My creative agenda is to create work that reflects and evokes an interest in the wilderness, my aim is to rekindle a lost relationship with the natural landscape through the experienceies of the objects I make. I aim to create experiences for people using the wilderness, that i hope will spark an interest in the natural landscape which theoretically will ignite learning and understanding. I have found through writing my report that humans have an inherent need to investigate and explain the unknown, unexplained and mysterious. I aim to use this to my advantage if I can add this sense of mystical awe into my work the reaction to investigate and learn about the wilderness should be more profound. My material pallet has developed into what I need to portray the wild, i am now developing the composition of my objects in the same manner engraining obscurities and mystical intrigue.
Elain bolt’s work is intriguing due to this mystical affect. On her website she describes her work as “These compositions often include ‘found’ and unusual materials. The pieces are arranged in museum-like displays and are created to trigger memories of the past, or hint at some mysterious origin.” You can see her work at (http://elainebolt.com/belongings/) She also draws upon the display to add intrigue, museum displays are always full of discovery and learning, it is a great source for inspiring inquisitively.
Due to the ephemeral qualities of my work I have found it difficult to find my context and market. I have looked to rural establishments that encourage relationships between the making and the landscape, such as Yorkshire Sculpture Park and Cove Park. And establishments that promote unconventional and traditional ways of working within jewellery, such as gallery Marzee, in Nijmegen, Holland who specialise in contemporary art jewellery and Flow who don’t specialise in jewellery but promote the use of natural materials and traditional techniques. I need to develop the wearability of the work integrally, from the start. To do this I may start with a part of the body first for example, hand, neck, shoulder, and ear. Building from there.
My key feedback has been to apply more spontaneity to the composition of the work, letting the materials be freer suggesting wild along with the materials themselves, I have started to introduce a more random approach to some aspects of the metalwork for example not planning drill holes, or measuring. I also hope to develop some pieces in the collection that may have no metalwork at all. This more spontaneous way of working through composition should strengthen the visualisation of wild and mystery.
A key point raised in my feedback was to revisit some of my smaller scale items that could be an everyday wearable collection running alongside the larger proportioned work. This makes sense I want the public to have and experience so by being able to buy and wear the work comfortably would create more experiences. Also working in a series grouping together to from collections. Another key point was to use photography to document my experience making out in the wilderness. I have also begun to document my experiences with creative writing, in the form of diary entries displayed alongside the work to strengthen the message of experience.
Leanne orme, 7th November, 2015, Kinder scout.
“A long slog up the hill revealed the view, but soon the miles turned to meters as the fog swirled in with its grey grasping tendrils, erasing landmarks and bearings. Dark shapes shifted lurking at the corners of vision. Grey masses of rock lurched from the gloom, once at the waterfall the sky brightened and the fog turned to mist. The water desperately reaching for the earth below longing for the sea, but relentlessly denied by the wind, sweeping it back over the ledge to dowse the land once again, in a mysterious dance of gravity defying wonder.”
Some issues have also been raised by tutors and peers that my contextual file is unorganised and therefore doesn’t communicate my plans and decisions made from the research, it is also not up to date and will be addressed, organised and clearly reflected on in annotations. It has been suggested that trying out a display of my work and invite people to wear it. I intend to peruse this and there may be potential through a collaboration to display my work alongside a fine art student, whos work is also based around nature. in a small pop-up exhibition based on the theme of loss. The ephemeral characteristics of my work fit this theme perfectly, and the support of other practitioners working around the same theme will give me some confidence and a tame environment in which to test the waters.
I have become more aware of the realities surrounding the context of my practice, and am feeling more like I have potential to succeed however after graduation I am still unsure whether I will peruse this. I aim to work part time at first to support my practice and if all goes well allow it to take over gradually. I intend to look for local part time work preferably something relatable and beneficial to my practice, but failing that anything will do. I intend initially to work from home and my site specific landscapes. My farther is currently looking for a house to buy, this means I may be able to situate myself more rurally allowing me local access to isolated wildernesses. Buying a home will also allow for the registration of a residential property for commercial use. Allowing me to work from home. I will also using online tutorials to help me develop my photography skills, introducing time lapse and film to document my experiences while out making, and my work being experienced by others.