Weekly Roundup 31

i. We spent Wednesday morning with artist and curator Dan Howard-Birt provisionally curating our interim display with MA Book Arts. It was interesting to find links between, and discuss the curation of, a whole load of quite disparate work. Dan guided us through the process and I think the display will look smart. However I can't help feeling that my work doesn't quite look at home - does it stand out or not fit in?

ii. I went to visit the Royal College of Art 2018 Show. I thought the printmaking exhibition was impressive (painting was underwhelming). A lot of the printmaking work was ambitious and bold especially in its scale and display. I was particularly impressed by the work of Shinyoung Park and Alice Irwin. I aim to be braver and more adventurous with my work heading into my second year and next year's final show.

 Shinyoung Park,  You Cannot Know the Mind of Horses,  2018, screenprint, woodturning, woodcut and oil paint on Birchwood

Shinyoung Park, You Cannot Know the Mind of Horses, 2018, screenprint, woodturning, woodcut and oil paint on Birchwood

 Alice Irwin,  Game of Knowledge,  2018

Alice Irwin, Game of Knowledge, 2018

iii. It's been a productive week: curating the interim display, planning the next few weeks, doing reading and sending emails and letters to Chantal Joffe and Lynette Yiadom-Boakye for the research paper etc. I remember Jo telling us at the beginning of the year that during the degree there would be times of inactivity but I can't help getting frustrated with my lack of making. Next week I'm heading back to the South West to make drawings in the pub and I can't wait. I'm out of practice and feel disconnected from the work. Bring on the summer!

iv. I also finished my etching course at the Royal Drawing School. I may not have made any resolved or impressive works but I have learned lots of little skills (including multi-plate printing, sugar lift, better ways to use colour and a new way of using chin-collĂ©). I've also really enjoyed it and hope that these skills might later appear in my own work or teaching. My tutor, Rossen Daskalov, has an exhibition of prints and paintings at Mercer Chance in a week or two and I will definitely try and visit!

v. What is the contemporary context of, and my rationale for, my work about the pub? Group scenes automatically suggest a narrative and although it's documentary I'm not making reportage illustrations nor do I have a particular point to make. (I've been looking at paintings such as Michael Andrew's Colony Room, Leon Kossoff's swimming pools, Chantal Joffe's fashion week studies as well as the artists below.)

 Ben Clarke,  Irish Builder Drinking a Pint of Guinness,  acrylic on canvas

Ben Clarke, Irish Builder Drinking a Pint of Guinness, acrylic on canvas

 Alice Macdonald,  The George Inn,  monotype and drypoint

Alice Macdonald, The George Inn, monotype and drypoint

 Dale Lewis,  East Street,  2016, oil, acrylic, spray paint on canvas

Dale Lewis, East Street, 2016, oil, acrylic, spray paint on canvas

 
 Rebecca Harper,  Tinder Date at The Royal Academy,  2014, gouache and pastel

Rebecca Harper, Tinder Date at The Royal Academy, 2014, gouache and pastel