Weekly Roundup 14

i. Another week shortened by school commitments: I had arranged for artist Jeanette Barnes to deliver a workshop as a follow-up to a recent school trip to London (however, it was an excellent morning). The week was also cut short because I had to leave early on the Thursday to get back to see the school play (which I had designed and made a lot of the set for). It was an enjoyable week but I sometimes worry that I'm getting behind everyone else. In reality, I'm sure everyone has similar work pressures and struggles to find enough time to make work - I just wish I didn't feel like I'm only treading water.

ii. Although I've spent several hours over the last few weeks fiddling about with lithography, I'm not sure it's the right thing for me at present: both Katherine Jones and Tom Hammick told me that it would slow me down. I had a tutorial with Jo who told me to 'feel free to interrogate your themes in whatever method is most suitable for your intentions. Don't be harnessed to a certain process unless it gives you what you want from your image. That's the only rule!' I expect I will spend the rest of this term making monotypes and then think about my direction during the study break.

iii. I read a revealing article in The Guardian: 'From Paula Rego’s au pair to Lucian Freud’s daughter, five sitters explain the discomfort and joy of being a painter’s muse.' It was was an interesting description of the intimacy and intensity of a portrait sitting. All the artists referenced in the article are a part of All Too Human: Bacon, Freud And A Century Of Painting Life which opens at Tate Britain at the end of the month. I think it's going to be an important show in the development of both my MA project and my long-term practice.

 
 Euan Uglow,  Georgia,  1973, oil on canvas

Euan Uglow, Georgia, 1973, oil on canvas