My own reflections from this assignment which I sent to tutor.
This assignment was more fun and interesting than I had expected it would be. Despite the difficulties presented by the Covid-19 pandemic which limited movement from the local area making some exercises a bit tricky to engage with. Before starting this assignment my views on drawing were leaning more towards the traditional classical side using tried and tested mediums such as graphite, charcoal and ink. Project 2 was a great chance to use natural objects and really step out of my comfort zone where I used some sticks to build a den around a tree trunk. The idea that only natural objects were used in a way that interacted with its environment, and there was the possibility that other people could then interact further – possibly destroy it or build it further – was exciting. Previously my relationship with the viewer was limited to them looking at my work, not interacting with it.
For Project 3 I became interested in the anamorphic perspective using Holbein’s painting ‘The Ambassadors’ as a starting point where I tried to emulate the skull coming into view from a certain viewpoint, but using an object that made sense with its environment. I think the skull looks odd on the floor in Holbein’s work. I had a few attempts where I struggled to get the object (a bottle of Liquin oil painting medium) to look real. The first drawings had caps that were massive, causing a viewpoint from directly above, but the cap looked so large it was larger than life size. I tried a sideways perspective which did work a little bit better. I enjoyed doing the research into some pavement chalk art and the idea that you can trick people’s minds and perception of objects. Again this is challenging the traditional viewpoint of drawing on paper, so it was good to challenge my own views and experiment in new ways.
With Project 4 I developed the idea of challenging myself a bit more with the artist in residence day at Cass Art in Glasgow where I did an ‘alla prima’ portrait of one of Rembrandt’s self-portrait etchings. This was carried out in March just before the lockdown rules were enforced. It was strange painting live in an art store, answering questions and talking about my process. Time-lapse video on my blog.
Thinking about the pavement art and making subjects interact with their environment and challenging my own traditional views on drawing surfaces and materials, it only seemed fitting that I should paint an Aston Martin in the garage, as if the garage door was open and the car within as my final assignment piece.
I now consider ‘drawing’ in a much wider scope than before. The art of Emily Kanek Kngwarreye was interesting to ask what inspires me from a place of belonging, it’s interesting to start comparing yourself as an artist with other great masters and find something in common.
Tutor Feedback
Formative feedback
Overall Comments
Thanks for sending uploading the latest batch of work. This report is based on the notes you
sent, with comments by me in RED. You also have a recording of the conversation to which
you can refer. You also have an annotated copy of the Critical Review.
Please note, this ‘environmental’ section – normally the fourth submission – was done fifth
due to the COVID outbreak. However the lockdown was still inlace when this section was
executed, hence the nature and quantity of the work made.
The notes reflect the flow of the conversation which was in part a review of the journey
you’ve made. For this report I have simply pasted your notes and added to them.
Feedback on assignment
Demonstration of technical and Visual Skills, Quality of Outcome, Demonstration of
Creativity
As discussed:
● BE opened with comments about the parallel project which is coming along nicely
now in its third draft with some suggestions about tidying up the essay structure to
aid the flow, but essentially the arguments about line and tone are substantial
enough. NC glad that using the recommended text by Gilda Williams was paying off.
BE also made comment about the inclusion of the Time Lapse was useful. The next
section allows you to focus on resolving both of these. The headlines for this report
are: Push the Parallel Project on. Be ambitious. Treat all that you’ve learned so far in
terms of technique as ‘research’ that is now to be put to use. The essay has some
structural issues, but you’ve got time to sort them. My annotations should help. Many
of the thing I pointe out, you were already aware of.
● BE praised the fact that over the five assignments that I have now completed, it is
obvious that I have allowed certain influences to come into my work. My style
appears to have loosened up, there is a better understanding of drawing elements,
particularly with the example of the painting of an Aston Martin on my garage door,
Student name Neil Cramond Student number 515702
Course/Unit Drawing 2 ID Assignment number 4 (as part
five)
Type of tutorial (eg video/audio/
written)
GH
which does show a willingness to explore a variety of artistic styles. You have
pursued a path but – bit by bit – opened up. Allowing some stuff in the might have
been outside your comfort zone has had a positive impact on your work. While you
will – I suspect – always favour closely observed representational work, the loosening
up (through engaging with Auerbach’s drawings) is eating off.
● NC agreed that this is true, and that I have never been against abstraction, I can
appreciate it for what it is, but I am more driven by more traditional elements.
● BE reflected that this does come across as if I am now ‘seeing’ objects in a more
painterly way through loosening up. The self-portrait drawing with the subtle chalk
highlights shows this off well.
● BE admired the difficulty in achieving anamorphic perspective without the use of a
projector, so well done for stepping out of the comfort zone, again this appears to be
influencing my drawing style which is gradually improving and becoming more
natural.
● Short conversation followed about portraiture and tonal balance, BE recommended
that I should look at the works of two of his Level 3 students to examine how
portraiture can be used as a platform for Level 3 to continue my studies with. This led
to discussion about life drawing vs photograph, Charles Bargue atelier method and
being loose, the projection of what the eye sees and what the brain decides it is
seeing, as discussed in BBC 4 documentary ‘The Age of The Image’ with the
example of the Star Wars Glass Paintings and David Hockney Hawthorn painting vs
photographs of the same scene. The use of Time lapse is good to show my working
method, the process of being loose at the block in stage and gradually refining detail.
You ought to make sure that you write about the Age of the Image in the log. The
‘Star Wars’ moment is REALLY important and wouldn’t be difficult to demonstrate
with reference to the same images Fox uses and then linking it to you’re changing
approach.
● BE was happy with the exercises of assignment 4 and the parallel project is well
under way so that means that I am in a good position to explore different results in
the parallel project even if I want to submit for November assessment. BE
recommended that I use this time to push some self portraits in a different way, be
less observational and more painterly, perhaps use mixed media for interesting
results, given that I have already used public performance, large scale, and a range
of studies in this module already. Why not pull all of this together? This would look
better than just a sketchbook filled with self-portraits. BE suggested looking at the
work and process of John Virtue who painted monochrome scenes of London in
black and white, I could use my own compositions of my self-portraits to inform
another outcome. Use influence of Christian Hook and Jenny Saville. Make sure to
write in my blog that I’m using the skills I learnt through the course to inform this
outcome. BE made it clear that he is now seeing this balance between technical and
loose drawing as my own style, the drawings that I am producing now are my own
drawings. Loads to think about here. I think the resolution to Drawing One could be
quite ‘painterly’ as that your next unit. Making lots of similar drawings to conclude to
PP would feel like a failure of nerve. You’ve done’ some tricky things – not least
emulating Rembrandt live in an Art Supplies Shop window – so carry that into the final
push.
● NC aired a concern that the ‘technical’ drive might be seen to hold me back by not
being experimental enough and playing safe, but as long as I write about my values
and overall knowledge and willingness to look at other types of drawing and art, then
this shouldn’t be an issue. BE agreed that as long as I articulate this clearly in the
blog, then it shouldn’t be an issue. NC also concerned about lack of exploration of
mediums might be an issue as I tend to prefer more traditional mediums such as
charcoal. BE assured me that the investigation I have carried out over line and tone
is still an investigation, and I have dug pretty deep into the technical aspects of this.
This led to another discussion about the effect of different marks, tones tend to be
softer, creating wispy, soft effects which are still and passive while lines are harsh,
with energy and active and these elements inform my drawing in the parallel project.
● Feedback then moved to assessment in November which might be in digital format
again and tutors are likely to be assessing their students work (with external
moderation) which makes sense given the tutor student relationship and familiarity
with the journey. BE recommended that NC looks at the blog and identify areas which
I would want to re-visit and hold up against the learning outcomes outlined at the
start of the course handbook, perhaps adding comments about what I know now,
would I have done anything differently etc. Make the blog ‘richer’ with examples of
other artists, and blog posts should reflect the learning outcomes, not one post
reflecting one outcome, rather each post should reflect all elements. WE can talk
about this next time.
● BE mentioned that it was good that I am obviously wearing my affection for the work
of Rembrandt and Auerbach in my own work. I should write about this as BE feels
that I am an artist who gets nourishment by looking at art rather than politics or
society etc. I need to make the dialogue appear that shows Caravaggio informing
Rembrandt, informing Auerbach, informing John Virtue and elements of all of the
above informing me. BE advised that given that I am looking at the painting degree
pathway, it might be worth producing a final piece that is more painterly with a view to
Painting 2 being my next module. See above. Own the thing you want to do and be
ambitious and unapologetic for the work you’re making. There’s a tension in you and
your work which comes from the desire to improve technically but in the context of a
contemporary art degree. That requires you to articulate a position that is complex.
● Feedback session closed with NC glad that the comments BE provided today
matched my own thoughts about pushing beyond my comfort zone and recognising
the change in my drawing style. BE admired the fact that I have remained true to my
own values with drawing, but allowed myself to be influenced, just make sure to write
about this in blog!!
Suggested reading/viewing
Context
Look again at the blogpost (and the accompanying film) about John Virture. Though his work
is very different from yours in subject matter, it too has classical elements and also links to
Auerbach / Kossoff / Bomberg:
https://www.oca.ac.uk/weareoca/fine-art/john-virtue/
Pointers for the next assignment
● Reflect on this feedback in your learning log.
● Follow up on the suggestions I have made.
Please inform me of how you would like your feedback for the next assignment:
Written or video/audio. For Level Two and three students I recommend having as
many video tutorials as possible though you’re under no obligation to have any.
Well done, I look forward to your next assignment.
Tutor name Bryan Eccleshall
Date 19/8/20
Next assignment due 21/8/20
Neil C Drawing 2 