Field: Summary

Over the course of both projects I feel that I have been influenced greatly with regards to my application of materials and how I approach my work. I believe that how I create my work has changed greatly and what I sought out to achieve in my work has been highly influenced by these tutorials.

Within the subject of Painting Performance, I became much more aware of how my body can manipulate the work, and more importantly how creating the artwork at hand becomes a performance, you are part of the artwork itself; giving yourself to the work. This was very apparent in my sculpture works, as the application of my hands moved through the clay. I had developed from where I had moved from creating these realistic busts, moving towards dragging my extremities into the clay, leaving mounds of imprints, very much similar to the way De Kooning would leave swooping passages of paint on the canvas. Through the process of making it, I found it almost ritual-like as I questioned my own bodily form, and then translating that into the clay became a performance within itself.

The lessons at hand has also played an important role into my portraiture, and have begun to question how I apply paint to a canvas. After leaning what my body can do with paint, such as with the swooping of an arm or running of toes can leave very different imprints, my use of mark-making with a paintbrush and other found objects can change an image greatly. This goes hand-in-hand with my material, as when we started to experiment with the viscosity of paint when introduced with common household materials, I have begun to experiment with flour and earth into my own paint.

After the tutorials undergone in Beyond Fiction, I have become more pensive in terms of looking at my own portraits and how they reflect on the subjects character and how this is reflected on the canvas as opposed to creating an accurate depiction of a person. When producing my cartoon illustrations I found that simple use of line can give a stronger impression of a person than a highly detailed painting could, and thus my economy of line has become more sparing in my work.

The inclusion of humour into my illustration has made me question what It is I want out of my work, and what art is. Through the characters I have developed in my field, I have been able to look at the role Soap characters have in the world of art, and what aspect my clay mass ‘blobs’ have to play with their suggestive implications of genitalia. I personally believe that humour can allow for strong social debate of my works, and can deal with big issues in current affairs.

Further developing working with both P.P and B.F alongside my own practice is very important to me, and I am eager to discover how both will develop my studies and work in the future.


Beyond Fiction: Epilogue

In order to further my understanding of fictional characters within my own work of portraying soap characters, I chose the Beyond Fiction module to develop on the ideas of storylines and play with the creativity offered through the tutorials. I wanted to see how these new ways of working would have an effect on my own work and the way I portray my Portraiture.

To begin with, I found it very difficult to develop ideas through the ways of working offered in the lessons, such as our first lesson which involved creating storylines or ideas for discarded objects, but I felt I couldn’t quite conceptualise ideas through my own way of working as a fine artist. However, I was given a great amount of help from Amelia and began to look more into what I can take from each object as opposed to trying to connect them all together.

Further into the module, I found that the workshops such as collage or the trip to St. Fagans gave me a lot of opportunity to work creatively and conjure up good imagery, but I felt that I was doing these collages for personal pleasure, and couldn’t find any way to develop on my loose storyline. I wanted to link to my own portraiture, but was struggling to represent it without an outcome of portraits, which I believe wouldn’t have allowed myself to utilise the opportunity I had to be adventurous in my work.

After some deliberation, I had realised that it’s not a literal portrait that I was looking for, but was the idea of giving a representation of personality, and essence of people. I began designing cartoonised illustrations of working-class characters in everyday situations, because I wanted to highlight that the fact that there’s character in the most ordinary of places, and that it can be something relatable to anyone. In developing these characters, I found the original lessons and tutorials to be of great help when furthering these ideas. I was inspired by Reg Smythe’s newspaper comic illustrations of Andy Capp, and the illustrative works in the television series The Ricky Gervais show, which both extract humour in everyday life and present a person’s way of thinking in a light hearted, but sometimes tongue-in-cheek way. I found similar inventiveness from the illustrators of Modern Toss, however I wanted my characters to be more inviting and relatable as opposed to the simple designs featured in their work.

To conclude, I think the project has taught me that humour is an important aspect to art, as I will start to question what role it has in my own practice, and how the lessons within the module can help develop ideas in my own work. To further these images I’m thinking of presenting these works as possible newspaper comic designs, or even as illustrations in a pub itself. Athough difficult at first, as I began to play and as the more work I produced, the more ideas I had to explore.

Snookered, Cornered, Plastered

With the addition of colour these playful illustrations have started to come to life. The idea of “Snookered, Cornered, Plastered” plays on the idea of the general bloke and pub attitudes, such as being to tight to pay for a raffle ticket yet having more than enough money to get ‘plastered’.

I think this series would work well as illustrations in a newspaper article or somewhere easily obtainable to the public eye, considering it is meant to reflect the working man’s attitudes in a humourous light, possibly even framed in a pub.


The Liberal.


I decided to take the sketches of the two women talking at the bar further by working on a small painted study, however I don’t think the medium of oil has has much effect to the work. I find it diminishes the characters expressions and loses the playfulness I wan to achieve in my works, but I feel it works well as a background layer, managing to get that feeling of a run down pub. I also think that there needs to be more of a story or idea, even though I feel that there could be a lot said from the picture alone.

Everday People Illustrations


In my workbook I have started to look at the everyday working man, and how character can be found in the most ordinary places. I have decided to keep the drawings simple and characateured, as this allows the viewer to become more engaged with the characters as it is more inviting, and how the cartoonised appearances allow for more personality to shine through. I have started to look at everyday places such as at the pub or at work, such as the stereotypical hardened, bbut gossipy women nattering in the corner, or the roughened builder on the job. I have taken inspiration from the television programme Modern Toss’s simplistic style on everyday situations, and the working-class newspaper comics of Andy Capp


St. Fagans


During a trip to St. Fagan’s I had good opportunity to look at the scenery, which I felt could offer some development of ideas. I produced quick, impressionist studies as it the scenery looked almost like a story within itself, looking quite adventurous and of a different era.


BrokeLads: The 13:05 at Wolverhampton


After going back to the lesson with Amelia, I started to look back at old losing betting slips I had accumulated and reflected on the first lesson about everday object, looking at how my choices of betting could reflect different personalities or characters depending on my choice of bet, for example:

The Calculator: The person who looks at all the statistics, looking at how each horse has raced in the last 5 races and uses the info to calculate his bet through research.

The Gut Instinct: When you just have that feeling that that horse is going to come through, and you put lucrative amounts of money on it because it “came in a dream” or “something just feels right”

The Long-Odds: The person who loves a flutter on a horse way out of its league, but because there is a big payout its worth a quid. “The Royal Baby to be named Zlatan at 250/1? Worth a shot” He’s rarely seen winning, but when he does there’s a round on him.

I think these personalities would fit well in a story, or possibly having mock-up losing bets accompanied with them to show the understandings of their judgements