Evaluation of Assignment 5 works

Write an evaluation of your series of paintings and of the progress that you feel you have made as a painter. Draw attention to the parts of the course that have furnished you with the most creative resources and explain why this is.


My series of paintings are of a development of a landscape which was first painted for assignment 4. The development of this landscape is how it becomes progressively more abstract. My first initial plan, was not how the work progressed; I first planed to take one  composition and focus on areas of that composition with dedicated supports. For example, the park bench that is covered in moss , graffiti and expresses intricate textures was going to have a support suggesting these textural features. What I did do was take my Tutors advice; “…think about a sense of self-discovery to investigate what paint can do.” This Part of the course ‘ The practice of painting’ is called; Personal development and I certainly feel that I have developed along side my Painting Practice. The series of works that have been sent to my tutor are nothing like what I initially planed, these works have progressed with referring to my tutors comments above and researching the Objective Abstraction group. I did work with the paint and a surface, but the plan of depicting certain subjects was deconstructed with the use of paint handling techniques. Removing myself away from the paint brush was revolutionary as exercised in the project ‘ Different ways of applying paint’. The other key factor was the project; ‘working towards abstraction’ because this delivered me to the National Geographic magazines, where most photographs are taken from a satellite  position therefore they describe an abstract world.

The National Geographic magazines are a fantastic resource for me as the paper quality is so glossy that when you wipe it with cleaning products it has the same qualities as paint brush work. Why was this important to the creative process? The connection is the glossy photographic modern machine made medium placed within the same context of my creative space. This resonates with me, as the actual wiping away modernity and then placing that deconstruction within the context of my expression. I have taken the magazine pages, stuck them where I wanted to as a means to express a sense of a landscape. I then cleaned the glossy ink away where I wanted to blur the images and then I dropped paint down onto the same surface and watched it spread out, infiltrating the areas of collage. I interfered with the spontaneous paint spreading by moving the surface, I also removed and carved into the paint by scrapping it with a comb or a pine-cone taken from the actual landscape. Finally I borrowed from the artists I had researched through out this part of the course; Anselm Kiefer (1945-) , Sam Francis (1923-1994) and Frank Stella(1936-) I have already noted why and how these artist have influenced my direction of work in this past blog; Assignment 5 work in progress 

I don’t feel this creative progress has come to an end, I am still experimenting with other works that I have not sent to my tutor. I have been recently burning holes in past painted canvases which is something I talked about doing after I received a disappointing result on another course here;Assignment 5; Final painting.. I found the marks left behind on the canvas was an image of danger and was fascinated how the paint shrivelled up in the heat. The holes that were left by the fire needed treatment, so I attached a magazine page taken from the resourceful ‘National geographic’ and stitched over it. My technique has become progressive, just like my painting practice, finally the two have made a connection.

Collage, Enamel paint, burnt canvas and embroidery thread. (some of the enamel paint has been pealed off from the drip tray and then the reversed side has been stuck onto the canvas- top left hand corner and orange sauce mark in middle)

Enamel paint on fabric with embroidery hoop then stuffed. (PS. The hoop is not framing the painting but finishing the painting, adding the final touches as the Embroidery hoop is not the frame , it is an element of the painting. The circular, puffed out fabric suggests the painting as subject)




Enamel paint with Aliphatic Resin


Melting wax crayons with taper onto cake stand that’s had filler applied.


Demonstration of Technical and visual skills-

I worked larger and with more fluidity suggesting a gestural semi Abstract illusion which demonstrates ownership of the medium ( Enamel paint), texture, and colours which are used to explain depth of perception. The layered colours suggest a sense of place under the tree; a focal point and area of engagement.

Quality of outcome-

The progression towards the final painting was a formula of trying out different ways of working with paint (4 studies) and then reflecting on the outcome before preparing to work on another painting. I had to analyse the outcome of the painting process and select what direction to take next each time. My judgement was based upon my contextual research of other artists. By understanding their work I am able to understand my own work, I am now at a stage in my learning process where I can be guided and not over influenced by my research.

Demonstration of creativity-

I have added other matter to paint from assignment 2 onwards and have painted on untraditional surfaces such as carpet and fabrics so I have gained more confidence using this as a technique to add interest to the overall image. I feel this shows invention and independent judgement. I have challenged the ideals of painting being just about paint. Is the ‘creative arts’ more creative than the ‘fine arts’? I am more intrigued with paint and other context/matter than I was at the beginning of the course.  I have taken notice of my tutors comments; to take experimental exercises from my workbook and reference these expressions in the assignment work. My research and breadth of reference have encouraged risks to be taken and I have persevered with this technique as a way to move forward and improve.


I recently asked some questions on the OCA forum about this particular subject. The responders  were very helpful and some were frustrating because they had misinterpreted the question (on hindsight the critical response was helpful in another area). I had also watched a university website video about critical analysis which correlated well with this subject. The student in the video was explaining how some students think that a critical review should not be to critical, but the student questioned this idea; If the reviewer is engaged enough to give sound critical analysis then this should be heard and responded to.

All interaction is good as long as its helps the person to move forward. I find I struggle with this, hence why I asked for help on the forum; which on its own accord was a process of discovering more. I have a tendency to take comments personally, I am emotional naive. Its  easy to ask certain people advice when you have pre-empt the anticipated positive response. I will mature as a student when I methodicaly put into motion the  process of dissociating my emotions and re-associating myself with the work.


Objective Abstraction link, Cited on 20.9.2017 http://www.tate.org.uk/art/art-terms/o/objective-abstraction

Assignment 5 personnel blog posts referred to- https://melindawpainting1.wordpress.com/2017/07/28/assignment-5-final-painting/





2 thoughts on “Evaluation of Assignment 5 works

  1. Madalina

    Congratulations on your work Mel! I love the way you started from various influences and developed your ideas into the final project. I also find very inspiring the fact that you are challenging the painting traditions and you are questioning what you do. In my opinion it is very positive to be emotional because you can focus more on your feelings in your own painting.
    I look forward to seeing your next artworks.

    Liked by 1 person

  2. Pingback: Submission with Links to Blog. | MelindaW POP (pratice of painting)

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