Contextual Essay - Wk 3 - 04/03/2018-10/03/2018

• Week 3 Mar 4th  Reflect on current production, note relationship to readings, narrow down to key artists/works/methods.

 Regarding the contextual study, I think I have a working title, 'The Material Culture of Everyday Life, using materials to sway emotion and confine chaos'. I've happily discovered Maxine Bristow ( www.maxinebristow.com), and from that the Transition and Influence archive by UCA (www.transitionandinfluenceprojects.com) which I'm currently working through. I've realised today that a big barrier I have here is self-confidence, a lot of the artists that are coming up are ones I researched during my BA and as I had quite a negative experience I'm finding it difficult to revisit them without evoking self-doubt. That's certainly a challenge I didn't anticipate!I'm reading and actually do feel like I'm making some progress but it's a little muddled and I'm jumping around with it as I rocket off in to my thoughts as I get excited, having to work at reigning it in to keep the process coherent. I'm doing my best to give myself a break and the frustration levels are going down, but it's all a process.Thoughts: What am I doing thats new? How am I bringing value? Am I getting my exploratory project and the contextual study mixed up. How can I write about my practice at the same time as being pushed to challenge it? It feels like contradictory to almost set a practice in a tangible form through a contextual pieces while being expected to push the boundaries of where the practice lies.On material culture: Our homes become more comfort driven and softer as our businesses and education centres become open, clinical and hard: glazing, concrete, enamel vs woods, wools and rattan.Material culture of everyday life, using materials to sway emotion - comfort, fear etc. Immersion, immersive new media and textiles, could they work together to give a comforting or challenging experience?Artists:Sue Lawty:

19sl Stone Drawing: Series 0414, Sue Lawtynatural stone on gesso, 6 panels, 10.5” x 8.25” each, 2010, $7,400 (SOLD)20sl Woven Lead: Series 1210, Sue Lawtylead warp and weft, hand woven and beaten, plexi, 10.5” x 8.25” each, 2010, $7,400

Statement:‘I seek an understated restraint, balance, tension, rhythm: an essential stillness.

The work is rooted in an emotional, spiritual and physical engagement with the land, drawing on direct experiences of remote, raw, edgy landscape and specifically rock. It has been described as ‘meditative… a deeply contemplative experience’.

Constructed pieces and drawings in two and three dimensions are abstract and minimal. They explore repetition and interval; investigating territories of expression in raphia, hemp, linen, lead, stone or shadow.

Sue Lawty

‘…Lawty is developing links between contemporary use of unconventional materials and traditional practice… Cultural and personal narrative is concerned with the substance of things, the nature of cloth; it’s structure and feel. She is exploring ideas of individuality and universality, a single thread within a piece of cloth, or a single stone on a beach made of millions of stones. The mapping of place and space, the structure of the landscape, the sense of time…’ 

Professor Lesley Millarhttp://www.browngrotta.com/Pages/lawty.phpChika Ohgi:

vague sense of distance (2009)vinyl, my family clothes

http://chikaohgi.com/works/sense_distance.html

I am looking at the interface between the space and the objects.I consider the space as important as my objects.This is why I am interested in the edges of objects.Each object has a very subtle boundary between the space and itself. So the objects integrate themselves into the space.

I keep making, not knowing the consequence of my actions.The answer for my questing will only be revealed when it is installed in a space.My installations are gradually revealed to the spectators by the passage of time.

Chika OHGI

https://lha.uow.edu.au/taem/artistsinresidence/UOW220670.htmlMachiko Agano:

Japanese master weaving artist and artisan Machiko Agano is known for her elaborately woven structures usually created to be installed in a specific space. Many of Agano’s works use translucent or neutral coloured materials to portray delicate natural emotions, and allow the characteristics of the surrounding space to penetrate and reflect the work.

https://trendland.com/machiko-agano-textural-installations/Kiyonori Shimada:

DIVISION - 2009 - W

http://www.miniartextil.it/artist.php?post_id=254&lang_id=1

Believing that cloth itself, by its very nature affects our emotions directly, he creates monumental installations of stitched layers cloth. White, or red, or earth coloured, the installations surround the viewer, move gently and echo primordial forms.

http://www.directdesign.co.uk/testDD/transition_gallery/kiyonorishimada.html#Division

Ealish Wilson:

50/50 : DIGITALLY PRINTED TYVEK AND VELLUM CIRCLES  42" x 42"

My work investigates pattern and its transformation through surface manipulation. Influenced by travel, architecture, the aesthetic traditions from Japan and the Arts and Crafts movement, my textile constructions showcase materiality using a variety of substrates and structural form created through a process of continual manipulation.

The printed surface is where the manipulation starts. Photography plays an essential yet subtle role in my work. I capture imagery from daily life, various cultures and architecture to create my digitally manipulated textiles.

Using techniques normally associated with fashion, such a pleating and smocking, I work meticulously by hand to create structure, which starts to morph the custom-made textile into new iterations. Once, again, I turn to the photographic process to rework the patterns and print the transformed textiles onto cloth before finally pleating and smocking into my textile constructions. This dialogue between architecture, patterns, photography and material is the fundamental thread throughout my work, honoring the time to create beautiful objects that endure.

http://ealishwilson.com/g6fw3pdujgja4bq3zqad5wohhdkoiwLiz Nilsson:

“To Capture Silence” - an exhibition by Joe Hogan and Liz Nilsson, at the Source Art Centre, Thurles, 4th December 2014 - 31st January 2015.

These new abstract printed tableaux in grey tones, make reference to both the construction of life and the construction of cloth, threads and lines that meet, connect and move on - like the human process.The work is strongly linear, evoking a natural pattern and conducive of thought through repetition.

Using her experience as an artist, designer, facilitator and curator, she fabricates site-specific collaborative projects which investigate the connection between place, space and belonging.

Liz also have a strong interest in visual rhythm, pattern and repetition. She incorporates print, tactile mark making, photography and drawing in her projects, concluding in installations, printed compositions and socially engaged projects.

http://liznilsson.com/silence

Rhiannon Williams:

https://criticalcloth.wordpress.com/page/2/

Patchwork as Critical Practice: 'I describe my own work, somewhat provocatively, as "intellectual sewing" conducted in the manner of a critique. My methodology supports the agenda for integration of theory into practice, arriving at an interdisciplinary approach that promotes mutuality of theory with practice as a working model.'

https://criticalcloth.wordpress.com/

Repetition and time are key elements in the work of Rhiannon Williams. Patchwork cloths created from newspapers and the detritus of modern life are used to reveal and critique aspects of the way we live.

http://www.transitionandinfluenceprojects.com/gallery/rhiannonwilliams.htmlAlana Tyson:

Installation view Ruthin Craft Centre, Lining and thread, inflatable, sound. 2.5m x 4m x 3m, 2015

http://www.alanatyson.com/interior/4589307860

Alana Tyson’s work attempts to make sense of the world she inhabits. Identifying herself as an outsider, not just because she is an immigrant to the UK, Tyson keenly feels the friction of everyday life and the contradictions and hypocrisy of society. Dismayed by such platitudes as "that is how it has always been," her uncertain questioning takes the form of performance, sculpture and installation utilising found, altered and constructed elements.

http://www.transitionandinfluenceprojects.com/gallery/alanatyson.htmlMaxine Bristow:

COMPONENT CONFIGURATION 010914 - CH2 2LB, STUDIO SPACE, UNIVERSITY OF CHESTER 01.09.14 - 26.10.14. Shown within the main studio space at the University of Chester, this presentation of work was the outcome of a period of speculative studio enquiry during the summer vacation period in 2014.

I am an artist and academic who draws on the material and semantic conventions of textile; using these as a point of departure for an artistic practice that variously takes the form of wall based objects, sculpture and installation. My practice, research and teaching experience, however, extends beyond the specificity of textile and is concerned more broadly with a material sensibility within contemporary fine art practice. Of central concern is material agency and the affective dimension of the aesthetic experience. I am particularly interested in the way that a material aesthetic opens up our sensuously bound encounter with the world and how the affective intensity of this encounter opens up a productively indeterminate space where boundaries become blurred and meaning is unable to settle.

http://www.maxinebristow.com/about-1/ 

Exploratory Project - Wk 2 - 25/02/2018- 03/03/2018

• Week 2 Feb 25th Begin research reading and gathering, use Textile reader (Hemmings, 2012) and Everyday Reader (Highmore, 2002); texts related to touch, histories, colonialism, colour, routine, textile usage. Explore artists already working around my exploration (also links to contextual study).  Continue production experiments, break process down and source materials. 

So I have done some of the reading, and considered how to move my work forward. The asynchronous seminar felt like an unnecessary evil this week and was just a huge weight on top of all the other work. On top of 'daily life' as it were, it's been difficult to find a balance. Both of my other reading groups have come to an end, although Art Month, or March Madness as its affectionately known here, begins this week with exhibition openings and a plethora of talks, discussions and various other art events are taking place.

Actual physical work has taken a back seat this week as I tried to claw back some organisation ...oh and try to find a job! Arrgh!

Contextual Essay - Wk 2 - 25/02/2018-03/03/2018

• Week 2 Feb 25th Begin research reading and gathering, use Textile reader (Hemmings, 2012) and Everyday Reader (Highmore, 2002); texts related to touch, histories, colonialism, colour, routine, textile usage. Explore artists already working around my exploration. Mon 26 Feb: Writing Workshop

This week I realised I am trying to cover too many topic in my workThankfully I realised that now before I had embarked on a huge amount of research for the essay. After summarising myself fro the writing workshop and for a couple of application I am keeping my work simple - routine, repetition, disruption in an urban environment; how chaos interacts with the repetition of everyday life. Well, when I say simple I mean that it's not as diverse as it initially was by including socio cultural factors, race relations, post0colonialism etc... if an audience wants to see that in the work thats okay, but I'm going to leave it out of my own critique, for now anyway!So, I've since read through a couple of the essays in The Textile Reader, (Hemmings, 2012) regarding touch, everyday life in public spaces and fabric and usage. I will comment on them in a separate post once I have gathered my thoughts.To be honest this week has been overwhelming, the writing workshop went quickly and I felt somewhat put on the spot, this made me instantly loose confidence in my self as I didn't feel as grounded in my process as my course mates appear to be. The essay feels like its running at twice the speed of life and I can't keep up. I can't quite get my head around having a vague structure ready for next week. I am wondering if its me or the pacing of the course, the fact that all three assessed projects are started at the same time and running parallel feels crazy. 

26/02/2018 - Writing Workshop - Contextual Unit Essay

Rosa Ainley Writing workshop - see slide showIntroduction of ourselves,katie, british, dubai and looking at repetition, routine and disruption through textiles and bookmaking with other options.What worries do we have about writingme: Too much research, getting overwhelmed and filtering.P: keeping to the subject.T: Staying on topic, in 2000 words!M: At this point my concern is having something valuable and of importance to say about my workJ: My biggest challenge is limitations in writing:what to select?K: Getting a title that is not to broad or to narrow to work in.E: discussing our work, if you have gone down many different routes/ processes / concerns - should we hone in on a particular aspect of our work?R: creating a tight thesisR: What do we write about?K: Starting researchJ: starting relevant research, and where to find itWho what where when - title is one of the things you use to guide your reader but it is also what guides yourselfspend a lot of time thinking about a title that is neither to broad or too narrow. What are the finer points I want to communicate to the reader.See slide 5slide 6: quotes - things to consider - less about your opinion about whether its good but more about why or how you think its good. Not just your own but also the work of othersslide 7: activity - object based writing:sources: grey literature and empherera - images need to be relevantSlide 8: basic essay structure - See slideIntro, the 3-5 sections and relating each to your argument and then conclusion, the response to the question and how the ideas/images/example bring you to that response.if you are going to break out and do something very different you need to be clear to reader why you are doing that.Activity: create a diagram to 'map out' essaydrawing diagram - to map out my essay - then write out a skeleton for your essay -This relies on having a focus but I don't feel like I have a focus.I don't like being put on the spot with stuff like this. I feel so uncomfortable and unprepared and that makes me freeze up even more as I start to panic. So them instead of being the intelligent and coherent person I know I am I just shut off and give up as I can't find the words.try not yo jump in to research until you're sure what you are looking for.proof reading - scale up and print or read txt aloud which helps with tone etccan contact Rosa afterwards phew! See google keep notes for emailpost things from the workshop in to the journal, tutorials in march and be prepared for those. also book in for visiting lecturer tutorialspop tutorials next week 

Contextual Essay - Wk 1 - 18/02/2018-24/02/2018

• Week 1 Feb 18th Complete Mapping the territory, print large scale mind-map to work in to, use to outline concepts, generate ideas and moving forward. Produce outline plan first draft, initial thoughts from current practice. 

I have worked further in to my 'mapping the territory' mind-map, see images below. I have yet to add these additions to the digital version. It has become apparent that I have far too many connections to context in my work. I will be honing in on what really anchors my approach to art making and developing my essay from those points.    I also read through In Praise of Shadows by Jun'ichirō Tanizaki, translated by Thomas J. Harper and Edward G. Seidensticker, 1977.It's an essay that has some questionable opinions in it regarding Japanese life and decor and Western influence of aesthetics but the descriptions of objects, interiors and activities are quite delightful and insightful even if the discussion is very pessimistic.

Exploratory Project - Wk 1 - 18/02/2018- 24/02/2018

1. • • Week 1 Feb 18th Complete Mapping the territory, print large scale mindmap to work in to, use to outline concepts, generate ideas and moving forward. Produce outline plan first draft, produce some experiments regarding initial thoughts from current practice. 

   This week has been productive. I created, filled and bound 8 books. I then went on to dip some of the books in white paint mixtures. I built my initial time outlines for both the contextual study and the exploratory project (although I would like to break these down further). I also continued to add to my Contextual Map which I had printed out large scale and at the end of the week attended a peer critique session (the last one, the course has now finished, Yay!) which felt extremely brutal; more on that later. Overall though there has been a lot of reflection, mainly through discussion with peers and some realisations to take forward through the next few assignments.

   

   

   

   

   To start the week I conducted a brief audit of work up until now; looking back over the Form Fracture Frame task my book explorations stood out to me. Being in a personally anxious time at the moment, the security the books provided was calling out, so I proceeded to channel my nervous energies in to book creation. I loved it. I didn’t overthink content, working with pre-existing fractures from my sketchbook and archive piles.

[vimeo 257514583 w=640 h=360]

Katie Venner-Woodbridge, hand bound books from Katie Venner-Woodbridge on Vimeo. https://player.vimeo.com/video/257514583

[vimeo 257514551 w=640 h=360]

Katie Venner-Woodbridge, 50 page Vellum book from Katie Venner-Woodbridge on Vimeo. https://player.vimeo.com/video/257514551

I believed initially I came up with the concept of dipping the books into white paint to discuss the ‘whitewashing’ of history, of my family and myself. The fact that we don’t get a say in our histories, only in our futures but that realistically they are also somewhat constricted by our geographies and biographies. However, reevaluating the process, and slowing down my thinking, this has more to do with the inaccessibility of my own thoughts and feelings, how I restrict sharing personal aspects and struggle with articulation, which can make my work inaccessible to others. An internal binding. I self-censor…and massively self-censor my artwork. The colour white is somewhat irrelevant other than I did not want a symbolic association, but in a cultural context, most colours do have some associations, so it is difficult to avoid this.

Some of the books were partially dipped so with pages can still be slightly seen in the gaps, others were utterly submerged rendering the pages and work inside eligible.

In the critique the self-censorship issue became glaringly obvious. I asked them to ‘cold read’ the work and feedback with their initial thoughts before I explained the context. I asked this to see if it could be read without text. My peers expressed frustration and annoyance about not being able to access my work, not understanding or seeing the point. There was no read for them without my context, which I was refusing to give. I was somewhat pleased that they were frustrated as this is a feeling I embed in my work, but I don’t feel they were frustrated for the right reasons. When I gave my highly edited context regarding everyday life, routines and chaos they couldn’t see it. Something was missing and they began to write me off. I was dying inside, it hit me then that this was a ‘do or die’ moment and I blurted out my real inspiration, my reasons for moving through the work. I instantly regretted it and my emotions began to take over, trying to hold it together I listened to the feedback and realized it changed. They softened slightly and said it made more sense. The advice offered was to make more use of it (my obsessive nature, anxiety and compulsion), to time stamp and create work to a routine. Log work and mass create. They offered artist suggestions and support and agreed to confidentiality, as I was afraid of judgment and being held back. It was one of the most painful things I have ever done, I am not sure if it was the right thing to do and I still feel sore and manipulated in to handing over that info. BUT I do see the positivity in their feedback. It makes sense; it brings in the links I miss in my fast thinking.

So a couple of days later and I have discussed the feedback with outside parties, I have gone over the really negative points and looked at what they could have reflected about the audience rather than taking everything entirely personally. Moving forward I’m thinking about risks for the project ahead….

Here's some honesty…I don't believe I can draw very well. I have always wanted to be a fabulous drawer, I have friends who can render a realistic portrait in biro in minutes, but I have to work at it... really work at it, and it frustrates me. I hate feeling frustrated, so I tend to quit and move on to something instantly gratifying. I know that’s why my work has moved into abstraction, its less risky and I feel less vulnerable. It's also quick and fulfils the need and desire for meditation and release.

Thinking about this project and one of the risks that keep coming up is this aspect of drawing. It feels like a huge risk to move into drawing for this project, and it didn't make much sense until yesterday after the critique. I was thinking about a comment regarding embracing this everyday aspect, building routine into my work so it is visible and it connected me to a piece I did at college. We were asked to paint a large (150cm x 200cm) image of a ladder we had been using for activities; I was using a small 3 step set, as I don't like heights. Everyone painted these large-scale, elaborate images, abstracted and full of colour; I painted the whole paper black and drew my ladder slightly smaller than it actually was and reasonably realistically. I got very mixed reviews, and they were disappointed by my lack of 'flare'. At the time I was deep in depression and finding it hard to deal with the outlandish activities the course demanded, and I actually left and joined a smaller class at a different college. I regret that decision, most of the activities I participated in during those few weeks have stayed with me, and I return to them for inspiration, but c'est la vie.

My point is, I found some catharsis at the time in painting those steps as mundane as they appeared. Thinking about building routine into my work I looked around my room and realised that I have a tendency to purchase simple objects that fulfil a need, I keep life simple and mundane, flare is left to artwork, singing and dancing, my objects and possessions are basic. What if my risk is to draw these objects, use them for my repetition and pattern beginnings? Key points from critique:

• Too many ideas in one project
• Keep it simple and dive in further
• Really push the boundaries of routine and repetition by assigning times or routine to work etc. Make it obsessive, mountains of work.
• Avoid bringing in subjects of race and history - allow others to add that if they wish.
• Look at maps and the routine travels
• Find artists that have obsessively mapped/logged work
• Think Sharif and Kusama

19/02/2018 - Professional Practice Portfolio, Drawing on Visual Methodologies & Asynchronous Seminar

see slide show that goes with this: https://drive.google.com/file/d/1RP_9NbY0r47wbWSavykg30__mfNi95VQ/view?usp=sharing1:Asynchronous seminar:a debate/discussion that happens in writinga text/prompt that sets out the subject of the seminarpost at least twicebe considerate towards others,keep them short: not essays - key points for discussion, think about it as if verbalopen until 17:00 hours on 2nd marchcopy and paste the discussion at the end to keep as it's a good resource2:PPP - slide 6 in presentation:Professional Practice Plan (PPP)a career plan or development plan as an artist. perhaps career, or high profile as an exhibition artist or further study.Each year the word count increases, it is assessed and added to each year.its a fluid document, its going to change and thats not a problem. Its a good thing if you are adapting and changing.From the slides:A working document that starts in year one and continues until you finish study. It is intended to act as a career plan, it is continually revised and kept current over the length of the course.In year one, the PPP is between 500 – 1000 wordsSubmitted for assessment in June 2018The plan should be written to include the following, which should be used as a guide and is not exhaustive:A summary of your practice in professional terms.A plan that sets out your aims for one year ahead, three years ahead and five years ahead. It is about dreams and aspirations, but  should be realistic. -+ how will you get there? what do you need to do to get there? think about the methods and requirements. What steps make things possible?+Includes identification of networks, notes on skills needs or facilities acquisitionLists appropriate ways of presenting your practice (e.g. website) public profile, what will work for you. social media, website etc or perhaps you are analogue, zines, postal, books etcEach year the plan is re-worked, amended and added to.Possible formats:Chart, - tables- spreadsheetsPlan, or mapDiagram, colour coded etcMap,A body of text, narrative, like a proposal, punctuated with key points etcColourful/different fonts/tracking method, - to distinguish each year, to show the progress like I do on my mind maps and sketchbooksLinks, references, illustrations, - things that are useful, perhaps programmes etcBusiness document. - this is more of a business document - a proposal and business plan.Book a tutorial on monday 5th march - these are pop - have a draft ready, not refined or finished but something to base our discussion on friday 2nd march before the session.share on journal or on shared drive, it's up to you. eventually on the journal.3:Visual Methodologies - Gillian RoseDiscourse Analysis IIWe all have different views because we are different people and bring a certain baggage with us the influences our subjectivity.How is this work framed... what bias is pushed upon us.Group discussion: responsesWhat are your responses to Rose's writing on discourse analysis II?unnecessarily academic, and tedious links but overall useful if somewhat 'obvious' towards the end.it feels quite outdated as it doesn't reference technology/social media/websites etc which is now a very active part of institutional discourse. There are a lot more exciting opportunities for viewers to interact and view work now.It also highlighted the dominate role of a museum so it has opened up the dialogue around that. It's created and increased personal awareness and how dynamics work between different partners in art exhibitions.discussion regarding the power of relations between artist/curator/public/press/critics etc. How the works are chosen? are they picking works that fit in to programming or things they believe are already interested in. is it trend led i.e.: the shows regarding artist that have been banned from travel in the states.How much of an exhibition is about the curators personal taste, research driven or about the public and footfall? Acknowledging the bias and privilege and making sure that it is highlighted and bringing in the people with the experience and knowledge.How do you define a good curator? do they have their own motives?Did Rose's writing change anything for you as an artist?Points that were already in the conscious,its important to consider the context that your work is going to be shown, and how it is created.what your role is as an artist to manipulate and select your own environment, where you wan your work to be displayed and who see it. Whether the systems in art galleries etc are relevant to your work, or that it might not be suitable to be experienced outside the 'white cube' etc.How does this approach relate to our artwork?The artist has some responsibility to make artwork for and decide the end destination, who and where they will see it. You can influence control over this aspect. So the artist as curator, initially.when the artists becomes a curator, the traditional responsibilities of a museum, will transform to the artist's responsibilities. So the artist for instance should be reflexive, although that lack of reflexive, is one of the weak parts of the discourse analysis IIThe right to speak about certain discourses, being aware of your genres and bias, how you are read as an artist and whether you have the knowledge/experience/heritage to discuss the narratives of certain types of work. Being aware of cultural appropriation. Conflicted opinions regarding this, whether this can be restrictive or not to one own practice.

IN PROGRESS - Contextual Essay - Starting Points & Outline

Deadlines:

• Mon 26 Feb: Writing Workshop
• Mon 12 Mar: Tutorial AR
• Mon 19 Mar: Tutorial DK
• Mon 16 Apr: Peer Review
• Mon 30 Apr: Tutorial AR
• Mon 14 May: DEADLINE FOR SUBMISSION

The Contextual essay is a critical and contextual review of your work, positioning it within contemporary practice and detailing the relationship between theory and your own practice. You need to demonstrate an understanding of the development of your work, and analyse the impact of the research activity that you have been engaged in.What are your starting points? – be specificWhat has my work been about? The fundamentals of the Everyday - to date practices has addressed a concern for the decay of social decorum and the prevalence of neglect for the Everyday. - systematic disintegration leading to encasing the chaos in a confined space. How is communication and daily practices affected in environments where these vary due to cultural expectations? Is this discord accepted and how?Looking at: Henri Lefebvre in the Critique of Everyday Life, the bourgeoisie and their elevation from the everyday. Does this elevation exists today: does status or wealth create a simplified routine?; what are the commonalities and differences according to sociocultural factors?; or are the basic components of living so intrinsic that routines are fundamentally equivalent? Lefebvre, Rhythmanalysis creates a science of analysing daily rhythms,  inherent in my work. How do the rhythms of daily experience filter in to art? how has this shown up historically? how this affects artists and the current market?What are you curious about?What am I reading, what is drawing me in? What artist am I curious about? Currently reading on Colonialism, deconstructing Colonialism, post-Colonialism, Orientialism, 'whitewashing', the narrative of history, identity politics; these subjects specific to the gulf or UK 'commonwealth' - that term in itsself. Coexistence and intergroup cooperation. Transience, permanent impermanence, 'migrant, expat, national'. Time and consumption of time in routine. Routine, culture and place. Negotiation of routine, time. The chaos of routine, how routines are shaped, deconstructed and reconstructed. Textiles and routine, domesticity, the sense of touch and everyday life, pattern, repetition and fracturing/fragmenting.Artist in the region, looking at pattern, similar concepts, or materials? Whats more imaportant to my practice? Can I find artists that come under all of those headings? Do I use contemporary artists, peers? or art historical references? Do they need to be highly successful or can they be emerging?What strategies will you adopt?How Am I going to do this? Be structured and methodical, keeps clear notes - probably best to use this platform so it's in one place. Feel self conscious about that but can use passwords. Keep to the timeline, reference it regularly, make a time planner to map out slots during the weeks to accommodate each task for the course and other commitments. Thank goodness reading groups end this week! What challenges do you anticipate?Time, organisation, overwhelm, distraction, feelings of imposterism, insecurity, comparison, fear. An outline:

• Week 1 Feb 18th Complete Mapping the territory, print large scale mindmap to work in to, use to outline concepts, generate ideas and moving forward. Produce outline plan first draft, initial thoughts from current practice. 
• Week 2 Feb 25th Begin research reading and gathering, use Textile reader (Hemmings, 2012) and Everyday Reader (Highmore, 2002); texts related to touch, histories, colonialism, colour, routine, textile usage. Explore artists already working around my exploration. Mon 26 Feb: Writing Workshop
• Week 3 Mar 4th  Reflect on current production, note relationship to readings, narrow down to key artists/works/methods.
• Week 4 Mar 11th Continue with reading, reflect immediately to stay on top and compare with each other and practice - make links, why is it relevant? - Mon 12 Mar: Tutorial AR  
• Week 5 Mar 18th Be aware of burn out or possible stopping points, seek support if feeling overwhelmed. Mon 19 Mar: Tutorial DK  ART WEEK DUBAI 
• Week 6 Mar 25th begin to construct layout and possible structure of text
• Week 7 Apr 1st HALF WAY POINT good time to review the current body of research and writing, what is successful and what isn't. Can anything be 'rescued' or needs to be cast off? is it fulfilling the initial concept and ideas? Does it need to? Has it produced new ways of thinking? Changed direction? What unexpected things have emerged? Does this still feel true? Am I doing something that needs to be discussed? Am I relevant?
• Week 8 Apr 8th Working on draft for peer review, have a large majority of document ready. Possible proof read from outside source. Peer support.
• Week 9 Apr 15th Work on document utilising feedback from peers.  Mon 16 Apr: Peer Review
• Week 10 Apr 22nd Keeping writing, revising, checking. Prepare for tutorial with AR next week
• Week 11 Apr 29th  Work towards completion using critique from tutorial. Mon 30 Apr: Tutorial AR  
• Week 12 May 6th check document and referencing meet criteria. spell check and final proof reads.
• Week 13 May 13th  Deadlines for contextual study and PPP.
• Mon 4 Jun: End of unit review AR/CW