I began on the doctorate programme as a mid-career artist at a point when I wanted to review my past practice and reflect on what I believe to be the main and recurring themes in my work. Through this process my intention was to consider and plan the direction of my work more effectively. My solo exhibition, Beautiful Trophies had just opened at Edinburgh Printmakers the same month I started the DFA programme. This was a great opportunity to evaluate and reflect on a recent body of work, to question where I was and where I wanted to go. I considered which pieces were more successful and how I could best develop the work further. The installation work, which I created for Beautiful Trophies, using wallpaper and video was for me a new development in my practice (Appendix Fig. 1 & 2, p. 78). This opened up possibilities as to how future works could be presented. I wanted to consider the entire wall or all of the space and how I could incorporate images within it. My intention then was to explore the relationship between my video works and works on paper further. I also intended to increase the scale of my artwork, to maximize the physical impact of the work within the space. A period of experimentation would follow. Early on in the programme I made the decision to record my tutorials and seminars. This data has been a fantastic source for recall and has helped me to further define elements within my practice. At this point I had identified key elements that were important to the making of my work. These were repetition, appropriation, memory and re-enactment. The elements that I identified as important to the subject matter in my work were mortality, fragility and lament, (the human condition). These elements remain relevant to my creative practice and theoretical research. My interest lies in specific individuals and communities, their changing states and how this impacts on personal lives and histories. I question what is lost and what remains. Through the work there is a tendency to take something remote from the past whether imagery or cultural traditions and bring it to my own space, making something almost lost visible again. My interest in how artists including myself, appropriate images and objects continues to be important to my ongoing research. I began to examine the process of re-enactment in my practice, reflecting on works that I had made in order to re-enact something I had seen. I identified this approach as a vehicle for me to experience the subject on a physical and personal level. There certainly seems to be a need for me to experience something before translating it into a piece of work; I undergo an experience in order to speak about something. I considered how repetition plays a part in the making of my and other artists work. Repetition of ideas and or actions is a way of making memory stronger.
| Identifer | oai:union.ndltd.org:bl.uk/oai:ethos.bl.uk:665997 |
| Date | January 2014 |
| Creators | Logue, Lesley Ann |
| Publisher | University of East London |
| Source Sets | Ethos UK |
| Detected Language | English |
| Type | Electronic Thesis or Dissertation |
| Source | http://roar.uel.ac.uk/4611/ |
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