‘State of mind’
As an Exhibitor
‘Non Fiction’ Newspaper
Process and Progress
As a Curator
Harry S., Evan B., Joseph C.
‘Peter & Hannes’
Print Skill 6
Object / Image
Explore object/image (or figure/ground) relationships.
A5 photo-etching placed inside a bottle, displayed on top of a two- colour A3 screen-print.
- Drawings of people in the room
- Semi-erased marks – parts of the drawing where the charcoal has been rubbed into the paper (creating traces of what went before – palimpsests)
- Drawings of furniture, the room and objects made from direct observation
- Marks made with charcoal, and with brush and ink
- Images taken from the internet
- Marks made by rubbing (frottage) over available surfaces
- One or more folds, one or more tears and one or more cuts
- A drawing of a section of your neighbour’s drawing
- An aperture or hole made in the paper
- Marks made using chance
- A grafting, splicing or transposing of a piece of one of your drawings into the other Depiction of some aspect of the view out of the windows
- The use of rulers or templates
- A way of incorporating some of the reverse side of the paper onto the front side Abstract, geometric or other mark-making systems
- The use of repeated marks
- All the material of each A1 sheet must be retained and appear in one or other of the drawings – no paper may be discarded
Train Encounter, Poem
On my way back from Norwich on Thursday the 12th of October I observed a woman sitting on the opposite side of the carriage alley. I noticed a semi transparent plastic bag on the seat next to her showing some clothes of different colours and patterns.
At first I thought that she was wearing a matching burgundy jogging. But after some observation I noticed that the colour of the top was slightly different form the bottom. She wore on her feet a pair of bright pink trainers. She was sitting straight, her hands close to her tummy with the fingers crossed like when you pray and she was holding a piece of paper like a printed letter and one distinctive orange ticket train.
On her middle finger of her right hand she was wearing a dull little ring and she had a small blurred tattoo on the top of the thumb.
Her face was narrow and had a certain flatness of the kind that erases any expressions. Her face was slightly tanned, her nose was a little bit longer than the average, and the chin more pointy, more protruding. Her lips were thin and her eyes showed an expression of tiredness but were still sharp and bright. She appeared detached like a person who is afraid to connect in a discreetly manner.
At some point she seemed anxious. She asked me the time with a soft smile. She stared in front of her lost in her thoughts. Sometimes she took a glimpse outside the windows but stayed straight and still in her seat like she was concentrating on the moment, on the spot.
She crooked her feet beneath the seat. She checked several times her letter and her train ticket. She did it by squeezing her eyes which yielded a harsher look to her eyebrows.
Like myself she stopped at Ely to catch a train to London. At this point when I was waiting for my train on the quay I noticed another woman leaving the train with the same kind of bag. We jump into the same train, I left 15 min later at Cambridge station and I didn’t see her leaving the train. So I presumed she remained inside the train.
Where I am? Who are they?
The first phase encourages to become familiar with my location and my colleagues in the studio.
What might I do here?
The second phase speak to my colleagues about your interests and intentions.
It is then their job to develop and produce a piece of work, in line with your research interests. This outcome