001 reflective practice


Published on

presentation given to MA Book Art Students at Camberwell

  • Be the first to comment

  • Be the first to like this

No Downloads
Total views
On SlideShare
From Embeds
Number of Embeds
Embeds 0
No embeds

No notes for slide

001 reflective practice

  1. 1. reflective practice 10 - 11 - 13
  2. 2. your making - contextual framework social political personal critical/theoretical historical geographical institutional cultural
  3. 3. assumed knowledge
  4. 4. reflection in action - (while doing something)
  5. 5. reflection on action (after you have done it)
  6. 6. ask yourself questions lots and continuously
  7. 7. why do you make work?
  8. 8. what’s it for?
  9. 9. what do you want from your work?
  10. 10. what do you get from your work?
  11. 11. what is your work about?
  12. 12. who is your audience?
  13. 13. where does the work go?
  14. 14. what do you like doing?
  15. 15. building a reference point(s)
  16. 16. connections art history music dance writing general history geography/place contemporary practice science
  17. 17. materials and process’s understand what you work with become an expert
  18. 18. timetable activity 1 2 3 4 5 6 7 8 9 Research Testing Sampling Final pieces Creating presentation Presentation Trip/visit
  19. 19. defining practice
  20. 20. your making - contextual framework social political personal critical/theoretical historical geographical institutional cultural
  21. 21. social context Making and seeing an image always takes place in a social context. The way it is seen and how it is seen are culturally constructed. Audience for work - who is included/excluded/implicated on the ways an image is produced, circulated and consumed
  22. 22. political context Specific political issue broad political issue gender - race - ethnicity - sexual orientation - class - disability - religion
  23. 23. personal context Biography - narrative of the self particular issues - memories What motivates/ drives you? Your particular skills as an artist/ designer/writer/photographer What strategies do you use when the work is not going well? How do you relate to the forces that in part condition what you know and in which you make things?
  24. 24. critical/theoretical context Does your work relate to particular critical debates about contemporary art and design practices? Is your work informed by/engaging with/contesting particular theoretical frameworks/issues?
  25. 25. historical context Understand how/whether your practice relates to a tradition, with a history How knowledge relates to periods in time.
  26. 26. geographical context Local, regional, national, international, global. Where do you make your work? Do you make your work in relation to a particular place? studio home church city rural cyberspace
  27. 27. institutional context UAL – CCW – MA Course Your educational background/experience Your professional background/experience Your family background/experience
  28. 28. cultural context In it’s broadest sense - ‘a whole way of life’ - this relates to all the other categories. More specifically, what works of artists, designers, writers, filmmakers, photographers, musicians are important to you and your work - why?
  29. 29. mapping your practice Any other contexts worth considering? Importance Overlapping change - evolution of practice
  30. 30. why find one? vacuum moving forward learning growing position aspiration
  31. 31. HOW
  32. 32. reflective journal
  33. 33. stop
  34. 34. what is a journal?
  35. 35. format A4, 5, 6, 7, 8 pocket phone i pad blog
  36. 36. a journal is a place for... Recording thoughts, ideas, observations, things Reflecting to gain understanding Analyzing to further your learning Concluding setting out what you have thought about
  37. 37. what’s in it - actual? written notes diagrams drawings sketches
  38. 38. what’s in it - ideas? personal insight observations questions speculation the work of others
  39. 39. the work of other students
  40. 40. Inspiration Water has no shape, but it can be any shape. Water can melt lots of things. We can’t tell the shape of our memory. Our memory will melt in the time.
  41. 41. Strengths: •Using a range of experimentation with different textile processes •Successfully linking photography with screen printed images to produce final designs •Combining images with contrasts in scale •Photographic images •Starting to communicate emotional quality of place •Using a wide range of different materials •Have conquered fear about photoshop and getting to grips with using it as a tool Weaknesses: •Over-thinking and talking about ideas before experimenting •Abandoning too many ideas before developing them – a bit ‘butterfly-like’! •Over reliance on photography •Lack of focus sometimes and a tendency to jump from idea to idea •More breadth of research needed into other practitioners Opportunities: •To work much bigger with form and structure ideas •To experiment with performance ideas and use K and U of drama to communicate ideas to audience •To explore other contexts such as fashion/costume •To collaborate with other practitioners working in sound and image Threats: •Time management •Becoming over reliant on photoshop – just to be a bit wary •Becoming fixed on one location and limited by this – themes should be transferable •Self sabotage through lack of confidence and anxiety about what is expected of me •Trying to be someone that I’m not and forgetting where I am in this process
  42. 42. FINAL WORK
  43. 43. Bob Brown “To continue reading at today's speed I must have a machine. A simple reading machine which I can carry or move around, attach to any old electric light plug and read hundred thousand word novels in ten minutes if I want to, and I want to.” p.28. Brown, B. (1930) The
  44. 44. content raw un-thought-out observations recorded close to the action think police note book reflection stuff you have thought about connections notes on the unexpected
  45. 45. questions what happened? why did it happen? what do I think about this? what should I do as a result of this? how do I do this?
  46. 46. how to use it write often note down dates and times write freely - without hesitation write down - even if its not relevant
  47. 47. observe and collect
  48. 48. http://lesbicknell@blogspot.com
  49. 49. materials ambition - what are you going to do? processes context audience work of others what do you want at the end? title description of what you are interested in.