What have you got? What have you done so far? In terms of my physical work, I have most of the sculptural works with me here. However, most of them are tests and experiments. While I was at uni, I explored the possibilities of combing the tea with glazes and slumping tea between sheets of glass. Alongside this, I continued a slower practice of film photography, which I'm waiting to get the film back to scanned I plan to do more exploring on this side of my projects as its more accessible to be right now. Overall I was on a path formulating a substrate or visual landscape to house the photographs. But with the intention that the substrate sits side by side with the photographs; if they somehow make their way into the project. Soon through experimentation, the tea started to become more autonomous from the clay, and I wanted to see how the tea interacted as a "subject" per se, which was done with the glass casts and kai korero sessions. Particularly with the glazes, the tea left freckles and ash-like material behind, and that's where I saw an opportunity for the tea to not only operate as an aspect of the clay substrate but also have its own characteristics as a singular component. Through week four my momentum slowed down a bit, as I and everyone else anticipated the lockdown. And as the weeks followed through I came to the conclusion that this part of my work will have to be on pause because there isn't a way for me to explore the glass aspect of my experimentation here. Which isn't ideal; however it is what it is, and this switch up will uncover a lot about the direction of the project. During this time, my focus and interest sat within the chemical properties of photographic development, because its an essential element that I need to get my head around in order to integrate ceramics and photography. And I'm in the midst of establishing a plan of understanding this topic and what information is going to be relevant. Alongside this, I'm thinking through what I'm photographing and why, which the photo walks are helping with (as well as my technical skill). To also push myself in thinking around the camera, space, and technicality, I'm writing short annotations/reflections on ideas/ processes/ technical styles. That are coming up in my photographing and the type of photography that I'm digesting every day, and whether or not it's fulfilling the intentions that back up the work. Identify everything. Your workspace, Studio environment, Tools and materials (practical/ conceptual). My workspace is a desk in my bedroom that has my monitor and keyboard set up. if I end up using any wet materials such as paint, clay or chemistry, it will have to happen in other areas of the house My studio environment at the moment is my bedroom, the bathroom and the garage. Fortunately, my mum has been doing pottery for a while so that space exists in the garage; otherwise, all photographic developing happens in the bathroom and anything else in my bedroom. Practical a desk DSLR camera analogue camera point and shoot camera black and white developing chemicals tripod clay and underglazes pottery wheel laptop with adobe suite paper (lots) paints oil/acrylic/watercolour iPhone bricks and broken pieces of fired clay sewing machine and fabrics low-quality printer Wacom tablet lots of pens light-sensitive paper Conceptual food bike paper (lots) food processor List everything you have done that could be considered an action or a doing. During this lockdown, I've been going on photography walks, which has played a significant role in me distressing/ or taking a break from the house. And I might be able to find a place for that in the project. Experimenting with photographic developing processes is a big thing on my list. I'm really interested in caffenol-ch and silver gelatine processes and its possibilities. I've been possibly thinking about utilising writing as a way of building a connection with what I'm photographing. Which will probably take form in letter writing. Doing weekly big mind-maps type sketches just to get my thoughts on paper, and its more often than not outside my uni "assignments". I've also been thinking about ways of reintroducing unfired clay into public spaces. However, that would require a lot of consideration and protocols due to the lockdown. Learning Afrikaans; the more I research, and the more I'm at home, I'm finding that it's becoming more and more important for me to learn the language. I recently found my late grandmas cookbook that she bound. Her profession was a bookbinder/ case binder. So I've been slowly working through the books and attempting to translate and make the meals. Honestly, my mind has shifted focus how I go about making outside home, and I've been hesitant to make any type of plans because there is a lot of instability right now, and on a smaller note the situation with the university and access is also continually changing. So I feel like I have a very blurry idea of what I can do for the rest of the semester, nonetheless, its still an idea, Show us what you have. List out the posts that are already on your website/blog.
There are a lot of posts currently sitting in my drafts (20) that require tweaking, so far I've published 5. Which are the following... - photographic experiments - Language, language, language - work in one week - Figuring out my process - and this stocktake What is to be posted ... glass casting experiments tea and glaze experiments In-class exercises form rd and cr. keywords and research inquiry attempts photographic experiments #2 6 reflections/annotations of artwork/artists that hold someplace in my practice. working questions that I'm thinking through updated bibliography current research on rooibos ethics lecture and its place within my practice My expanding mind-map (my studio chalkboard) where I was/ where I am/ where to go. A kai korero with Chantel and Hugo the role of cooking as a methodology and its context following those reflections on the "developing cookbook." depicting"the warm home" and its politic. the workplace/bedroom crossover my new studio space.