I took with me the oil sketches on board and paper along with five slides of the work as it is now. I didn’t talk too much Re context. Wanted to get broad comments. Askes about presentation/curation particularly the book in gallery space as it feels important for it to be experienced as an object. Large paintings are very early works in progress and will change over the next several months.

Take away from crit; Lots of great ideas for gallery /book experience. Will likely have a go at making a smaller similar book to be handled. To be shown alongside the main book. I found it really interesting to hear how people read the work in progress. particularly the perspective of the stage/wall/ looking in/out view point.

Notes below;

PaintingsBooksEssay attached5 paintings – working towards final piece – WIPDocumented pictorially
Process5 metre wall – birch flyboard Individual compositionsObjects in space with gravity charcoal drawings incorporatedLayers of investigationAdding under layers of colour and light12 objects
Book presented in a vitrine with a screen ‘flicking through’ next to it.Preciousness of book enhancedTime needs to be determined by the reader, the layers and echoesArchiving, sketches acretingNeil likes current binding – haphazardEssay will go at the end of the bookGenerousSpace – studio spaceHas it triggered lots of memoriesClose reading of these objects
Museological ‘form’“I love horses” in the hymn bookWeight of objectsWeight of clayAcute detail, indeterminate objectsfragments of remembering/mis-remembering and truthContrast between speciality of cutlery and clay – objects on a surface and an object in space/airObjects are moving away from youDifferent stages of attentionTimeline cutlery photograph, laid out, progression of how the objects have been approachedTaxonomical sorting
Ancient Greek – relics, colours, abyssFuture human homes – wasp nestsHow their context changes as they travel through time and ownershipConstantly evolving narrativeSubject/object
Are the objects in the pairings characters/props/emotions/stageOn stage looking out? Threshold/proscenium arch – audience looking on Abyssal
AmbiguousSuspenseLatent energy/potencyStage set of life – something has happened or something is about to happenChargedAftermathContingent – another two months painting to goWhen to stopIts all thereComfortable with unknowing of the processVessels/solid/stretched/suspended or hung – hollow solid, weight and lightnessEmotional and physical weightVessels – clay – unthinkingly make a vessel – processSome just intuitive imagining of how it works composition – tacit – knowing – painting process decisionOnly the shoes are ‘real’ as well as teeth – one to one relationship with the objectsCutlery pile is blending inThere but layered overColour range – choices sepias and umbers tones – early on in process so light and darkHow much are you looking at the history of still life ‘low’ form in hierarchy of genres – decorativeLower than biblicalStill life as process that students doEpic in scale – opposite of tradition still life – intimate/portable decorativeArchitectural space within paintingShown in relations to the canvasLaure ProuvostObjects books, paintingsStage set of the exhibition!Real objects – Zanna – no!Process that Julie has been through – memory – too much of an explanation if the objects were absolutely there
 5 versions of the book that could be played with the gallery