Each morning has begun with listing ‘to dos’ and ‘to don’ts’. Maintaining an unwavering sense of one’s priorities, day-by-day, is of the essence, in order to remain on top of things during this period. At home, I reviewed a Research and Process in Practice submission and responded to incoming mail before shipping out to the School.
On the shop floor — a wall awaits:
I sense that we are all ahead of ourselves this year. The students have distinguished themselves by their application, time management, and communal commitment. This is one of the few times in the year when the fine artists do one thing together. At such times as these, the School feel most like a family.
11.10 am. The final class of the final run of the British Landscape module. I can’t determine the year of the module’s inception. I suspect it was sometime during the late 1980s and early 1990s. So, it was long-overdue for retirement. RIP:
On the shop floor — students were proceeding with due diligence, speed, and attention. The MA students led by example. Their spaces in the studio are so much more serviceable for large paintings than those in the galleries. How quickly this annual event seems to come around. The banners bearing the names of last year’s exhibiters were still stuck to the back of several screens. Happy remembrance.
After lunch, I began my review and correction of the penultimate draft of a PhD Fine Art thesis, periodically climbing to the studios with audio recorder and camera in hand to capture and advise (when asked).
In the evening, I reviewed the recordings of sounds captured from today’s excursions into the studios and a Research and Process in Practice submission. I returned to the PhD review for the remainder of the evening, thereafter.