001 reflective practice

reflective practice

10 - 11 - 13

your making - contextual framework

social political

personal

critical/theoretical

historical geographical

institutional cultural

assumed knowledge

reflection

in action - (while doing something)

reflection

on action (after you have done it)

ask yourself questions

lots and continuously

why do you make work?

what’s it for?

what do you want from your work?

what do you get from your work?

what is your work about?

who is your audience?

where does the work go?

what do you like doing?

building a reference point(s)

connections

art history

music

dance

writing

general history

geography/place

contemporary practice science

materials and process’s

understand what you work with

become an expert

timetable

activity 1 2 3 4 5 6 7 8 9

Research

Testing

Sampling

Final pieces

Creating presentation

Presentation

Trip/visit

defining practice

your making - contextual framework

social political

personal

critical/theoretical

historical geographical

institutional cultural

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

political context

Specific political issue

broad political issue

gender - race - ethnicity - sexual orientation - class - disability - religion

personal contextBiography - narrative of the selfparticular issues - memoriesWhat motivates/ drives you?Your particular skills as an artist/ designer/writer/photographerWhat 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?

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?

historical context

Understand how/whether your practice relates to a tradition, with a history

How knowledge relates to periods in time.

geographical contextLocal, 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

institutional context

UAL – CCW – MA Course

Your educational background/experience

Your professional background/experience

Your family background/experience

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?

mapping your practice

Any other contexts worth considering?

Importance

Overlapping

change - evolution of practice

why find one?

vacuum moving forward

learning growing

position aspiration

HOW

reflective journal

stop

what is a journal?

formatA4, 5, 6, 7, 8

pocket

phone

i pad

blog

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

what’s in it - actual?written notes

diagrams

drawings

sketches

what’s in it - ideas?personal insight

observations

questions

speculation

the work of others

the work of other students

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.

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

FINAL WORK

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 Readies. Roving Eye Press.

contentraw

un-thought-out observations

recorded close to the action

think police note book

reflection

stuff you have thought about

connections

notes on the unexpected

questionswhat 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?

how to use itwrite often

note down dates and times

write freely - without hesitation

write down - even if its not relevant

observe and collect

http://lesbicknell@blogspot.com

materials ambition -

what are you going to do?

processes context

audience

work of others what do you

want at the end?

titledescription of what you are interested in.