Sunday, April 26, 2020

Resource Design

What is a resource? Historical and contemporary definitions outline that resources are essentially anything that aid in learners learning. The tools we use a resources change and develop as our use of technology develops, however some items hold their own (paper, pens, books...)

‘Something which can be turned to for support or help, or an available supply of something to be drawn upon when needed’
(Grolier, 1981)

‘Texts, videos, software and other materials that teachers use to assist students’
(Ministry of Education, 2017) 


Resource design is an important part of the role of tutor. When creating resources I want to create things that can be reused where possible - there is no time to keep inventing the wheel. I have also used ADDIES Model of Resources Design (Branch, 2014), when creating my resources as I feel that following the steps outlined in the model allow me to develop the resources in a logical way, while ensuring that I am taking into consideration a pedagogical approaches and also ensuring the resource is being produced to meet the learning outcomes.

     Analysis: Identifying learning problems
     Design: Prototypes developed
     Development: Actual creation of resources
     Implementation: Resources are implemented
     Evaluation: Feedback

The resources below I designed and created in accoracne to ADDIE (Branch, 2014) while teaching Level 2 Art and Design and an FE College during my PGCE placement. More recently I have used these same resources within my teaching of short art courses at ACL Essex. 

However, due to the vague nature of the text used, these could be used in any course or learning as they are not specific to art education. 




The resources where designed and are used as plenary questions at the end of a session to help consolidate the learning which as happened. The questions outlined prompt the learner to reflect on the session and their learning. The questions can be considered with reference to the session learning objectives (Beadle, 2012).

The resources can be used in a number of ways; 
     One question can be picked for the whole class to consider
     Each table or group can be given a different question to discuss
     Individuals can be given specific questions from the set
     Learners can think/pair/share their responses - Giving learners a structure way to reflect on a subject before they have to share their thoughts with the rest of the group (Holcomb, 2001)
     Answers can take place as discussion or can be written in sketchbook

The use of these resource also helps to build a structure into the sessions, as the learners come to expect this part of the session to take place. Having these to hand means that they can also be used throughout the session to prompt contentious reflection throughout. 


References


Beadle, P. (2012) The Book of Plenary: Here Endeth the Lesson… (How to Teach (Independent Thinking). Independent Thinking Press. 

Branch, R. M. (2014) Instructional Design: The ADDIE Approach [Online] Available at: https://www.learning-theories.com/addie-model.html [accessed15/03/20].

Grolier (1981) New Book of Knowledge Dictionary. Volume 1. Boston MA: Houghton.


Holcomb, E. L. (2001) Asking the Right Questions: Techniques for Collaboration and School Change. Corwin; Second edition.

Ministry of Education (2017) What is a learning recourse? [Online] Available at: http://www.bced.gov.bc.ca/irp_resources/ [accessed 15/03/20].

Sunday, April 19, 2020

Some more thoughts: I'm an Associate Fellow! (AFHEA): The Application Process

To achieve my AFHEA I had to demonstrate how, within my teaching I meet two of the five areas of activities outline in the UKPSF (2011).

The two areas of activity which I chose to focus on where;
      A1 Design and plan learning activities and/or programmes of study 
      A2 Teach and/or support learning

Throughout the application references needed to be made to the core knowledge and professional values outlined in the UKPSF (2011), as well as theory which supports your practice. 

The application was set out in four parts; an evidence grid of professional activity, which asks you to outline examples of your professional activity and align them with the UKPSF (2011) and to evidence these with examples of how they are met. 



The second section asks you to outline your academic practice experience, your teaching and learning philosophy. 

In this section I outlined how long I had held the post at the HEI and what the role I do entails and how this relates to my teaching philosophy.

"Within my Study Skills role I plan, design and lead: one-to-one sessions, drop-ins, workshops, in-course sessions and online support on LibGuides and Brightspace (K2), this allows for flipped and home learning to take place (Bergmann and Sams, 2012), allowing learners to access materials to gain basic levels of understanding and knowledge before they seek face-to-face help to develop further skills. In addition, I provide workshops and tutorial support on using Microsoft Office. These are offered to both undergraduates and postgraduates. As part of this role I have also held study skills sessions for The Hold volunteers.

My teaching philosophy is concerned in promoting ‘mastery learning’ (Bloom, 1971). Objectives for all my sessions are set out according to Anderson and Krathwohls’ revised Blooms Taxonomy (Anderson et al, 2001) (K2, V3), as I am seeking to engage learners to move from lower to higher order thinking throughout a session. The benefit of this approach is that it provides me with a guide to plan and deliver appropriate content and supports my intention for meaningful leaning to take place (Armstrong, 2016). I also have an interest in peer learning and utilise more knowledgeable others within the classroom (Vygotsky, 1974) (V1, V2), as this allows for learners to achieve more with guidance from a skilled partner (Vygotsky, 1978). This also encourages learners to share perspectives and to reflect on their own understanding.

My teaching philosophy is concerned with the use of peer-learning and within my role as PASS Adviser role I actively explore this interest. Within this role I coordinate the institution’s Peer Assisted Student Success (PASS) scheme. This scheme employs level 5+6 students to be PASS Leaders. I design and deliver PASS Leader training across two 3hour training sessions. These sessions cover topics which allow PASS Leaders to facilitate peer sessions. PASS Leaders are also introduced to reflection models, allowing them to reflect on the experience of facilitating sessions (Schon, 1983) and enhance their practice. This allows them to continue to develop in their role and identify areas of improvement. From undertaking this role, I have developed my knowledge around the benefits of peer learning, I have also been able to gain insight from PASS Leaders about their role and identify gaps in training. This has enabled me to develop the PASS offering."

The next section focused on meeting the dimensions of practice and critically reflecting on how your recent experience, professional activities and current role evidence you meeting at least two of the areas of activity and relevant core knowledge and professional values in the Dimensions of Practice of the UK PSF (2011).

"A1 Design and plan learning activities and/or programmes of study

I have designed study skills sessions and facilitator training sessions to be delivered across the university. My design principles for programmes of study encompass developing online and face-to-face learning, reflection on my own teaching practice, and collaboration with colleagues.

To allow learners to practice high order thinking skills (Bloom, 1971), my sessions foster techniques used to promote active learning (Bonwell and Eison, 1991). This is accomplished by employing a diverse range of activities that enable learners to creatively articulate their knowledge. For example, within my PASS Leader training sessions students are asked to create subject-specific posters to advertise the benefits of PASS to learners on their course or write a one-minute paper allowing learners to apply their knowledge in a meaningful way, promoting active learning within the session (Cassidy, Charles and Slotta, 2019) (V2, K1). Providing different activities allows for flexibility and inclusivity in learning, allowing each learner to work in a way that they can make the most of the opportunity (Tomlinson, 1995), promoting equality of opportunity. These activities include higher order thinking skill activities such as creating new session activities. This reinforces their learning and allows them to apply abstract knowledge in a meaningful way. For example, by planning an activity which is inclusive or draws upon a specific approach to learning (Entwistle and Ramsden, 2015).

Within my Study Skills role, I highlight to learners how the knowledge applies to real-life situations.  For example, I have advised nursing students about creating a leaflet as a means of communicating their knowledge. This relates to using Microsoft Word and leaflet design, which are not implicitly linked to nursing. However, by relating this skill to communication and how they might use different kinds of communication when in placement, they are able to begin to see the benefit.  By linking the skill set to the wider world and employability the importance of the skill is made apparent (V4), allowing learners to assess the value of the experience in their learning (Dewey, 1963).

All of my sessions are supplemented by LibGuides (K1, K4, V2), on which session resources are hosted online. The Libguides pages hosts materials such as PowerPoints and printable handouts, the benefits of these are encompassed by flipped learning (Bergmann and Sams, 2012). For example, my Time Management LibGuides page hosts a range of resources which are differentiated to ensure that each learner can reach their full potential (Munro, 2012). These include monthly calendars and to-do lists. This is beneficial because resources can enable learning outside of university open hours (A2), thus supporting flexibility among a diverse learning community (V1). The use of online learning allows flexibility in when learners can access information and resources (Bridgland and Blanchard, 2013).

PASS Leader training is also supported by a Brightspace module which offers PASS Leaders the opportunity to access additional training material (K4). Upon completion of the in-person training, PASS Leaders can access an online formative assessment (K2), allowing them to test their own knowledge (V2). This online module also provides an area for PASS Leaders to communicate with each other in discussions, promoting the importance of sharing experiences with their peers (Dewey, 1971).

A2. Teach and/or support learning

As a Study Skills Advisor, I aim to facilitate learning by equipping students with the soft skills needed to demonstrate they are working effectively within their subject area (V2, V4). Soft skills encompass; time management, motivation, presentation skills. The workshops I facilitate are optional and give those attending an opportunity to close gaps in soft skills (V1). Attendees are encouraged to identify their own issues relating to the workshop theme and to set their own goals; this encourages learners to develop a “growth mindset” and become intrinsically motivated to develop such skills (Dweck, 2012).

During one-to-one tutorials, I can offer a focused interaction with learners and provide differentiated support. Allowing learners to treated individuals with different motivation, levels of knowledge and preferred approaches to leaning (Entwistle and Ramsden, 2015). My one-to-one sessions (particularly with learners that seek regular appointments) draw on higher-order needs as articulated by Maslow (1987). Maslow (1987) argues that it is not enough to support the learner with the content of the session: it is also important to build mutual trust, develop their self-confidence and to help them reach self-actualisation.

To support teaching and learning within in-course sessions, I collaborate with subject leads to develop content which directly relates to areas of the course by utilising the work of Bonwell and Eison (1991) and Mahmoud (2013) (V4). For example, I have designed an in-course session around visual literature and artefacts in collaboration with a course leader to prepare their cohort for a formative assessment (K2). Activities used within this session promote active learning: the cohort are asked to look at an image and then caption it and share their captions with each other. This activity provides opportunities for interpretation, as learners quickly find that while they are all looking at the same image, their interpretation of these images may vary. Students are also asked to think/pair/share in relation to definitions relating to the subject matter. I use this strategy to promote collaborative problem solving within the session (Mahmoud, 2013).

Part of my teaching philosophy looks at developing effective learning spaces and environments. For example, when running workshops, I find using a semi-circle seating arrangement allows for better interactions to take place (Ashwin et al, 2015). However, contemporary effective learning environments go beyond physical spaces, and I have therefore developed online learning environments (V2, K4). My Brightspace PASS training module is an example of an effective learning environment. The module was developed in collaboration with the digital learning team to develop easy to use online spaces (K1, K2, K4). My contribution to this included recording ‘talking head’ videos to welcome and inform learners about the webpage and designing resources, which can be assessed digitally, or downloaded and printed.

As part of my PASS Advisor role I am responsible for training PASS Leaders in facilitation of their session. In order to do this successfully, I must have an up to date understanding of teaching pedagogies. The benefit of supporting PASS Leaders to develop these skills, is that it better enables them to engage their level 4 attendees and help them to consolidate their knowledge collaboratively (Hogan, 2005). I emphasise the importance of PASS Leaders allowing the attendees to solve problems on their own, rather than being told the answers directly. These facilitation skills include the use of redirected questioning and wait time (Bellance, 2013). PASS Leaders are also trained in the importance of creating an inclusive environment for their PASS sessions and about how they may use different approaches to learning, within their PASS sessions. From developing and delivering the PASS training I have gained a better working knowledge of facilitation skills and how to develop these skills in others."

The final section asks for any other information which may support your application.

"As part of my CPD, I have completed online courses such as: Autism Training from the National Autistic Society, safeguarding, online mentoring and coaching, and Brightspace CPD module – allowing me to better design my PASS Leader Area effectively (V3).

I have also attended the university’s teaching and learning day; I found this a useful experience to meet other staff members within the university. The cafĂ© tables that I participated in directly collate with my pedagogic interests around creative teaching and effective assessment (V3, V4, K2).

I am completing project work surrounding research into the use and value of 1-2-1 tutorials. This consists of both desk research and observations of those in my team. From this research, I hope to further develop my 1-2-1 support (K2, K5, K6, V3). Knowledge gained will also be disseminated to colleagues.

Within my role of PASS Adviser, I am promoting the benefits of PASS to both staff and students. The aim being to expand the PASS provision offered at Suffolk (V4), to promote andragogical learning (Knowles, 1984) from our learners and to create a network of peer support.

As part of my role as PASS Advisor I have also visited UEA, allowing me to grow professional networks with other universities (V2, V3, K5) and to learn from their approaches and experiences."

The biggest challenge of completing the application form was staying within the word count, I found that I had to cut whole chucks of information out to ensure that I stayed within the perimeter. However, it was suggested to me that the application would be stronger if fewer things where used as examples and more depth was went into. It is to some extent comforting to know that I could have extended and that I do have more to say, as I can include these examples and thoughts in my application for Fellowship in the next year or so.

I found the activity of completing the application to be a useful reflective tool and it highlighted to me how much I have achieved in that particularly setting in the time frame of around a year. 


References

Anderson, L.W., Krathwohl and Bloom, B.S. (2001) A taxonomy for learning, teaching, and assessinga revision of Bloom's taxonomy of educational objectives. Longman.

Armstrong, P. (2016) Bloom’s Taxonomy. Vanderbilt University Centre for Teaching.

Ashwin, P., Boud, D., Coate, K., Hallett, F., Keane, E., Krause, K., Leibowitz, B., MacLaren, I., McArthur, J., McCune, V., Tooher, M. (2015) Reflective Teaching in Higher Education. Bloomsbury Academic; 1 edition.

Bellance, J. A. (2013) The Focus Factor: 8 Essential Twenty-First Century Thinking Skills for Deeper Student Learning. Teachers College Press; 1 edition.

Bergmann, J. and Sams, A. (2012) Flip Your Classroom: Reach Every Student in Every Class Every Day. International Society for Technology in Education.

Bloom, B.S. (1971) Mastery Leaning. New York: Holt, Rinehart & Winston.

Bonwell, C., Eison, J. (1991) Active Learning: Creating Excitement in the Classroom. AEHE-ERIC Higher Education Report No. 1. Washington, D.C: Jossey-Bass.

Bridgland, A., and Blanchard, P. (2013) Flexible Delivery/Flexible Learning…Does it Make a Difference? Routledge.

Cassidy, R., Charles, E. S., and Slotta, J. D. (2019) Active Learning: Theoretical Perspectives, Empirical Studies and Design Profiles. Lausanne: Frontiers Media.

Entwistle, N. and Ramsden, P. (2015). Understanding Student Learning (Routledge Revivals). Routledge.

Dewey, J. (1963) Experience and Education. New York: Collier Books.

Dweck, C.S. (2012) Mindset: How You Can Fulfil Your Potential. London. Robinson.

Knowles, M. (1984) Andragogy in ActionApplying Modern Principles of Adult Learning. Jossey-Bass Inc.,U.S.; 1 edition.
Maslow, A.H. (1987) Motivation and Personality. (3rd Edition). New York: HarperCollins.

Mahmoud, K. (2013) Think Pair Share: A Teaching Learning Strategy to Enhance Students' Critical Thinking. Educational Research Quarterly, v36 n4 p3-24 Jun 2013.

Munro, J., (2012) Effective strategies for implementing differentiated instruction. [online] Available at: http://research.acer.edu.au/cgi/viewcontent.cgi?article=1144&context=research_conference (Accessed 03/10/19).

Schon, D. (1983) The Reflective Practitioner. Basic Books Inc.

UKPSF. (2011) UK Professional Standards Framework (PSF) for teaching and supporting learning in higher education. [PDF] https://s3.eu-west-2.amazonaws.com/assets.creode.advancehe-document-manager/documents/advance-he/UK%20Professional%20Standards%20Framework_1570613241.pdf. [accessed 15/03/20].

Vygotsky, L.S. (1974) Mind in Society: Development of Higher Psychological Processes. Harvard University Press; New edition edition.

Vygotsky, L.S. (1978) Mind in society: The development of higher psychological processes. Cambridge, MA: Harvard University Press.


Sunday, April 5, 2020

Developing a Peer Support Programme: Part One: Colchester Crit Collective

My plans to start a peer support programme started in 2018 while completing my MA Fine Art. The Professional Development module prompted me into action.



The rationale behind this decision was that after completing my BA Fine Art in 2016 I felt something of a creative isolation. Suddenly there was no-one to talk to about my practice and I felt as a result my work stopped progressing. In creating a creative support network, I hoped to develop my own art world (Tilley and Davis, 2016), of like-mined creatives. 



My focus was on the ‘art world’ rather than the ‘art market’ as I am more interested in the exchange of thoughts and ideas, than brute wealth (Thornton, 2009), as I felt that this would be more beneficial to my art practice and continued development - albeit, not as beneficial to my livelihood. However, the art world is larger than just the art market (Thornton, 2012).

I felt that there was a gap in the market for this kind of set-up based on my own lived experience. While Colchester plays host to many art groups, I had not found anything locally which put sharing ideas and feedback at its centre. 

Initially I started to develop Colchester Crit Collective, which brought together peer feedback and tea and cake. These sessions where hosted in a number of different cafes, as finding a free venue proved impossible. As the sessions where free to attend, there was no money to pay for venue hire. At this stage my lack of interest in money was doing the development of the sessions a disservice, as while I am interested in an meeting of minds, businesses are very much interested in the exchange for services for money. 



However, I felt that the groups being free was important and was also a common theme within my research (Thorne, 2012 and Madoff, 2009), just think, The Copenhagen Free Art School (Madoff, 2009).

The intention of Colchester Crit Collective was to create a group which would run regularly and give creatives a sense of stability and at its heart would focus on providing a supportive platform  for artists to show work, test ideas and receive critical feedback from their peers (Day, 2012), outside of an educational context.  Allowing creatives to develop their practices (Percy, 2004) and receive feedback opening the opportunity for development of work and possible collaborations and events (Davis and Tilley, 2016).

The Format 

·       Artists will be invited to join the monthly Colchester Crit Collective sessions–there is no commitment to attend all sessions (but it is encouraged!)

·       Sessions will take the form of an informal table discussion

·       Artists not showing works are encouraged to join and offer critique


Running Order
  1. Start-Welcome and Introductions
  2. Artists invited to layout work/documentation/ideas on the table
  3. Group Discussion
  4. End–Networking Opportunity

Showing Work

·       Artist are invited to bring work or work in progress to be critiqued and it is strongly recommended that artist have an aim for the session, such as questions they want answers to (in relation to how their work is developing, intent, content, use of materials, exhibiting etc.


As my Professional Development module came to an end the wheels started to come off Colchester Crit Collective, it had been successful in terms of creating a small community of creatives, attendees were encouraged to bring along their creative friends to expand the network (Bhandari and Melber, 2009). However, it was clear that expansion was needed to create something viable. 

Coming Soon

Developing a Peer Support Programme: Part Two: Creative Practitioner Support Programme

References

Bhandari, H. D. and Melber, J. (2009) ART/WORK: Everything You Need to Know (and Do) As You Pursue Your Art Career. FreePress; Original ed.

Davis, R. and Tilley, A. (2016) What they didn’t teach you in art school: What you need to know to survive as an artist. Ilex.

Day. P. (2012) The Are Group Crit: How do you make a firing squad less scary? [online] Available at: arts.brighton.ac.uk/projects/networks/issue-18-july-2012/the-art-group-crit-how-do-you-make-a-firing-squad-less-scary. [accessed 30/01/20].

Madoff, S. H. (2009) Art School: Propositions for the 21st century. MIT Press.

Thornton, S. (2012) Seven Days in the Arts World. GrantaBooks.

Tilley, A. and Davis, R. (2016) What They Didn't Teach You in Art School: How to Survive as an Artist in the Real World. Ilex Press; 01 Edition.

My Current Artist Statement


My artistic practice explores the use of text and site, examining how the context of a site can change the reading of any given text and provides the cultural frame work for the art work to exist within. The work produced is usually temporary, drawing on notions of time and place, duration and mutability. This is echoed in the use of language, as that too is affected by these factors. Language changes depending on when and where it is exists, and the meaning of words is edited and changed as time passes. Nothing is fixed and my practice focuses very much on nowness.

One of the main processes which takes place within my practice is the playing with language, I will often use synonyms and antonyms. I enjoy breaking language and pushing it to its limits; whether this means the use of repetition or removal of text until the language no longer makes sense. The text used within my work varies: some works use found text, others are created by automatic means – the silliness of Dadaism draws me in. However, in both instances they depend on our shared public language and social facts. The everyday nature of language and its accessibility to audiences appeals to me.

The notion of audience/audiencing and community/communication are important to my practice, as the work exists outside of an art gallery context. Therefore, the viewers of the work may not necessarily be looking at it intentionally. To engage this everyman audience, I strive to make text choices which comment on life, rather than art. One of the main reasons I use text within my practice is because we have temporal relations with it and thus, even if the viewer does not reach the same interpretation as my intention, they are still engaging with it on some level. Time and place come into play here too, as the same text will be read differently by the same person if the text is placed in a new site. The text used within my practice is often vague and embraced the audience’s interpretations of the text and the loss of control over it, echoing Barthes feelings on the Death of the Author.

My practice lends itself to installation work, the usual criteria for sites used within my practice are the Duchampian unchoice. These territories appeal to me due to their usually overlooked presence.

My process swings between two opposing pillars; choosing text specifically fitting to sites and putting text into sites and allowing it to resonate. These are varying processes, however I find the process of both compelling, as either way a dialogical relationship will take place between the art and the site [and the audience]. Working within different sites appeals to me as each has their own specific limitation and these limits help to establish and frame the text.

My practice takes a DIY approach, again infused with Dadaism, as such I use materials which are often inexpensive and processes that are easily accessible. Simplisticity can rule and as such the text is curated into the site carefully.

Sunday, March 29, 2020

Reflecting on the Firstsite Collectors Group Bursary Application Process

My application writing processes involves many editing stages. I will look at what the application is asking for specifically and in the first instance will just write. The first editing stage focuses on refining the information and ensuring that I have not gone off on a tangent. I will then look at the word count and edit accordingly, removing anything that is not directly relevant. As an artist I find that I apply for opportunities regularly and like to keep a word document with text about my art for future reference, as part of my art practice I also try to write about and contextualise my artwork which I also store digitally.

Past Experiences 

Completing the application also gave me room to reflect on relevant past experiences, as an artist who find public outcomes central to their practice, I found this activity insightful as I do tend to exhibit widely. However, I was able to pinpoint the experience which have been more beneficial to the development of my art practice and what it was each consisted of. Below are the five past experiences that I chose to include. I made the conscious decision to look back over all past experience, picking the most relevant, rather than the most recent ones. 

2019 Fold, Lewisham Project Space: For this exhibition I have created a set of paku-paku’s which contain randomised wording, these have been designed to allow audience members to pick up and play with these to create nonsensical text patterns.

2019 CAS at the Beecroft, The Beecroft: As part of this I exhibited a collection of plaster playing cubes – styled after children’s playing blocks, each with a letter etched into each side of each cube. These can then be interacted with by the audience to create their own text.

2019 Unfamilaiars: WONDER, The Minories: For this pop-up I installed a floor-based string installation. The installation was designed to be fleeting and by interacting with the artwork the audiences also start to destroy the installation.

2018 Art, War and Reconciliation, The Minories: In direct response to the theme of the exhibition I was able to reposition pre-existing war time text to the modern day. This allowed the audience to experience the text in a completely different context and to view how this changes the reading of the text.

2017 Float: Identity, Firstsite: Work for this exhibition was made up of screwed-up pieces of A4 paper, each with a drawing concealed inside relating to an aspect of my identity. These pieces were discarded onto the floor and could be interacted with the

Examples of Work

The application also asked for three example of work. I chose to include two images of previous work and one image which was the basis of my bursary proposal. I felt that the images I included visually summed up my art practice well and showed how it has developed. It is always at the point in application that you are reminded of the importance of ensuring that you document work effectively and with high quality images - especially if, like me your work is ephemeral.

it’s all over
2018. Wooden Board. 32x194x0.5cm. Installation View.



It’s All Over is part of a larger collection called The Initial Wooden Lettering Collection.

Works in this collection were made at the end of my MA Fine Art degree, which I completed at University of Suffolk, Graduating in 2018 with Distinction. The work is commenting on the context of the MA exhibition and the MA coming to its conclusion with the opening of the exhibition.

The text is direct and to the point. It is self-descriptive to the situation. While the text used is neutral, it can be read as negative or positive depending on the viewers outlook. The intention is to provide closure to the situation. However, by not expanding on what it is that is all over, the work is left open to be interpreted by the audience. There is an air of story-telling within the works, the notion of stories draws me in. What is the story behind the work or the meaning of the work? It’s All Over, the work says, but what is all over? Asks the audience.

The curation of the wooden letters is not fixed, they are easily moved and repositioned within the gallery space; this chose was made to ensure that the physicality of the work echoed that of the context of the work; relating to both the mutability and breakability of language.

These letters have been used subsequently in a Colchester Art Society Exhibition at The Minories. However, the lettering was used to create a new series of words, based upon the limitations of the few letters that I had previously created. Further playing on the notion of mutability of language. By reusing these letters, I felt that they were able to keep their authenticity and aura of being originals.

KEEP GOING
2018. Vinyl. 132x17cm. Installation View



Keep Going was created as a moment of personal reflection for Cairns, made public. It is open to interpretation and will resonate differently to each reader, with the meaning possibly changing on each viewing depending on personal mood. The only limitation to the number of interpretations of the work, is the number of people who view it.

Keep Going: Continue to move forward.

The repetitive nature of Keep Going is reaffirming the definition of the text and becomes mantra-like.

The Road Sign Collection
2019. Digital Drawings. Size Variable.



The Road Sign Collection started by chance after an art walk during an art tutor CPD day run by NEAAT (Network of East Anglian Art Teachers). As a group we were instructed to walk around the Fine City of Norwich and document the walk with; photos, drawings, rubbings. During this walk, I photographed road signs. I was drawn to these due to the nature of my art practice, which is concerned with the relationship between text and site. During this time, I was teaching a short course titled, ‘Exploring Drawing and Illustration’, with one of the weeks focusing on line drawing techniques - something that I am usually guilty of neglecting within my practice. However, covering this topic and seeing my learners’ outcomes – particularly their continuous line drawings, made me want to give it ago within my art practice. 

The intention is that each road sign drawing will be an original, with each only drawn once, in one continuous movement. The use of colour in the signs felt important to their ability to carry out their function successfully. I had to start to consider the readability of the sign and our temporal relationship with them. Without the colouring, there is a sense of unfamiliarity to them.

The more time that I spend with the road signs the more I start to consider placing them into a new context. The text is direct and to the point when it is within the original context. Within my practice, I look to have public-facing outcomes and these signs lend themselves to be repositioned into a new context, away from the road. I look to explore what this does to our relationship with these signs that we encounter every day once they are put into an art context. This starts with turning them into drawings and will perhaps end in a gallery context, allowing this new cultural framework to change the context of the road signs.

Artist Statement 

Within the proposal we also needed to provide a 200 word artist statement. As you will have seen in my previous blog post, my artist statement is lengthy, around 550. This process of condensing text makes you consider every aspect of what you do and what is most central to your artistic process.

This version conveys my artistic practice, but does lack the depth of my current artist statement.

My art practice explores the use of text and site. I often use found text within my work and will draw upon the texts original meaning to guide my practice. The use of our shared public language is essential to the works success.

Within my practice I create site specific installations and work with the concept of text/context to create works which resonate with the site. One of the aims of my art practice is to create situations in which dialectical relationships can take place between; the art and the audience/the art and the site.

My practice takes a DIY approach and I strive to use materials that are inexpensive and readily available; such as electrical tape and ready mixed paint and processes which are easily accessible. I feel that this also links into my interests surrounding things that are ‘everyday’ – such as my use of language.

My current research interests surround my dual role of artist and teacher and how these two roles inform each other. I would like to explore further the benefits of being an art tutor who also has an active art practice, both for myself and for my learners.


Sunday, March 22, 2020

Getting Started

This blog post had been suggested by a couple of people (thank-you for the inspiration!) is all about getting started or re-started with your creative endeavours.

I will keep these tips fairly vague, as I want them to be as applicable to as many creative practices as possible, not just to artists.

Before you try to get started it is useful to understand why you might be having difficulties;

·       You do not know what it is you want to do
·       The task is too big or overwhelming
·       The task seems too easy
·       You fear judgement
·       You are put off by a blank page
(Williams and Reid, 2011)


Hopefully these activities will help you in moments of doubt or during creative dry spells!
  
     1. Do something every day!

      It is good to reflect on what you have done.

Gibbs (1988) provides a useful reflective cycle which you can use to reflect on what it is you have done that day, write a few notes for each stage.



2. Go Dada

Surrealist games are a great way to get creative. One of my favourites is to set yourself some arbitrary rules to follow.

To makes these easier to set make some sets of cards outlining;
- Duration; how long you will spend on the activity; 5 minutes, 10 minutes, 15 minutes, 20 minutes, 25 minutes, 30 minutes
- Materials; what will you use to create the work, such as; art material, instruments, digital programmes
- Topics/Words; something to use as a starting point, you can also use an only word randomizer for this! (https://randomwordgenerator.com/)

Pick one of each card and get creating


NB: The more of these cards that you can create the more varied your choices will be and the longer the activity will stay fresh.

      3. Look back on what you have done before

      This year, last year, ten years ago. Ask yourself;
- What is it I have previous done?
- How did you create the work? (What materials and processed where used?)
- What context was the work made in? (Education, for fun?)
- Are you pleased with the outcome?
- Can anything be reworked? (Can you use this as a start point?)
Is there anything you would change? (Change it!)

      4. Gain Peer Feedback

It is really difficult to be creative if you are existing within a creative vacuum (Melee and Cramerotti, 2013).

Show others your work and ask for feedback;
- Do you have any ideas how I could develop this work?
- What are your initial thoughts about this work?
- What materials could I use to develop X?
- Are there any processes I could try?

Join us over on the Creative Practitioner Support Programme on Facebook for this: https://www.facebook.com/groups/269213273718843/

     5. Collaborate  

Find other creatives and work together. Put out calls on social media to find those interested or ask creatives that you know directly!

Collaborations can exist in many ways;
- Respond to some work another creative has already created
- Create work together
- Pass work between participants
- Write a brief for others to follow / Ask them to set you a brief

      6. Research

See what others in your creative area (and beyond) are doing. Look at well known creatives as well as up and coming ones.

Look into;
- Creatives focusing on the same topic as you
- Creatives using the same materials as you
- Creatives using the same process as you

NB: When I am stuck, I will come up with a list of key words which relate to what it is I am trying to develop and will start on the big art websites (Tate, MoMA) to see what artists, exhibitions or research comes up.

These websites are great as they will also suggest related artists and allows for quick initial research.

     7. Look at inspirational things…

Even if they don't relate to your creative practice – remember to avoid falling into that vacuum.

     8. Set yourself a brief

If you feel that you have a little more direction, consider what it is you want to do and write your own brief.

Consider it as a self-assigned research project; set aims and objectives as well as a time scale.

     9. Open Calls

There are lots of these about, the easiest thing to do is search ‘open calls’.


     10. Make Time

Check my last blog post for this one



Intrinsic Motivation

Your intrinsic motivation also plays a huge part in getting started and using these suggestions!

Build your intrinsic motivation by considering;
- What is it you want to achieve?
- What is you end goal?
- Why do you want to do this?

So, how can you motivate yourself?

·       Be realistic: Unrealistic thinking sets you up for failure
·       Have high standards: High expectations are linked to success / Plan accordingly
·       Set realistic milestones: Chart your progress
·       Reward achievement: Appropriate to the goal 
     Find your motivation: Long term goals

(Cottrell, 2010)
To do this you also need to be aware of threats to your motivation

·       Previous Negative Experience
·       Increased Independence
·       Too High Expectations
·       Workload
·       Disappointing Results
·       Self-Generated Fears


I hope these get you creating!


References

Cottrell, S. (2010) Skills for success: personal development and employability. 2nd edn. Basingstoke: Palgrave Macmillan. (Palgrave Study Skills).

Curator Space. (2020) Curator Space. [online] Available at: https://www.curatorspace.com. [accessed 21/03/20].

Gibbs. G. (1988) Learning by Doing: A guide to teaching and learning methods. Further Education Unit. Oxford Polytechnic: Oxford.

Melee, L. and Cramerotti, A. (2013) Art and Revolution. Aesthetic Journalism.

MoMA. (2020) Museum of Modern Art. [online] Available at: https://www.moma.org/. [accessed 21/03/20].

Random Word Generator. (2020) Random Word Generator. [Online] Available at: https://randomwordgenerator.com/. [accessed 21/03/20].

Tate. (2020) Tate. [online] Available at: www.tate.org.uk. [accessed 21/03/20].

Williams, K. and Reid, M. (2011) Time management. Basingstoke: Palgrave Macmillan. (Pocket study skills).