials but feel I am going back to the tried and tested ones too much.  There is a vision to produce much more dynamic work where the mark making is strong and sensitive at the same time.   I don’t think I am anywhere near this yet.    Because of the nature of the exercises I fall back into what can be achieved rather than what can be learnt from failing to achieve. As far as landscape is concerned I certainly would like to have a concerted effort to pursue this at some stage as I have found myself responding  in a way that I have found unexpected and joyous.   Joyous to be outside in the air and relating to the world in a different way.

My design and compositional skills continue to develop but I had a real problem with analysing perspective in order to achieve a successful outcome.  Somehow the more I thought about it the more difficult it became to achieve.!

2. Quality of Outcome

I am disappointed with the quality of the outcome on this assignment but partly this is because I was not particularly connected to the composition as I had been in the first 2 assignments.  This was a compromise in order to achieve the criteria of the assignment given the weather conditions and my personal circumstances. However having said this it did push me to produce work that I would not have attempted.

In some ways I have learnt more about different media and materials but am still finding it hard to apply a discipline to myself when approaching a piece of work.  It is as if I don’t ask myself enough questions before I start about what I am trying to achieve and just launch into the work. This is a two-sided issue on the one hand I want to remain and be even more spontaneous and on the other I want to apply what I am learning through the exercises in a deliberate way in order to achieve some mastery of my materials.

3. Demonstration of Creativity

This might sound like another moan but I don’t feel this time I have developed my creativity because of the different subjects.   Whilst I became fascinated with Nash and his approaches and did do some work in my sketchbook that indicated this engagement moving onto buildings and townscapes flattened that enthusiasm.  Experimentation has also been limited.

4. Context

The most important idea that I have realised is that I do respond to the outside environment particularly if it is personal to my life. i.e. the views that I see regularly and the mystery forest where I visit with my grandchildren.   How this then relates to a wider context particularly in relation to other artists I would have loved to have spent more time on eg Paul Nash, Eileen Agar and others.   There are aspects of both their works that I are very pertinent to me:-

  • place
  • photography
  • collage
  • combining media
  • natural objects
  • ancient sites
  • personal imagery
  • collaboration
  • subjective/abstract relationships
  • and much much more….

And also the discovery of Kentridge!






Part 3 – Reflections 3 – Assignment 3

Thoughts on the context and content of the Assignment 3 pieces.

Matisse table

matisse table


Raul Duffy – Little Palm Tree

When I had decided to work on the image of the garden I was thinking of the tables and chairs as they appear in many of the impressionist and post-impressionist paintings.   The only difference is that these seem mainly to have been painted in high summer or at least in strong light.

I wanted to feature the table which had erupted over the winter and was trailing its edge, the surface now undulating with damp.   On top of this is the pot with a plant that is just stem and no leaves.  Finally there is the bare earth in parts of the border.

revised view Assignment 3

Since this photograph was taken there was a big storm during which the pot fell and broke and the table has now been taken to the dump!  Transitions.   In a way this is what I think the whole of this Part 3 has been about – getting me out and re-connecting to the outside world.   In some areas this has had a strong response and in others i.e. buildings no response at all.

Also I suppose there was context and personal connection in the assignment piece but it does not come through as strongly as in the last 2 assignments I think.


  • A lot of frustrations which sometimes pushed me on to do things I would not have previously undertaken
  • Re-connecting to outside, trees, nature, landscape etc. personal places
  • Need for greater planning and thought in preparation for going out to draw
  • Still struggling with keeping work fresh and spontaneous
  • Challenging myself to use different materials and combination of materials.
  • Necessary to undertake more time planning at beginning of the modules so that I can fit in reading and research in a more structured way
  • More patience – I can’t achieve everything at once – but keep trying!
  • Stay open to opportunities and my responses to subject matter
  • Keep more notes on what rises to my consciousness – it doesn’t have to fit.