Identify and critically engage with relevant research material.
Jan Banning & Hilde Janssen
Analysis and synthesis of research into the successful development of individual project outcomes.
Kim Juree’s Hwi-gyoung.
James Benning’s Ten Skies.
Kim Hak-sun’s testimony
Empathic vision – Bennett, J. (2005)
The Subject of Rape – Helena Rubinstein Fellowships; Whitney Museum of American Art
Artwork as social model: a manual of questions and propositions – Willats, S. (1943)
The House of Sharing, Seoul, South Korea. (Visited July 20th, 2017)
Museum of Sexual Slavery by the Japanese Military, Seoul, South Korea. (Visited July 20th, 2017)
Critical selection and application of appropriate methods/technical and production skills.
Throwing (School buff and porcelain)
Slip casting – producing large amounts of forms for performance, testing & final filming(s). Total pots made = over 130
Metalwork – initial display system
Performance – maintaining a routine of ‘performing’ the work every Wednesday at noon in line with the Wednesday Demonstrations.
Filming – use of several Canon C100’s, utilising various tripods and lighting set ups.
Projection – Trials with all kinds available in AV Hire
Video editing software – Adobe Premier Pro.
Utilisation of suitable sources/materials.
Working with information gathered while in South Korea
Leaving ceramics unfired – using their materiality
Casting a form that was relevant to the research – Korea, tradition, memory
Continuing to research into socially engaged practice after finalising making, thus expanding the themes of my work to include more than just this specific event.
Contribution to knowledge and debates in the subject area, including the limitations of the Major Project and potential future development.
Initially I’d have said I was a ceramics practitioner, researching in the forced invisibility of women’s voices with specific emphasis on wartime sexual slavery, however with the inclusion of video in my work I now understand how that has shifted and given new context to my work as I research the power behind documented testimony and socially engaging practice. I’m keen to further explore these new contexts, widening my understanding how my work sits in relation to conversations surrounding women’s voices within contemporary art, with the view that I’ll continue this line of research within a Masters setting after summer – something I’m really excited to sink into. I’m also looking forward to reflecting on the conversations I have about the work during the degree show.
Execution of the Major Project; organisation, clarity of presentation, consistency with conventions of the discipline.
The majority of my academic research was done before and during my dissertation period, where I was able to get to grips with the history of the issue I was researching, enough so that I could turn my attention to less obvious discussions during my making.
Most of my ceramic making was done between the end of Semester 1 and the first few weeks of Semester 2 – the longer the pots dried out the longer they took to dissolve so I dedicated a huge amount of my time to working in the ceramics studio.
With the issues I had filming the work after the theft of the cameras I made sure I kept both tutors and technicians updated on my progress and utilised their support as much as possible to get back on track. Editing took up a substantial amount of time but I allocated enough time working between that and my blog to make sure my eyes remained fresh on the work to ensure I wouldn’t miss errors/mistakes.
Plaster mold making for slip casting using laithe
Slip casting en masse
Adobe Premier Pro
Digital colour grading for video
Projection film installation
Sanding made me feel like an adult
Ana Rutter for her unwavering support when things got tough and helping me whenever I had “just one more quick question”, and for always having “two options”.
Claire Walton for helping me approach new techniques in ceramic practice for weeks on end and for always having the time to show me new things.
Luke Pickering for laughing at my crap jokes while helping me set up over and over in the LBMS, and for getting earlier trains so I could collect equipment stupidly early.
Andrew Lacon for his production support bright and early (sometimes) on Monday mornings, also for leg wax inspo.
Stuart Whipps for his encouragement when I had no idea what I was doing, for his super helpful tips on painting over sanded filler and for always listening to me when he was supposed to be doing other stuff.
Dr Lisa Metherell for her unconditional love for colour coded timetables which, with a little added help during tutorials, kept me so on track I rarely forgot what day it was.
Jake Wilks for making sure I didn’t just sit at home doing nothing, for your endless encouragement and for making sure I left the house when I was supposed to.