your making - contextual framework
Making and seeing an image always
takes place in a social context. The
way it is seen and how it is seen are
Audience for work - who is
included/excluded/implicated on the
ways an image is produced, circulated
Specific political issue
broad political issue
gender - race - ethnicity - sexual
orientation - class - disability - religion
Biography - narrative of the self
particular issues - memories
What motivates/ drives you?
Your particular skills as an artist/
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?
Does your work relate to particular
critical debates about contemporary art
and design practices?
Is your work informed by/engaging
with/contesting particular theoretical
Understand how/whether your practice
relates to a tradition, with a history
How knowledge relates to periods in
Local, regional, national, international,
Where do you make your work?
Do you make your work in relation to a
studio home church city rural cyberspace
UAL – CCW – MA Course
Your educational background/experience
Your family background/experience
In it’s broadest sense - ‘a whole way of
life’ - this relates to all the other
More specifically, what works of artists,
designers, writers, filmmakers,
photographers, musicians are important
to you and your work - why?
mapping your practice
Any other contexts worth considering?
change - evolution of practice
Water has no shape, but it
can be any shape.
Water can melt lots of
We can’t tell the shape of
Our memory will melt in
•Using a range of experimentation with different
•Successfully linking photography with screen
printed images to produce final designs
•Combining images with contrasts in scale
•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
•Over-thinking and talking about ideas before
•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
•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
•Becoming over reliant on photoshop – just to be a
•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
“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
p.28. Brown, B. (1930) The
recorded close to the action
think police note book
stuff you have thought about
notes on the unexpected
why did it happen?
what do I think about this?
what should I do as a result of this?
how do I do this?
how to use it
note down dates and times
write freely - without hesitation
write down - even if its not relevant