Final Proposal of Study MAC701 Julie Ellis

Aims

· To develop new ways of thinking and working both conceptually and physically setting aside intention for final composition, representational forms and narrative.

· To develop work through an intuitive and experimental approach.

· To produce a body of work which will ultimately encompass new mediums, tools and methods?

· To gain a deeper understanding of how to develop research directly through the act of making art and to link my making and writing.

Objectives

· To continue painting and drawing to develop new approaches both practically and psychologically to mark making whilst responding to less prescriptive ideas of making art.

· I will experiment with physical and subliminal restrictions such as blind drawing, automatic drawing and writing to induce ‘unthinking’ ways of making.

· I will familiarise myself with new materials such as using found objects imagery and clay using a developmental, intuitive approach.

· I will research Surrealism, Abstract expressionism, Automatism, Action painters and both historical and contemporary creative’s who work with an unintentional and unplanned approach to making.

Project outlines and methods

This project is an exploration of materials based making using intuitive and unplanned approach as outlined in my aims. I describe this as unthinking as I find ways to interrupt my usual thought process, environment and knowledge and strip it back to the primitive interaction between maker and materials. This will evolve through a rigorous practice led by experimentation and exploration of substances which challenge my current methods of creativity. I will respond to unfamiliar materials and processes accessible through the university and enrich this practical element with peer and tutor conversations and research. I also intend to seek out events and exhibitions which may link to notions of the unplanned, intuitive or improvised within other creative genres.

Rationale

To date my painting practice has centred on a sense of place and memory autobiographical. This work has over time become less intuitive, increasingly deliberate and planned as I have developed my skills and understanding of painting. Whilst this has given me a valuable understanding of process, historical methods, composition and colour, it has also led to a lack of spontaneity and boldness. On reflection there is a simple, unplanned beauty in the mark making of my earlier work where I was a less practiced painter in which I see a sense of discovery and excitement. The decision to return to study is the interconnecting element to resources which will allow me to reinvigorate my practice. I feel that there is room in my practice for defiance in the place of an increasing familiarity which could lead to repetition. Subliminal thought, historical philosophy and psychology has informed previous research topics for writing. I plan to build on this area of interest to examine the tension between the imagined and reality, deliberate and unintentional in terms of producing contemporary art.

Mapping the field and sources

Initially I plan to research 20th century art movements such as Surrealism whose artists explored ideas around the subconscious and created dreamlike juxtapositions of representational forms. Artists such as Max Ernst, Dorothea Tanning and Joan Miro are of interest to me as well as the 1924 manifesto and writings of André Breton. I also intend to look at the Abstract Expressionist action painters of the 1940 – 1960s such as Willem de De-Kooning and Helen Frankenthaler whose work was produced in the immediacy and spontaneity of the making process. This research will form a foundation or outline of the historical context which could be relevant to my ongoing practice.

Expanding on this I will be Looking at other creative’s who have applied the ‘unthinking’ which I refer to such as American composer of music John Cage who produced work which was absent of planning or preconceived musical direction. Another artist of interest is Contemporary mutli disciplinary artist Susan Hillier whose work deals with automatic writing and the unconscious. Generative art is an area of interest to me which explores ways of mark making which are determined by external forces often but not exclusively by non human interaction. These three areas of research I hope will open up the possibilities for my own practice in terms of sound, moving image and the unpredictable. It is important for me to unearth the unfamiliar and unexpected and apply it to the work that I am producing.

In addition to the sources of research above I have sought reading material which explains how art practice promotes research and the relationship between art and thought so that I may present a more cohesive rhetoric around my physical practice and the theory.

Initial bibliography

Macleod, K. and Holdridge, L. (2006) Thinking Through Art – Reflections On Art As Research. Routlidge

Sawdon, P. and Marshall, R. (2012) Hyperdrawing – Beyond the Lines of Contemporary Art. I.B.Tauris & Co Ltd

Leslie, R. (1997) Surrealism – The Dream of Revolution. Tiger Books International

Manco, T. (2012) Raw + Materials = Art. Thames and Hudson

Levine, E.M. (1971) ‘Abstract Expressionism: The Mystical Experience’, Art Journal, Vol. 31, No. 1 pp. 22-25

Rosenberg, H. (1952) ‘The American Action Painters’, ARTnews, Jan 1952

Timeline

1st October 2019

Tutorial – Draft proposal and example of work. Aim to discuss progress of above and suggestions points to improve. Reflect on conversation and record thoughts and outcome via blog. Moving forward this time will be spent finalising proposal and producing presentation. Think about how to present, concise communication, useful questions to ask the group and objectives.

22 October 2019

Presentation – Aim to record conversation and comments from peers and tutors for reflection and analysis. Write up any relevant findings and/or changes in thinking via blog. Moving forward this time will be spent making work, experimenting and exploring new processes through inductions, workshops and studio time. In addition, reading from own reading list whilst allowing new ideas, texts and theories to evolve through practice.

12 November 2019

Tutorial – opportunity to discuss progress, questions, guidance or advice from tutors. Reflect and evaluate next steps and record via blog. Refine ideas and continue to develop balance between practice and research to produce a piece or pieces of work for crit session with the group. To optimise opportunity for dialogue around the work produced to date.

3rd December 2019

Group crit – Aim to record conversation and comments from peers and tutors for reflection and analysis. Write up any relevant findings and/or changes in thinking via blog. Moving forward this is time to begin to self evaluate and pull together solid ideas and thought process for hand in and moving towards next module.

10 December 2019

Tutorial – Aim to record conversation and comments from peers and tutors for reflection and analysis. Write up any relevant findings and/or changes in thinking via blog. This time will be used for resolving ideas and thinking about taking areas of interest successful elements of the project forward for MCA702 thinking about next steps I should be evaluating where I can improve and expand. Final preparations for hand in should in particular consider possible ways to present outcomes. Any questions and thoughts that arise from self evaluation can be addressed if necessary at drop in tutorials after Christmas break

7 January 2020

Drop in tutorials and assessment preparation – Hand in