Reflection of my Tutor’s feedback on my submission of Part 3.

In my last Tutor’s feedback for Part Three, “Incoming Voices,” he asked me to focus on the following points:

• I will think and write more about my practice working experience on multiple sheets, which I will use to develop my large painting by the end of this course. I will do so in my pots for part Four, “Reflecting and Refining,” which I am opening with this blog post.
• To study Cezanne’s works, he extensively used green in his paintings. I will research his work in this section. I researched Paul Gaguin’s works in Part Three, so additional research on Sezann will be relevant. I have to expand my research on Gauguin.
• I need to focus more and reflect on changes in my perception while working with my panels, which represent fragments of my future larger painting. I am advised to oversee the change and reflect on it in writing.
• I have to make additions closer to the assessment of my blog post, where I analyzed different artists’ artworks and their compositional solutions. I have to add a comparison with my works.
• Expose myself to critical feedback and peer review.
• In the “Incoming Voices” exercise, I need to describe how these incoming voices have changed me and influenced my practice.

Bloomsbury Group.

Exercise 1. The Everyday.

In this exercise, we must consider how much our work draws on our everyday lives. The questions to reflect on:

• Do you use personal experiences to influence and inform your work?
• Does your work incorporate everyday materials or processes?
• What is your making pattern, and how does this work in your daily routine?
• Could your artistic practice be better supported by integrating it into your daily life? 

“Write about this in your learning log in an exploratory way to discover ways you might integrate your art and life.” ( course book)

The first two questions in this exercise are connected with a previous part three “Incoming Voices”, where we were asked about how incoming voices – incoming experiences influence our practice. So here I catch up with my Tutor’s request to be specific and indicate not only what is influencing me but how.

I think any art is triggered, evoked, inspired, influenced, nurtured and fed by the personal experience of an artist. I am not an exclusion in this case. There are tow levels of “personal experiences – incoming voices” reflected in my ptactive. The first level is a basic sensorial experience. My personal visual experience along with stimulated sensorial exposure to be surrounded by lavish grrenary of my living area, the sea and the sunlight, the air is a driving force of my painting practice. My Tutor mentioned several timrs that I handle well the green colour. This is a direct influence of my personal experience on my practice. The vibration of green is very physical to me so it just goes on the painting surface. I didnt put an objective or goal for myself: “paint green a lot.” It just comes naturally as my dominant personal visual experience. The plants I see everyday unambiguously go to the canvas informing my paintings’ viewers.

Another level of “personal experince-incoming voices” is a mental experience stimulated and evolved via new knowledge I receive while reading and learning. It is not sensorial, it is psychological, mind related and thought-based. I don’t think a lot about mysepf as a physical body, an Earthy creature, as well as about other people, I tend to think a lot about God and that is informing and shaping my painting practice. As a result, I don’t find a figurative art as engaing for myself but focused on painting images as my humble attempt to chanell a tiny spark of the Divine power to create beauty or reflect on above Earth realms. These are my works about plants and flowers and celestial bodies.

My answers to the last two questions about my art making pattern and how my artistic practice can be better supported to be incorporated in my daily life. My art making pattern unfortunately is rarely daily, it is weekly. Mainly because of my large current family workload. I wish I would be able to spend 8 hours a day in my studio enetering it at 8-9 am and wrapping yp by 5-6 pm. But this wont happen soon. basically, I can afford myself to spend my lomgets 4-5 hours working in my studio only on week-ends. My artistic practice can be supported in this sense only if I stop doing my family duties such as taking care of school age children.

I have read the suggested material about the Bloomsbury group at https://www.tate.org.uk/art/art-terms/b/bloomsbury/lifestyle-lives-and-legacy-bloomsbury-group

Project 1B Taking Stock

Exercise:” Draw up a list of words that prompt you to appraise different aspects of the work, for example: size, scale, palette, form, material, sound, temporality, subject matter, tactility, tone and quality, character etc.”( Advanced Practice work book, Part Four)’

I don’t fully understand this exercise about “finding gaps between my works” so I will get back to it later.

Exercise: “Write a list of ten questions in your learning log that you would ask if you were interviewing an artist about their work and practice and how they arrive at a resolved piece of work.”( Advanced Practice work book, Part Four)’. I find this exercise interesting and challenging, since I don’t exclude a possibility of me working as an ark critic. Actually, I even imagine that I interview an artist Sasha Gordon (1998-), an American figurative artist painting mostly self-portraits, typically depicting her nude body.

From left to right:

“Pinky Promise”, Sasha Gordon 2022, image via Instagram @sashagordon [accessed on October 9th 2024]; “In my Dreams I dance for you”, Sasha Gordon, oil on canvas, 2022; image via Instagram @sashagordon [ accessed on Octover 9th 2022];

My list of questions to an artist.

1. What life experience made you painting yourself? Is it related to some childhood trauma and your art practice has therapeutic effect or your explore something different?
2. In your interview with Vogue magazine in February 2022, you mentioned that art making helped you feel seen and accepted for your “large” Asian female body. Obviously, we depend on the social, conventional beauty standard imposed on us. Do you think you are completely free from this standard, or are you still in its captivity?
3. How long you think you will be in this process of healing reaching a point of “loving” your body so you will be interested in other subject? Dont you get tired to be that much self focused? What can or will change you?
4. Will you agree with those viewers who find your works narcissistic?
5. Why you don’t paint other people?
6. What is nudity for you? what you want to say emphasising nudity in your artworks?
7. Men are rare guests on your canvases. Why is it so?
8. Tell me more about other artists’ influence on your practice, as well as what books changed you?
9. What is your creative daily routine?
10. Where do you see yourself as visual artist in your next decade in terms of genre and painting subject?