Before beginning the Chelsea Foundation course, I had it fixated in my head that I was going to specialise in Fine Art – I’ve always been one of those teenagers who can only really say they’ve done “Fine Art and nothing more”, so I was really excited to be exploring new areas but also positive that I’d end up sticking to my roots. I was right.
I always assumed that Fashion/Textiles and 3D Spatial would not be my forté, and as much as I put my all in to each rotation and tried to explore about with the different design ideas and techniques, I just felt that my projects were not as successful as they could have been; whether it was my execution or simply my way of over thinking everything I was creating, it just didn’t seem to work. I was happy with various drawings I made, mainly for the fact that I was able to give continuous line-drawing a go which I had never really done before, so despite Fashion/Textiles being the first rotation of the lot, I feel I settled in nice and quick to the routine of it all, which is what surprised me about 3D Spatial; It was my last rotation, yet i ended up feeling more lost than I did when I first began the rotations. It’s really out of my comfort zone being asked to design something and sticking to a brief; the thought of trying to invent a new usable object scared me somewhat and I think, by putting a brief in front of me, you’re actually giving me less of an idea as to what I could or should be doing.
Visual Communication was probably the most challenging of each of the rotations. At least with 3D Spatial, I had my excuse of not being a “3D person”; but with Visual Communication, it felt as though I was failing myself; I was struggling for ideas and pondered the brief heavily; I created some pieces I was pleased with, however these pieces carry a Fine Art touch to them. I think what I learnt more than anything from this rotation, as well as pairing it to 3D Spatial, is that I cannot work to a brief; I get far too self conscious about what I’m going to create and start worrying that it will not fit the briefs outlines and would end up with something simply “not good enough”.
That leads me on nicely to the fact that Fine Art makes me feel far more comfortable than any other area; I’m working for myself, and creating things that others may find aesthetically pleasing, or if not pleasing, they at least feel something. I like creating to give others a feeling or a thought of some sort, whether that thought is positive or negative, meaningful or meaningless. Some of my drawings I created throughout Fine Art did seem more so illustrative than anything, and I think this is an underlying part of my technique; I did find myself becoming very inspired by particular illustrative artists in Visual Communication, such as Ceri Amphlett. Lots of work I produce may point towards illustrative pathways, however, I challenged this view during the rotation by placing the paint next to my illustrations in a bold, heavy manner so that attention is drawn to the actual painted aspects of the piece. I think if I were to go into this specialization, I would happily experiment further, as well as perhaps trying out some pieces of animation or trying to develop my photography further.
Another reason as to why I think Fine Art suits me more than any other area is because I’m actually really passionate about it; there have been many sleepless nights of creating works for fun (which really does say a lot because I’m also incredibly passionate about my bed and sleeping in it for copious amounts of hours), and so I can for-see myself devoting a lot of time towards my work in the studios and out and about in the big city, picking up as much inspiration as physically possible. I think the best part of all is that I’m more excited about starting than anything, and surely if I’m that excited about pushing myself with masses upon masses of work, then I’m in for a very busy, imaginative and creative year and a happy step forward in my life as an artist.
.x
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