8.00 am: A communion. 8.30 am: Off to the Old College under a neutral sky that would, within the hour, yield to blue. The window eats away the building like a cankerous worm:
The sunlight raked across the crests of the incoming tide, and illuminated the interior of the building in sometimes surprising ways:
My MA students are, now, seeded throughout the building. This gives me an excuse to explore beyond the boundaries of my usual furrow … upwards and upwards. (A lesson for life.):
Mr Monaghan (one of our MA Fine Art alumni) talked informally about his work to the assembled Vocational Practice group. He presented a realistic, honest, frank, and helpful account of his professional experience:
We took lunch together afterwards.
2.00 pm: An afternoon of further MA tutorials, beginning at the School and moving back to the Old College:
7.30 pm: I continued with the revised volume profiles for the I. Nothing. Lack. tracks.
Some principles and observations derived from today’s engagements:
- The absence of image makes a space for the presence of enigma.
- The outcome of the artwork often confutes our intentions.
- Ideas generate process generates ideas generate process … .
- We may betray an insecurity about our security.
- Devise an explanation that isn’t exclusive and comprehensive but, rather, definitive and provisional.
- It’s not always a good thing to let the work pull you by the nose.
- Some artwork’s titles are as arbitrary as the names given to battleships.
- Titles direct the viewers to experience your work in a particular way. And, as such, they may prevent them from seeing it in other ways.
- Establish a fulcrum (or centre point) for your modus operandi, and determine to work both at and either side of it. (Explore subtle differences within a narrow frame of reference, in other words.)
- The teacher often identifies and validates what the student has already realised, but not yet articulated to themselves.
- Integrity, before all else.
- S: ‘I am so far out of my comfort zone!’ T: ‘Good! Stay there’.
- Intensity is sometimes at the expense of longevity. ‘The light that burns twice as bright burns for half as long’ (Blade Runner (1982)).
- Try not looking at the dartboard when you throw the dart.
- Don’t miss-read what the work needs.