Doing as Thinking

The term Doing as Thinking will be a sort of mantra for this reflect and research unit. It encourages us to get into a healthy state of working without being paralysed by analysing your work as it is being made. A certain amount of separation between thought and doing is important sometimes, I definitely think myself out of making work; trying to imagine the finished product instead of being taken down a path that I would not have seen, which is why I’m very excited to start going about making in this way.

This page will be a display for my exploration of collage, photography, creative writing and book binding. Hopefully it will track my progress and we will be able to see my interests merge into a clear vision.

Summer Project, Arrangements

Below are a few still life pictures of objects placed next to each other. I took them in the summer on my phone, working out ideas for what narratives arise when certain objects are placed next to each other, some pictures include found objects with writings that I found interesting.

I started to develop these ideas further when I bought a better resolution phone. I really like these table top still lives. I have always made them for fun because I have a huge interest in objects and how they look and feel. Some days I chose rock or ceramic tile and carry them around in my pocket because I like to hold them when I walk. What does that say about me? I don’t want to think about that too much.

Along side these occasional pictures, I was also printing my photographs, placing objects over them and re-photographic them with a dslr to create a montage or assemblage that is flattened out. This is a great way for me to blend my photographs with my collage and assemblage techniques.

They are very similar to the picture below that I made last year, they are part of the same thought process.

I like these pictures, it is work that overlaps my interests well. The assemblage introduces interesting ways to create narratives through objects which is what I want to see my practice becoming. However I’m unsure about the tone of the pictures, I want them to be a bit softer and more whimsical I think. As well as this work, I have made some prints from my inkjet office printer. They were taken on a digital camera that I borrowed from the AV store, just before I broke it by keeping the camera in a bag with a pear. The pear completely knackered the digital back plate.

These pictures take on a soft, pectoral look that I’ve been looking for. They are printed on wallpapers, cotton rag papers from a sketchbook and a scrap of watercolour paper. I want to make more pictures like these, tying in ideas of memory, place and abstraction.

I bound a calendar and used one of the prints for the cover

Week 1; Naive/ Folk art Collage

The following images are of collages I’ve been making recently. I’ve been thinking a lot about my influences as a child – mostly illustration and animation that bring in folklore and fantasy. I have always wanted to be able to draw because you can world build so easily, so I’m trying to do this my the skills that I do have. I have been cutting out shapes and painting them, I have no training which gives the work a child-like, naive look adjacent to folk art, something I want my work to be very much.

This collage was the first. I wanted to blend elements of fiction and folk art with scenes in my house like the bathroom tiles and brown blinds. Also included was photographs, however I think they need work. Im happy with this piece as a first attempt!

This work took elements of the first collage (The little gems along the edge) and blended it with an image of mine to form a window scene below. Underneath it shows three pictures of vessels. The vessels were cut out leaving the absence of them.

I’ve also been playing around with these shapes that I painted and arranged. I don’t really know what I’m trying to do with them or why I like them. They were born from these little glass stones here:

They make me think of magic. A talisman or some sort and I want to explore this through my folk art collages. Below are some other ideas. The first is three ceramic shards balancing on each other. The second is inspired from my book Vessels and Thresholds that looked at the absence of things. The third is a found image on top of blood rain.

The next is unfinished but my favourite so far.

I started by cutting out shapes and painting them in a naive style, I’ve been thinking about The local forest a lot, and projecting folk lore and my relationship to it, onto it. It didn’t seem enough with just the collaging though, It didn’t have any perspective because I couldn’t quite figure out a good composition, I think maybe because the figures are strange proportions. I included objects from my room and put everything onto a wooden board, this made everything come alive, I have ideas to create a large scene that blends the forrest and folk lore with my memories or thoughts. Maybe writing and pictures somehow. This feels like a big step, like I’m on the edge of something very nourishing.

Photographing the collages on the wall brings a fiction into my personal space, next I will set up a table next to the wall, place collages and pictures on the wall, and place objects on the table and see what conversations start. I quite like this picture, Maybe it could be a nice and simple way of blending my two ways of making work. However the issue then is being able to exhibit the work; do I make prints of the photographs? that sounds expensive and not my ways of working, I think I would rather just exhibit the collages themselves.

Wood varnish and pyrography practice.

Frame making!

Recently I went visited my grandad in his workshop and he taught me how to make a basic frame out of pine. Somehow one of the sides ended up being 5mm off so its quite janky, but a decent first attempt. I will be going back to try and make more on my own. I burnt my frames with a pyrography kit to reflect the place I’m responding to. Next I will give the frame a coat of wood varnish to deepen it. Hopefully you can still see the trees.

Reflecting on this new work, I’ve realised that I don’t really need to make these collages to achieve the folksy look I want. I don’t need to force those two things together. Or at least not right now. For the time being I think I’m going to take the spirit of my collages, and inject them into my photographs, looking for animals and nature that jumps out to me. I like how’s the frames look, so I will be making more of those when I have more images, they will be more rough around the edges though (I will sand the sharp corners down before varnishing. And also look into milk paint; a very dusty and pale paint that would look great for what I’m going for!

Week 2; Meg Shelton’s Resting place

While thinking about place and memory and folk lore, I visited a graveyard near my house. In it is where Meg Shelton or ‘The Flyde Hag’ lies, this poor woman died in the 17th century and because the other villagers suspected she was a witch, they hurried her in a long, narrow grave and placed a large stone over the grave to prevent her from escaping post mortem. I’ve gone into further detail about my research on forgetting, memory and folklore here, but I will briefly go over the reasoning behind the collage and why I thought it was necessary.

I’ve been reading A Primer for Forgetting by Lewis Hyde and there’s a section that breaks down the word ‘forget’ by looking at its etymology. The words origin goes back to Old High German; the for meaning “abstaining from” or “neglecting.” The germanic gattan means “to hold” or “to grasp” From this you can say that remembering and forgetting is a conscious effort. “In every case to forget is to stop holding on, to open the hand of thought” The Greek on the other hand see forgetting as covering up, hiding. “The trail washed away by the rain, the love letter thrown in the fire…the gravestone obscured by vines” Lethe is the Greek word for forgetfulness. The privative form of this word is a-lethe or aletheia which is usually translated as “truth” “The truth then being the thing uncovered or taken out of hiding” Everything that is available to the mind is considered truth, and what isn’t is hidden, obscured.

With different ideas of forgetting and memory I playfully used paint, water and collage to conceal the remains of the dead. In verbal traditions the only thing that kept the memory of a loved one alive was memory, so to forget somebody was to make them never exist. Concealing these graves is to forget these people forever. I think I moved from making object based work to looking into memory and landscape is because I’ve always had a very poor memory and it scares me quite a bit. I wanted to explore and respond to it but I’m only just getting round to it now because I didn’t really want to think about it until now.

The first two prints were painted with water colours, I wanted the ink to run and degrade the image, so it fades and warps like a memory you half remember. They following prints I coated with water because the greyscale printing used blue, red and yellow ink to make black. When the water touches it the inks separate. I learnt that the first layer of ink is red and on top is blue as the blue ink is more apparent on the top, the red soaks through the back of the print.

I photographed the grave with a pair of tights pulled over the lens to reduce the contrast, then printed the images and applied water

I then printed the images again and collaged them simply and they look just as strong and effective; I’m unsure which sets I like more.

I think I like the third image of the last set the most. There is something about the shape of the collaged ceramic piece that works so well with the thick white border. It probably isn’t something I develop further because I find it too sharp and clinical. I want to work with off-white, creams and browns. I don’t think that this bold, minimalistic collage style would work with those colours.

Week 3; Taking pictures

These are more pictures that I have been taking. I have been photographing less than collaging at the moment but now I think I’m ready to go outside and respond to the landscape some more. These pictures feel a lot more considered and focused. This particular set flits from quiet to violent throughout, somebody I love deeply doesn’t want to see me anymore and it shows in what I decided to photograph. Traces of violence, mangling, holes. A more immediate trauma than degradation, corrosion or decomposition. You wonder how and why, but you’ll probably never know. The thing that made these holes is long gone.

Week 4; Memory, Forgetting and childhood.

To start the third week Sarah Howe set a task where to help overcome creative block we wrote a flow of consciousness paragraph. We took 10 minutes on our call and all wrote our paragraphs – Sarah included- This is the paragraph I wrote;

Flow Tutorial

Eggs shell frame memory speckled infinite celadon mulberry bathhouse clack tiles pine trees memory room threshold exploring relating childhood reminiscing counting cocopops love letters baize deer fell mexicans being thrown into volcanos dad uncle biting off tongue pink flayed  wallpaper brown layers candles footsteps time corridors beetle missing wing oceans fragment ceramic shard china ground soil samples formaldehyde embalming fluid scooter action man orange shadow sunlight danger bridge wallace and grommet cheese hair disembodied barbershop bullying checkered vans new york forearms scissors sharpening opening void liminal inky black track skyline train love lily chips gingham wool fingerless gloves brown linen dress poems paper chronic pain seagulls branches iceland chopping wood sewing fishing for salmon stones  surface happy together cobbles you 

This really helped me get a lot of stuff off of my chest and it was interesting to see what came out, so I was ready and excited to start writing short pieces that link to my images.

I wrote this first;


In my grandparent’s garden I was five. The evening for them was bare feet, ice tea and hot flag stones. For me it was exploration and tracking. Pear trees and wildflowers invited me round the back of the house where the smell of sweet pea pods merged into wood chips from grandad’s garage, where I made a discovery, a smooth, delicate thing. Resting within itself was a birds egg; something I mistook as the kind of egg that is cased in foil and rolled down hillsides at easter time. As I bit into it, a warm viscous liquid filled my mouth. My family watched the expression on my face go from pride to total horror. When I spat the contents of my mouth into the sink, I can’t recall what the basin looked like. Maybe because I closed my eyes, to avoid the sight of a mangled bird foetus, or maybe because I’ve blocked the sight out of my head completely. The only thing I remember is the colour of the shell, somewhere in-between blue and green. Potters call it Celadon, painters call it Aquamarine, Lake Murray Blue, or spring green. Poets describe it as where the sky and the ocean overlap, where flight and stasis come together. The halfway hue of regret. Is it strange to think now that it’s always been my favourite colour. Or, does it make absolute sense? Did that decision form a precedent? Did this colour form the pith and marrow of all future decision making? I’m not sure what bird it was. Grandad says it could have been a bluebird, starling or house finch.

Furniture flow; Meg leeds gold gilded empty preston streets tarleton bike it there balancing on the curb david berman talks about the headlights look like a projection and a girl in his life talks about classic water. meg tells a story of a friend of a friend that went on a tinder date with a nice guy and enjoyed his company. she started to get a headache, cold sweats so he dropped her off at home. the car stopped and she decided to let him in for a cup of tea. her head ache got worst, he left and she went to sleep early to try and sleep her cold sweats off. in the middle f the night she woke up in a hazy sluggish blur. she sat up on her bed. she could hear her furniture being moved around. wooden chairs scraped across the laminate floorboards of her one bedroom flat. she rang the police. they couldnt see anybody in the flat  so they said they were going to leave. but she knew somebody was there “when you’ve spend enough time in a place, you know where all of your things are, how heavy they are and what they sound like when they are moved”  and its true. i thought about the domestic sounds of my everyday. paintbrushes that clink in jam jars, the rattle of  lighters in the cassette case. the police broke the door down to find her tinder date laying tools down on a tarp. 

Second story: Furniture

Meg was leading me through the rural back streets of her hometown, before meeting her I read somewhere that it was known for its rich soil quality. She starts to tell me about something that happened to a friend of a friend, and I follow behind walking the asphalt curb like a tightrope. Her friend’s friend was on a blind date with a polite young man around our age, maybe older. She enjoys her company, but starts to feel unwell so the man takes her home. When they pull up next to her apartment building she thinks its only polite to invite him in for a cup of tea, so they extend their evening a little with conversation before calling it a night. In the early hours of the night she wakes in a cold sweat, feeling like she’s drunk or has the flu, and sits up in her bed to fill her dry mouth with water when she hears something from the other side of her bedroom wall. Wooden chair legs scraping across the laminate floor of her one bedroom flat. She rang the police and exclaimed her suspicion in hushed tones. When the police arrived, they looked through the windows. The deep grey silhouettes of a table and chair sit behind an inky blackness. The police explain to the girl that there is nobody in her flat, and she has nothing to worry about. But the girl was certain somebody was there with her.”When you’ve spend enough time in a place, you know where all of your things live, you get an idea of how heavy they are, what they sound like when they’re moved” Meg tells me. And it’s true. I thought about the domestic sounds of my everyday. The wicker basket that rasps when the humidity changes, the rattle of lighters in the cassette case. We turn into a gravel path that cuts through a meadow. In the house that we walk past I see a green parrot perched in the vestibule but it wasn’t an appropriate time to bring it up. One of the policemen barged the door off of it’s hinges and turned the light on to see a man moving a lamp across the room to place it onto the counter. Underneath him was a large plastic tarp with several tools placed neatly onto it. 

Fern Flow; garden trees grass thorns fingers beads of blood gems glints tiles patio smooth bumpy caravan screw pear tree toys tangle fingers eggs easter everything mouth missing teeth somewhere summer easter bunny football net fern craig conservatory  pea pods netting blue flag stones broken garage scorched earth sweating lounge chair bare foot brambles mason jar paddling pool nana grandad peter Stephen father wet grool sludge celadon speckled memory lightness dusty blue brown white spots chocolate green candles dust matted sofa cushions bible biblical church beads pear trees  grain cut even smooth cricket when you would retrieve a ball or something thrown, your hand would be covered in nettle stings and bramble cuts. new owners look after the house for us, whenever I walk past I look through the hones in between the ferns at the garden and house. I always seem to  think that they are temporarily looking after it for when we decide to move back. they are starting a family there, we are supposed to be there.

Third Story; Fern

My grandparent’s house pride was boasted by the regular trimming of the nine foot ferns that formed the gardens perimeter, and the gates that separated the cars from the grass were regularly given new coats of black lacker.  I was told that my grandad planted those ferns when they first moved in with my dad as a small child. I think the reason why he takes such good care of them is because at one point the ferns and my dad were the same height.

After enjoying writing for a week, I decided to try and anchor these writings to images tonally by printing them on different papers. I think I achieved a sense of longing because they’re printed on scraps of paper. The paper I printed for the first two images were on wallpaper that was sun bleached, it really lends itself to the fleeting nature of recalling memories and childhood.

Discussion group task;

For this weeks task we were asked to present an image our own and an image of another artist to engage our image relation skills. I chose these two;

This was mine

And this was the artists image in response to it;

I love these pictures and they occupy the same space in my brain, I’m unsure why though, they don’t have the same look really. They do however give me similar ideas on place and belonging. The routes I walk sometimes uncover new things about the landscape, but most of the time these days I see the same things, partly because I’ve walked the routes so many times now and I’m attracted to the same details, and partly because obsession can blind you, I need to try and forget in order keep my mind open to new possibilities and openings in front of me.

Week 5; Selecting final images for portfolio

Now that its getting to the end of the unit and the FMP is getting closer, I think its time to stop taking pictures and to start editing down the work that I have into a concise body of work and look for threads in the work, and to also look to literature for something to ground the work in. The pictures below are the ones I would like to print to see if they work as a group. I will submit them as scanned prints and make the portfolio as nice as possible, considering the setbacks that a digital submission will bring. My work is very tactile and it is heavily reliant on physical interaction so being able to make the work sing without those dimensions will be a challenge. Nevertheless the pictures that work best are below. I will probably edit these down and add new ones as I go.

Final selection so far;

These pictures are in my opinion some of my best work so far. They are the closest I’ve gotten to my vision, something interesting is gelling. I just need to keep taking pictures! Because despite what I say about them not being quite right, I do love these pictures. They show a sort of longing for the wild that is in me constantly. Well I need to take more pictures to see what other threads emerge. This is a good start for a body of work with soul and atmosphere.

Discussion Group Task

In response to last weeks images that we shared, we were asked to select something else that relates to the images. It could be anything we wanted, so I chose a quote from H is for Hawk by Helen Macdonald;

“These days, when I go into town, I’m increasingly finding excuses to park my car in the muli-story car park, because from the open-air fourth floor I can stare at these fields. They are like the backbone across the horizon, scratched with corpse lines and damped with cloud-shadow. A strange complication arises when I look at them. Something of a doubling. I feel myself standing on the distant hill. Theres a terrible strength to this intuition. It’s almost as if my soul really is up there, several miles away, standing on thirsty clay watching my soul-less self standing in the car park, with diesel and concrete in her nose and anti-skid asphalt under her feet. With the car park self thinking if she looked very, very hard, perhaps through binoculars, she might see herself up there” 

I really resonate with these words because I get cravings to jump around in mud or to stand in the rain and let my clothes get completely drenched. When you’re trying to be a professional person its hard to find a balance that’s healthy. I constantly worry about my career and find myself having no interest in what people are saying to me. It feels dull and lifeless and I would rather be swimming in a river rather than wasting my energy on something that I don’t really have any control over.

Week 6, Printing final work in the darkroom

I set up my darkroom and its great

After moving back home to Preston I realised that I should take advantage of all the space and start setting up a studio for the future. After waiting for what felt like a lifetime, I finally have a functioning darkroom. I have a colour enlarger, trays, tongues, a masking frame that I don’t know how to use properly, a red bulb, thick black curtains Ilford pearl and Multigrade Art 300 paper, a textured cotton rag darkroom paper.

Here are the first prints that I made.

I scanned the prints in and edited them to how I would do them differently.

Hair Print Conclusion

This is the print on the pearl paper that I toned with orange pekoe tea leaves. After not looking at the prints for a week or so I think that I like this one the most as more detail is kept than on the textured paper, the image sits on top of the paper unlike the textured paper that sort of soaks into the fibres. This is a good start, I didn’t really struggle making the prints on a base level, but it is quite hard to fine tune the images to be completely perfect. This takes more advanced burning and dodging techniques which involve cutting out cardboard shapes that block the light from hitting certain parts of your print, thus making parts lighter or darker where you need it.

The next image I want to print is this one:

It visually links to the picture before it, and I’m interested to see what that glowing light will look like when printed in the darkroom. My goal is to make a portfolio of prints that work together as a series that discuss ideas of memory, searching and my relation to the land. They will be framed in the new year, and alongside the images I will be making pieces of writing that will be printed onto fabric and wrapped around the frames.


I’m quite happy with this print, its softness makes it atmospheric and I love how it glows. However I think I need to go ahead and buy photographic grade transfer film to make my digital negatives instead of the cheaper alternative that I went with. The film that I bought has a bobbly surface that produces a grain in the final image, as a result information is lost and I can’t really afford that considering I’m using a pretty low quality printer and cropping my pictures quite substantially. On top of that I sometimes print onto a cotton rag paper that reduces the sharpness even more. The cheaper alternative will be fine for some pictures but for this image I think I need a good print quality and better transfer film, as I can see that in between the bars it’s very fuzzy. I prefer how that glow looks in the digital image more and want to achieve the same look in print. That being said, I like the darkroom print in every other way. next I will tone in with tea leaves so it matches the colour of the picture of the hair braid.

I tried to tone this with tea leaves but it came out patchy for some reason. Next time I will make the tea stronger and tone it for less time.

Printing more

This was difficult to get the right exposure time as its quite contrasty and dramatic. I wanted to ge the constant right but the highlights were too dark, I think this would be very nice if exposed correctly. I’ll come around and print it again after I print the ones that are more relevant to the project.

I printed this image of the tress on the border of a professional football team’s training ground. First on pearl paper (Above) then on cotton rag (Below) to see the difference.

The cotton rag paper needed less of the yellow filter to increase the contrast and deepening the blacks without darkening the whites or mid tones. After scanned in the pearl print is nicer in my opinion where the cotton rag print is slightly more faded. The texture reduces the sharpness, but the fact you can see the paper tooth is quite pleasant. When you’re looking at both prints in person they are pretty different. and I think I like the cotton rag print more, if they were both behind glass in a frame, the cotton rag would be very nice, with the pearl paper, the surface is glossy and information is lost. I then toned afterwards and I would prefer a more brown tone than this strange ugly yellow one;

Several Failures

Toning with selenium

I tried to tone these prints with selenium to warm them up. Selenium can tone prints purple, orange, brown and yellow. I diluted the solution 1-10 with cold water and left the prints in there for 7 minutes and nothing happened apart from a slight browning on one side. I’m quite confused why nothing happened. Maybe because the toner reacts with the silver halide in the print, I waited to longer before toning and they need to be toned right after fixing? I’m unsure. After this confusing morning I decided to tone with tea leaves again instead. I love a warmer print and tea always seems to work with any paper.

Salt and Albumen printing

After getting some black and white prints under my belt, I wanted to look into other ways of making prints that gave me a look that excited me. After some research I found that the best printing techniques to start off with were the salt print and albumen print (which are pretty much the same thing) Both techniques were invented to get photography into the hands of the consumer. At the time the daguerreotype was the most popular way of making pictures and it wasn’t very accessible. But with these techniques all you needed were table salt, silver nitrate and watercolour paper (For salt printing) and egg whites for albumen printing, egg whites would be used to coat the paper before you coated with salt and silver nitrate so the image would sit on top of the paper, creating a sharper image.

I started by mixing my albumen solution with egg whites, citric acid and salt water. I bought a Chinese rice paper that was probably 50gsm and coated several pieces with the albumen solution. After a bike ride I came back to fatally curled papers that I could not use.

So I bought three A5 cold pressed watercolour pads that are thick enough to not curl horribly with a nice tooth. The solution took well to the paper and gave the paper a slightly shiny surface;

The papers were ready to be made photo sensitive. For my 12% silver nitrate solution I diluted silver nitrate and citric acid with tap water. I think I should have used distilled water as my solution was saturated and the chemicals could not dissolve. Theres already lots of chemicals in the water! I think I have wasn’t good silver nitrate and will have to buy some more and dilute it properly. I can’t print yet, but I’ve learnt from this for sure.

Lumen Printing

As my plans for albumen printing temporarily fell through, I decided to make some lumen prints. I knew information would be lost because the prints are exposed for a long time and people make photograms instead of photographs from a negative. Temperature has an influence on the colour of the print so plant matter is incorporated a lot. However I don’t want to do that at the moment. Instead I did a test by putting a few strips under a negative I made and let it sit on the windowsill for half the day. I wasn’t expecting much but it turned out beautifully so I wanted to make a photograph with a frame. You lose detail when printing like this so I used a picture of a cow which was contrasty.

I wasn’t expecting anything for this print but I really love the salmon colour and how the yellowish white glows. I tried to make a proper image on one piece of paper.

It proved quite hard to reproduce the image because I forgot the exact time and temperature that the first print was made with. It took quite a few times to get it right but the image below is pretty similar.

I was able to recreate the pink tone, it might be a bit more dull but its really hard to get the same as the original. I made another print so I had two to experiment with tea toning. I think that the lumen print will react different to tea than a black and white print.

I toned this one for 10 minutes and realised it was way too yellow. I think this print might be underexposed so it makes the yellow really bright.

My last print turned out the best, I like how warm it is and the pink is deepened by the tea. This was a fun experiment but as my work is primarily black and white prints at the moment, I will wait until my deadline is over so I can start working with paint, alternative processes like salt printing and I also bought some linen to print and embroider on.

More darkroom printing

I printed a picture of my sisters legs that reflect well the ideas os memory, time and childhood that I’ve been thinking about.

Below is a cropped version, I like how the plasters are the main focus but cutting off the ribbons and the detail in the skirt makes the image less punchy I think.

Second attempt

This is printed on the pearl paper with the yellow filter set to 0 to maximise the contrast. There is a light leak in the bottom left and I don’t know where it came from. The crease on her skirt is amazing and I love it so I want to keep this wide crop I think but the contrast is extreme when the print is scanned in. Next I tried printing on the cotton rag paper;

The textured paper reduces the contrast which makes the knees look very nice. However the rich mid tones from the pearl paper are weak and flat, details that I love like the creases in the skirt and the button at the top of the picture lose their power, they are not as nice so I don’t know what to do to get the perfect print. I inkjet prints are honestly nicer and easier to make than these darkroom prints so I’m kind of annoyed.

I put the final print in a frame and it deepens it quite a lot, it also looks quite different scanned so I quite like the image when its in a nice frame.

These are three prints on cotton rag paper. At the moment I have finished the written work and am working towards getting my favourite pictures hand printed for my portfolio.

I had a really good session in the darkroom yesterday, I made three prints very quickly and they all required pretty much the same exposure times and contrast settings. The only editing I did for these scans were to get rid of a few dust spots and scratches. I can see my print making method getting easier and my work is getting better! I will work to include paint and needle work and collage for my FMP. I should be happy with what I’m able to do right now.


As I write this text on the 12th on January, I’m looking at my finished work on the wall in front of me. A series of black and white darkroom prints. I like the pictures, the prints turned out better than I thought and it took a lot of work to set up a darkroom on my own. I have been able to whittle a lot of work down into a set and I’m proud of what I’ve done considering I have been so isolated. Since. my old creative partner has left the country, I have felt alone and not as motivated to. make work. She scared me and that always drove me to keep going. However recently I have been getting closer with three talented and lovely people; James Dewhirst, Ellie Rankin and Jack Whiting. Their support and encouragement has been a massive help and I really appreciate being able to meet and talk to them about life and work.

Throughout doing as thinking I made a lot of different things in different styles with different materials and the fact that I’m submitting darkroom prints with. no colour or any. sort of flare makes me slightly sad. However final work took lots of learning and effort to pull off so I can’t expect to merge all of my interests at once, it takes time to develop your work with quality and a unique style and there’s no point trying to rush or getting upset on days you wish you could just figure everything out. For my final project I will be experimenting with printing, sewing and painting onto fabrics. I will also be printing fragments of photographs to add the playfulness of my practice back. into the work. I could have done better with the final work, but overall I’m happy because a lot of the experimentation has given me really exciting ideas about how I’m going to evolve my practice in coming projects. I am settled in a studio that I am slowly adding to and am ready to push my work in the way I’m being drawn to but have been putting off.

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