Category Archives: Submission for Assessment

Submission with Links to Blog.

My 2017 Submission for Painting1; the practice of painting, consists of eight A1 boards.

Board 1– Assignment One. Oil paint.

Encouraged by the work of Andy Warhol with reference to ‘after party‘, I choose to paint these objects because they are my tools, my lifestyle is intrinsic with the OCA as either studying for this course or the ‘understanding visual culture’ course so I’m either painting or reading about visual culture – this is my depiction on an ideal dinner party.>

Board 2. Oil paint and Phone book paper.  ‘Head and Shoulder’ exercise. [Part 3; Portraits and figures.]

I refer to Lucian Freud, Night Portrait [1978] to support this study of the techniques used when painting the colours and tones of flesh.

Board 3. Two Oil paintings, one of a narrative and the other from an exercise; ‘Painting from a photo’. [Part 4; looking out]

…I didn’t like the sky in this photo so I painted sky taken from another photo, which is far more angry and turbulent. This would of course change the coloring of the rocks, but this is the beauty of painting which is; I can interpret the image how I want. The painting is of sun warming the rock face and an angry sky brewing above, looking out towards a magical purple sea line. Both paintings were exhibited with the help of ‘Friends of Ellington Park’ in a show called ‘Between the saint and the Sea’.

 My evaluation of the above paintings explains my intention of suggesting a variety of genres with a dullness of colour but fullness of light. The colourings suggest a ghostly, haunting visual language which is associated with the past tense or events that were staged but captured on film and then depicted in the medium of paint. The concept is how photography is used as a process of capturing moments and then suggesting this with another medium such as paint, how this form of medium can affect the perception and change of interpretation.

Board 4, Assignment 3, Part 3; Portrait and Figures. Oil Paint on Carpet, with wool and thread. 

The Enamel Paint has been scraped off a surface and the reverse side has been used as collage. A similar Technique was used by Gerhard Righter when painting Enamel paint on Glass therefore seeing the painting from both sides. Sinbad [2008] alludes to the book of ‘One Thousand and One Nights’ is a series of works which are viewed behind glass that are often referred to; ‘Cathedral Window’ [2007] . This series relates to a notion of chance and abstraction.

The use of carpet was influenced by Samara Scott whom explores the fusing of natural and artificial, the plasticity and the organic; it’s a message about contemporary consumers.

Board 5. Assignment 4. Part 4, Looking out.

Oil Paint with Resin, Straw, Sand and Pine needles.

Strongly influenced by the intensity of summer light and an ongoing fascination with Van Gogh, I wanted to depict Nethercourt Park from my perspective. Where ever you sit at Nethercourt, it will be under a tree. The canopies are very spread out so the indication of the tree foliage was instrumental. After trial and error, I found pine needles were the ideal element to utilize and the effect resembles a bird’s nest. Many things can be associated with birds’ nests for example the Beijing National Stadium was nick named ‘birds nest’ due to its twisting steel section that forms its roof, but also Chinese culture regards ‘Birds Nest soup’ as a delicacy and is expensive. The saying ‘as free as a bird’ is contradictory when considering the labour surrounding the creation and maintaining the Nest and its contents. I feel this metaphor is harmonious with being a student as I have the freedom to create but the process of nurturing this learning journey is never easy.

Board 6. Assignment 5.Part 5.Personal Development, A series of paintings on a theme.

Oil and Enamel Paint, Transferred images from National Geographic. Straw, Grasses & Resin. The Larger painting balances a combination of elements such as texture, marks and colour alongside the subject of the tree. This semi–abstracted subject gives a sense of scene and self-discovery.

Board 7. Assignment 5 developed.

Enamel Paint, Straw, and Pepper, wool, thread and fabric which has been burnt. Influenced by my study visit, to the Robert Rauschenberg Exhibition [Tate 2017] and other Artists that work with various materials such as Yinka Shonibare, Phyllida Barlow and Michael Armitage who paints on lubugo bark cloth. I am progressing with my practice and revisited paintings and combining other materials and techniques so to consider possibilities. Some of the thread work resembles a spider web, which is a rich metaphor with a long and ongoing life. Each new painting is like spinning another Web, the knowledge taken from past experiences enables the process to evolve into something much stronger.

Board 8- Written evaluation, submission layout instructions.

My overall evaluation of these paintings is how I am expressing a development of working with other materials, investigating an intensity of light/ luminosity and my experimentation with different painting techniques. My intentions are to move away from a pictorial notion and follow my strengths which are a more fluid and colourful. I enjoy weaving mediums together and my painting has become an element of an autonomous process. The reason why I am progressing towards combining mediums is because I am questioning the value of paint as a pure element. I perceive it as being limited and dull but when interconnecting /introducing foreign elements the image is far more diverse and engaging. The reason I am interested with diversity is that my ideology knowledges the problems with hierarchy within society. Respect all materials, colours and consider empathy infinitely.  

A2 Portfolio.

Contains 15 studies that connect and refer to works submitted plus two workbooks.

Submission; Written work supporting Practical submission.

How I have Grown as an Artist.


Enamel Paint, Wool and String on canvas. 2017

The works that I have chosen to display, explain my progression while working though the course work of ‘The practice of painting’. The first 3 boards explain my struggle with formalism, the restrictions of the course work and how the exercises are a process of directing the student towards a development of ideas through using a variety of techniques, researching contextual material in the form of a range of media. I was not able to connect with these projects. My flaw was that when I came to start work on the assignment, I started the whole process of developing an idea, I did not move forward with the ideas I had already touched on in practice during the projects. This is an indication of my inability, my stubbornness to conform to the structures of the course work.  I realised a need to be more fluid in developing my own ideas as I became more confident in analysing my creative process.

I wish I had been more self-authoritative, confident and rebellious and followed my own way of developing ideas earlier on, But by obeying and conforming to the coursework, I learnt that this way of working and learning suffocated me. I wish I had used the course work as guidance and not been so controlled by it.

My new tutor (whom was assigned during part 4 of the course) delivered me to the conclusion of using the exercises as a suggestion not a compulsory expectation. I was able to adjust and work autonomously, so I decided to exploit this change of direction within the submission as this a clear indication of the process of growing as an artist. Boards 1, 2 and 3 are very controlled and the colours used are restricted. Boards 4, 5, 6 and 7, explain a direction towards a fluid and colourful expression with combining other materials and a range of techniques researched from a variety of Artists and Sources.

The reason why I have selected these submitted paintings is to visually communicate the different ‘ways of working’. This could be to, relay on the course work to deliver an idea to develop, or take the course work as a helping hand, a starting point, a suggestion towards an idea and taking ownership of exploring a notion of chance. Anni Albers [1899-1994] is to have a major show at the Tate Modern in 2018; she is perhaps the best known textile artist of the 20th century. ‘…a free way of approaching a material seems worth keeping in mind as far as the work of beginners is concerned. Courage is an important factor in any creative effort. It can be most active when knowledge in too early a stage does not narrow the vision’. (Pomery, 2017) Her Husband Josef Albers [a founder of the Bauhaus] was a painting instructor to Robert Rauschenberg while teaching at Black Mountain College in 1948. Albers preliminary courses enforced strict discipline that encouraged students to follow ‘hands-on experimentation’ (Gottesman, 2017). This apparently influenced Robert Rauschenberg and fifteen years later admitted, (Kimmelman, 2008)“I’m still learning what he taught me.” In my final tutors report (Winter, 2017), she suggested that I should question the reasons why I am drawn to certain Artists and question myself so to show control and appropriate justification, even if I don’t know the answer. I question – How unintentional are these interconnecting artists/ sources, which have encouraged my own progression towards combining mediums? Were they intentional, was my viewing censored and was I directed towards linking these sources due to the spectacle available to me at the time?


Gottesman, S., 2017. How to Be an Artist, According to Josef Albers.. [Online]
Available at:
[Accessed Friday September 2017].

Kimmelman, M., 2008. Robert Rauschenberg, Titan of American art, dies at 82. New York Times.

Pobric, P., 2017. Show set to let textile artist and printmaker Anni Albers shine. [Online]
Available at:
[Accessed Friday April 2017].

Pomery, V., 2017. Preface. In: K. Wright, ed. Entangled, Threads and Making. Margate: Turner Contemporary, p. 5.

Winter, M., 2017. Tutor report reflection P5,L1,POP. [Online]
Available at:
[Accessed Thursday September 2017].