COURSE CONTEXT
Critical responses to context
By Anna Bunting Branch
A very impactful talk I attended was by Anna Bunting Branch on Critical Responses to Context. Her discussion left a lasting impression on me, particularly the examples she showed in her presentation, of a young artist and her exploration of using colour blue in storytelling within her practise. This idea resonated deeply with me, as it reminded me of something I had unconsciously been working on myself: associating colours with places to better understand and connect with them.
The talk prompted me to reflect on my own artistic journey and the questions that often underpin my work: Why am I here? What draws me to this place? What does this place mean to me? It made me realize that my surroundings influence not only my perspective but also my emotional responses and artistic choices. This concept of response-ability, how the environment interacts with and shapes my identity, became clearer and more intentional after hearing her insights.
Her approach to weaving narrative and colour into art inspired me to delve deeper into my relationship with the spaces I inhabit, encouraging me to use these elements as tools for storytelling and self-discovery. This realisation has since played a pivotal role in shaping my practice, allowing me to create work that feels both personal and universally relatable.
Who’s Represented in Museums?
By Yu-Chen Wang
Yu-Chen Wang’s presentation, Who’s Represented in Museums?, changed my perspective on themes of immigration, land, and belonging. Her exploration of these topics, particularly through the lens of inclusivity and representation, encouraged me to think more critically about my own work.
One of the most intriguing aspects of her presentation was her concept of “sense of mapping and navigating through different localities.” This idea deeply connected with me, inspiring further research into how individuals and communities establish ties with places and the narratives tied to them. While I found myself drawn to specific parts of her presentation, these elements sparked a deeper understanding of how heritage can be questioned, unsettled, and reimagined.
Her discussion on “unsettling the heritage” was particularly interesting, as it challenged the traditional notions of ownership and identity tied to cultural heritage. By addressing questions such as whose heritage is it? and reimagining a post national perspective, Wang opened up new possibilities for exploration in my practice.
This presentation not only broadened my understanding of belonging and inclusiveness but also encouraged me to think about how my own experiences as an immigrant intersect with these larger themes. It has since become a significant influence in my work, pushing me to create pieces that reflect on identity, land, and the shared histories that define them.
Yu Chen Wang , 'How we are where we are',installation,2024
Thinking through social practise
By UAL Academic support
An UAL academic support workshop on Thinking Through Social Practice introduced me to the different ways in which social events can influence artistic practice. It opened up an entirely new sphere for me, socially engaged art. The session brought up thought provoking questions like What do we mean by community? Can a community truly belong to us? How can we imagine new futures together? These questions not only challenging but also inspiring to consider the role of art in fostering connections and dialogues within communities.
Through this discussion, I discovered the works of artists like Tania Bruguera and Fiona Whelan, whose practices are deeply rooted in social engagement. Bruguera’s work, with its focus on activism and collective action, and Whelans commitment to addressing social inequalities through collaborative projects, helped me see art not just as a medium of personal expression but as a tool for challenging norms, and imagining alternative futures.This workshop and the artists I explored afterward have significantly shaped my approach to art, encouraging me to think beyond the individual and consider the broader social contexts that inform my work.
Tania Brugera , 'Whisper #5', performance,2008
Reading group
By Gavin Edmonds
Leonardo da vinci , 'Virgin and child with St.Anne',Oil on wood,1501-1519
A reading group led by Gavin Edmonds became a pivotal moment in my understanding of how the subconscious informs artistic practice. The session included a video of Jenny Saville and a discussion on the Rorschach inkblot test, delving into the concept of free association in art. It raised fascinating questions: What is the subconscious trying to reveal that the conscious mind cannot see?
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Gavin emphasised how past experiences, traumas, memories, and behaviours, play a significant role in shaping the works we create today, often as subconscious reflections of ourselves. An example i discussed with him was Leonardo da Vinci’s 'The Virgin and Child with St. Anne', which led to further discussions where Sigmund Freud analysed the subtle representation of a vulture (or kite) in the painting, connecting it to a distant childhood memory of Leonardo’s (A memory of his childhood, Sigmund Freud,1923). This led me to reflect on my own past and how my childhood behaviors continue to influence my practice.
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As a child, I was an introverted observer, often sitting quietly in the corner and watching people’s interactions from a distance. This habit of silent observation still informs my art today, as I find myself drawing people as an outsider, capturing their presence rather than being part of it. Inspired by these insights, I delved deeper into psychological contexts, reading Freud’s Writings on Art and Literature to explore the relationship between memory, behaviour and mind, allowing me to better understand how my subconscious influence my work.
Exhibition: Through Line
At City Arts Centre,Edinburgh
During the winter break, I travelled to Scotland to visit an exhibition titled ‘Through Line’ at the City Art Centre,Edinburgh. My ongoing exploration of lines and their meaning in my work has always been a central focus, and this exhibition offered new perspectives. Featuring works by artists like David Connearn, Ian Hamilton Finlay, and seven others, the exhibition explored how lines extend beyond their traditional flatness to create space, divisions, and boundaries.
The ideas presented in the exhibition resonated deeply with my approach, inspiring me to think about new ways to work with lines in my practice.
David Connearn , 'Coming going',drawing,2002
Susan Mowatt , 'Tangle', 33 mtr woven strip, 2024
Lara Scobie , 'Concave/convex vessels',ceramics,2024
I was particularly captivated by the works of artist Susan Mowatt, especially her pieces ‘Tangle’, created from woven strips, and ‘Holes 1 & 2’, made using paper pulp and strips. The intricate layering and texture in her work left a lasting impression on me, offering insights on materials and their expressive potential.
The ceramic works of Lara Scobie and her ability to balance form and detail sparked my curiosity to explore ceramics as a medium further, something which i am also currently working with. Additionally, David Connearn's intricately crafted works stood out for their striking detail and depth, leaving me motivated to push the boundaries of my own techniques.
Susan Mowatt , 'Holes 1&2', Paper pulp, woven strip, 2024
Exhibition: Dundee Murmalade, Viktor Boullet
At The Artists Room, London
I recently discovered Norwegian artist Viktor Boullet, and since visiting his exhibition at the Artists Room,London and I’ve become a devoted admirer of his work. After seeing his show, I was inspired to start my portrait series and to experiment with oil paints. His bold strokes, dynamic compositions, and captivating use of colour were inspiring to me. While his works represented the mundanity and violence of everyday life, I felt an unexpected connection to his themes and approach.
Boullet’s ability to create an environment that draws people into his fascination with the horrors and idiosyncrasies of daily life introduced a new dimension to my research and documentation. His work not only resonated with my own explorations but also challenged me to think about similar complexities in my practice.
Viktor Boullet , 'I have Five friends',Oil on linen canvas, 2021
Viktor Boullet , 'Le Bougnat IV', Oil,acrylic,gesso on cotton duck,2019-20
Viktor Boullet , 'I have Five friends',Oil on linen canvas, 2021
