As I hadn't really had a conversation about my work during these weeks it was interesting to hear an in-depth response about the trajectory and whether the process of my work is aligned with the criteria. I found it interesting reading what patterns had been noticed in my work and being encouraged to delve into practices outside of painting more. I think before I used to think that to create something of good quality it had to sit within a certain criteria and the development had to lead to what you have said and stick to it. Only now am I realising that actually seeing the moments when an idea takes a new turn away from what was planned sometimes opens a door to a place that you brain hasn't visited before. In the future I need to learn to trust myself more in the decision making and not be afraid to try out ideas that haven't been planned. Be spontaneous but know how to bring it back on track. 

Today I looked more at the psychology of objects and how they are simply an object that is filled with the values that we place into them. Reading 'The Tears of things' made me think of this almost in terms of light and how without it we can't see; more specifically we can't see colours. Similarly with objects this book also uses poetry which portrays the human condition as being depended on the objects that it surrounds. Objects often speak for us and the things we posses are an extension of who we are. At the same time there are things that I disagreed with because I think even without these objects we are still fully us. Perhaps it's similarly to when you enter a new environment, you almost have to rebuild your identity because the objects that you're surrounded with don't speak about you. E.g. losing a phone people would describe often as losing part of you. Similarly again when you enter a new place or a location you lose a part of your identity which you have the freedom to build in any way you wish.

"As our lives unfold, our things embody our sense of self-hood and identity still further, becoming external receptacles for our memories, relationships and travels. ‘My house is not “just a thing,”’ wrote Karen Lollar in 2010. ‘The house is not merely a possession or a structure of unfeeling walls. It is an extension of my physical body and my sense of self that reflects who I was, am, and want to be.’...

[This made me think about being surrounded by objects in almost a sculptural way because we are constantly surrounded by compositions of ephemera that we have displayed either consciously or subconsciously]

...How much we see our things as an extension of ourselves may depend in part in how confident we feel about who we are. When Kimberly Morrison and Camille Johnson led European Americans to feel uncertain about themselves using false feedback on a personality questionnaire (telling them: ‘the consistency of your responses is not high enough to construct a clear picture of who you are’), they responded by rating their belongings as particularly self-expressive – as saying something about who they are. The same result didn’t apply to Asian Americans or other US participants with a collectivist mentality, perhaps because they are less concerned by threats to their sense of self."

https://www.robertsoncooper.com/blog/the-psychology-of-stuff-and-things/

I think it's interesting that this attachment to objects can vary from person to person and the way we relate to specific objects because everything that we have experienced.

Today after visiting brick lane where so many objects are on display. objects to eat with, objects for accessories, objects to express and represent. Looking at the streets and objects that are displayed also makes me think about how objects are altered depending on the location of a place and which things are more likely to be seen. This made me look more into the aspect of consumerism and what happens when objects voices are overpowering one another. This made me think about the ability to have control over a particular composition of an object and what happens when a composition is overpowered by other voices.

Today I visited the Barbican where I saw a project called "Reimagining Old Age" which explored what it means to grow old in our society today. The reason I decided visiting it would be rlevelant is because these stories and research is done through every day objects. I looked more into every day objects and how they are used within fine art as well as their relationship to photography and design. I also tried to rewrite my PPP as all of my notes and information had gone missing. I was happy that going back to it this time I was able to be more refined and specific in what really interests me after doing since doing research more into it.

"Something that I have been drawn to recently is every day objects and what narratives they carry within themselves. I like the tangible nature of found objects and the rich historical components of objects which have helped give a voice to the voiceless. For me the objects that surround us are in one way or another portraits of us. We infuse these materials with meaning and value that can evoke feeling as extreme as heartbreak, grief or feelings of nostalgia and melancholy. I want to explore how mundane objects can speak for us as well as when being taken away a fragment of identity its lost. I want to explore the idea of purpose in objects and what happens when you take this purpose away as this is something that is constantly manipulated by us through the way we use them. When we look some objects they may be perfectly intact however there will be a small scratch or a rip that has happened during it’s lifetime. Frailed edges, loss of colour"

KENNEDY YANKO

Finding this artist has been one of the most significant moments of my research because it has confirmed why this theme interests me and what it is about objects that has been portrayed and expressed through fine art. It is almost a celebration of the tangibility and the unpredictable nature of how these objects sit in the world. I wasn't sure how to make this idea tangible having ideas of sculpture and textiles in mind however this has brought a new way of looking at objects. Finding an artist who in the same way is interested in colour and composition and is so free with using different scales to do this, I want to look at objects that differ in texture because this way they also bounce off one another and complimenting one another to be noticed individually and as a composition at the same time.

Today coming back and editing my PPP for Unit 7 I started how people-centered did I want to make this project. Because of course we as people are the catalyst for the existence and value of these objects however I think there is something when you take away our identities from the ephemera around us it begins to speak for itself. When objects are collected they begin to bounce off each other creating and overlapping new narratives. I also started thinking about the still life used in renaissance painting and it's relationship to composition and art as the object itself hold value in it which has lead it to be used as reference for a painting. A decision to paint creates this voyeuristic approach to these objects, placing them on a pedestal. Terms such as 'objet trouvé' and Duchamp's ready mades, Rauschenburgs Combines, Franz West's Passtucke (Adaptives) also heighten the every day objects and challenge ideas of sculpture as well as art and life coming together.

Today we came together in groups to discuss our research which has been really helpful and whilst talking about my project I’ve been able to find new areas I could explore. For example I started talking about art and design aspect of my work and the way interior designers think of material as contrasting and their qualities being evoked more whenever they are placed against an opposite. Whilst talking about that I thought that this could be incorporated in the way people bring out the best in each other even though they may have completely different values and agreeing in disagreement. Some of the ideas I’ve had that I didn’t mention were mentioned and suggested by others which was reassuring. People were interested and wanted to know what would come out of it. I was also given suggestions for exhibitions that I can visit which were outside of the central theme. Such as ‘beds around London’ which I thought was an intimate theme that similarly carries all this ephemera.This was a positive thing because I want to try and incorporate other research such as fashion and other practices into my work which are all things of our every day lives. I also casted the vacuum formed shape I had. I’m not quite sure what I will do with it yet however I really liked the smooth quality that these solids had which contrasted with their mass and imitated fabric more rather than stone. This made me think about how we bring the best out in each other.

Today I was given a photoshop workshop and how to place and edit a photograph into a particular surrounding with shadows. This has been extremely helpful for park project and any future experiments I wish to make. I also don't understand anything about photoshop so I have really learned a lot in a little. After this I went to the casting workshop to pick up the cast of the vacuum form. It worked out really well and the cement didn't snap because of the material inside. Is started adding more found objects onto the cement cast. Today I was also planning to go the textiles workshop to learn how to weave so I could add more textures to my cast but unfortunately it was closed. I started making small studies of the close ups of the found objects as well as collages of these objects together. 

From today I think I will start experimenting with some paper mâché like Franz West's exhibition. I was thinking a lot about how I could cast these shapes so they would have dimension all around them and decided that that would be a more affective method and easier for people to handle. I looked at the cast being placed on a wall and I think it would be interesting if these objects were also on a well and people would be able o pick the up and rearrange them where they can build relationships with these objects. Find the one that attracts the the most. Perhaps even be able to make their own composition like painting with objects.

Today I started with using blue polystyrene foam and specifically I used the shapes out of the scraps which was actually something that meant I didn't have as much control of the final outcome this way and they were readymades by somebody else or a fragment of somebody else work process. By putting them together it created a shape that was now controlled by me where as previously they weren't. Throughout the process I kept thinking I should use a reference image to make this object based on something that is designed based. However I was surprised how people were interested in this objects and that straight away they began talking about what it reminds them of. I think if I had any more similarity to a particular object people would become to recognise that and that would reflect on the way they held it and interacted with it. I also took some scrap pieces of metal and placed paper mâché over it and again looking at contrasting textures compared to the mass or the consistency of the object. I think it would be interesting to see how weight affects the way people interact with these objects however working with blue polystyrene was more successful because the shape of the object could be hardly compared to an every day form.

I then spoke to Hannah through my Concept and idea of PPP before submitting it and I was glad to hear that it was cohesive. From reading this I was also given some artist references -Lenka Clayton and a book Home-made Europe. This also made me think about the German term 'Wunderkammer'.After this I started working with clay and making shapes that were more smoother and placed paper machet around them. I wanted to work with paper machete because I wasn't sure how to make a 3D shape out of vacuum forming of which I really liked the texture of. Perhaps I will experiment with cement more but it is easier to handle and also has properties of West's work I think after experimenting with these materials I realise that I need to go up in size perhaps and look at how people can interact with them on a larger scale perhaps placing them on the body? 

Today I went to the studio because I wanted to try and play around with the setting that I had found in the urban environment. I think this also gave me a colour palette to start with because it can be quite overwhelming at the beginning as to where objects play a role in a setting, however this was a perfect example of colour, composition created naturally by the human hand as well as the environment over time. Of course this was a different sphere of ideas that I didn't want to delve into too much however it is a similar idea of seeing how we as people leave our mark on objects and how over time they shift in their volubility of a narrative that begins to shift as time goes by. The damage or the discolouration gives insight to past events work as a reflection of the conditions and the environment that it is placed in.

As I carried on making these compositions I found that the work was driven a lot by what surrounds it. Even during the making, similarly how Robert Ryman speaks about this white paintings and the almost pedantic attention he gives to the canvases surroundings and the way it is placed on the wall. The canvas absorbed everything that surrounds it and that is attached to is reflected and becomes part of it one way or another. Similarly with this, things that surround my work may literally become part of the piece. Looking at the surroundings makes me notice elements that perhaps I wouldn't have noticed prior. It is almost like standing back to see the whole picture pf a painting rather than seeing the brushstrokes where it hard to identify the composition.

After this I went to visit the Wellcome collection - Living with Buildings and it gave me a lot of insight into the British urban environment, its history and how it has evolved throughout the years. Even though I wasn't able to find much connections with mundane objects something that also inspired me was reading about Maggie's building and how it is used to bring hope into people's lives during their cancer treatment. This made me think deeper about the work that I am making and why I am making it. Is it meant to be absolutely pointless and for people to create their own value? Or is it something that can actually help people perhaps articulate their ideas and thoughts that previously they couldn't. Perhaps when an object is ambiguous it could lead to unexpected conversations as the brain tries to identity the object and perhaps when and how does imagination begin to play a role in this process.

After this I had a tutorial with my tutor. I wasn't really sure what I would say but it had been a while since I spoke about my work to a tutor. The main notes I took away was that I should see how the objects relate to another objects at a time rather than have a big composition that can take the attention away from the object. I forgot to mention to the tutor that the composition was based off the white locker that I took the image of outside. That was what made me do the composition in the first place and I did this because it was similar to how the colours I had seen in Franz West's exhibition and the colours I find in found objects in general as well as the way that Cooper works in finding objects in her town in Japan. These compositions give an insight into her culture.

Also something that I was introduced to think about from the tutorial was the idea that how could I change the behaviour of people that help the object, perhaps an obstruction similarly to Philidda Barlow's work where people had to look up to see the work and this action is what made it complete. I think from this I will make larger sculptures that perhaps people could wear and interact together with because then it becomes a two way process. Objects gains value from the idea from the individual and the objects alters the behaviour of the subject.

Today I went to visit the Phillida Barlow Exhibition at the RA and what I enjoyed was the use of materials and that her process is about mistakes and having an element of surprise in her work where she becomes on the edge of being in control of her work and work being in control of itself. Walking through the exhibition it felt almost like a play ground and the constant action of looking up at the work and the superiority of sculpture when it is so delicately composed using such heavy materials.

Today through developing my research I started seeing that I was beginning to be more drawn to sculptures and compositions that wither suggested human behavior and habits in them or had the person be part of it or as the subject which presents the purpose and the story/ how these objects relate to someone's life.

Today I also found that I am really losing my motivation for this project and I'm quite scared of how little time there is. I really need to find the thing that is stopping me from doing more work. I really want to be able to make multiple outcomes in one day but I just don't know where to begin. I think I always think I'll finish that idea so I can start that one because perhaps I don't want a piece of work to put me into another direction that I had planned. But perhaps I should grow more open to these possibilities but then I start to think there is little time to change the plan. Perhaps having a plan is what makes me bored but when it is more spontaneous it is more interesting and exciting because I lose my concentration really quickly especially if I've been doing research rather than actually making the thing I am talking about.

Through this I am also learning more that actually doing work in my sketchbook and seeing how much I have done helps me to know where to go next. I think I need to focus on my sketchbook more because I find it more like a story of my actions each time. Even if I make work and then after a couple days decide to place the steps I made in my book it begins to look less accurate and small decisions get lost on the way. I think I need to try and do work and sketchbook all at the same time so I can catch every small decision I have made which will help me to realize why I'm getting bored of whatever I am doing.

From todays research I also want to use other materials rather than paper mâché in creating these sculptures because especially after visiting Barlow's exhibition and seeing the scale of the work. Im beginning to think about how I want to display these objects and perhaps it could be something where the objects are the display themselves because they can be moved. Before this project I was interested in the way a piece of art can look like a habitual environment where the viewers imagination is stirred. It would be interesting to play with this idea through enlarging the scale of the work.

Today I visited the talk about how to safely work on trees in Waterlow Park and after having a discussion with Camden council and the tree surgeon we came to a conclusion that it would be safer to place the work on the ground considering my visualisation and materials I want to use.

After this I started placing found objects together to then use plaster that would bind them together like I had seen at the Phillips Barlow exhibition. I really liked that the texture which would be seen as soft was made completely solid. Also this was combining a multiple objects together which have some sort of purposes into a form where they no longer have the ability to be used. I would want these things to be handled by others, perhaps even blind fold people and watch how they interact with this. I’d want to take photographs similarly to how Lenka Clayton did with sculpture for the blind.

Unfortunately the casting workshop was closed so I started to develop the white sculpture by adding a paintbrush . It reminded me of how Franz West places disregarded objects into his sculptures, finishing this I realised that this still shouldn’t stop the sculpture from moving but people should still use it. I started to paint with this paint brush and every time, my body had to adjust to the way it was placed as if it were to be another limb. What I was painting was more to see what kind of shapes can I create when being put into this particular position. It was almost like having a sense being taken away from you. As if you can’t see as clearly.

Today I  began working with objects that I have found over the weeks as well as weaving that I had made and thinking about the composition of them being put together. I also wanted to go back to the idea of impossible objects and and create something that is something that is unrecognisable or almost uncanny. After experimenting with performance I wanted to develop the idea of adaptive as well as create a response to the things I had seen at the Phillida Barlow exhibition because I really loved the heaviness and the way she joint these heavy materials together. I liked the quality of the plaster that joined the pieces together because it was this fabricated material that seemed fragile which was holding these heavy things. To do this I used mod roc rather than just plaster, this helped me to join the objects together without looking heavy. People who picked up the object often were surprised by the weight of it. 

To develop them I similarly to the sculpture added a paint brush and pen to the structure. I started to think about how the object can create its own patterns on a surface so I hung the structure in a corner and span it 

Today I visited the White Cube Bermondsey exhibition (Tracey Emin) by accident because the gallery I wanted to see was closed. I guess because I was beginning to use painting in my work it was nteresting to see how an expressive painter was using form as well as sculpture. It was quite shocking seeing the painting the second time roun having watched the painters traumatic experience with abortion which was portrayed in these paintings. They were a lot more colder. Even though this wasn't really much to do with whatI was doing I think it stil resonated that idea f what is in your mind is the object of what is let out onto the page. Where I was giving people to draw with my object, they weren't told what to draw so the filter was the shape of the object from which often the shapes would derive from in the way that it is designed. I think similarlt when something tramatic like that happens it becomes a filter through which we create. In the 22 min film Emin speaks aobut how after this trauma she felt that she didn't want to create anymore because she was ashamed of what she has created in her life. She couldn't go back to realism.

It made me think about how do people actually paint when they are not told what to paint. In the experiment I did in the hall it was often cruved lines or people trying to use the full hight of the paper others wrote their name. I think being asked to paint can often be quite an overwhelming thought and I think something that I have to think about in the future is how to encourage people to do this when I am not telling them the instruction to do so.

After I came to the studio to created a large sized model of a shape I made earleir.  wanted to makes something that would require two people to move to develop the project as well as when making the object more bigger it gives more possibilities in the waythat it can be displayed , worn and used by the audience.

Something that I started to thiknk about with my group was that I should introduce the way it should be used to the audeince so that this barrier of art and life would be shown to the audience. Another idea that was risen was that I would keep getting rid of the pages that were painted on to give people space to do more painting but most impoartantly for them not to think that the painting previously is the right way that the object should be used or the right way that the paper should be painted on.

Something else I wish I had discussed was how to make it more clear that they can use the ink becasue the audience had throught that that wasn't actually part of my work. "Makes you want to do wavy shapes because of the wavy nature of the form of the sculpture"

Another interesting point made was a corralation that this sculpture has with clothing because in the way that we have become comodities to the clothes that we own because we use them to help us represent ourselves this way the sculpture is used to represent something that is inside. I guess this can also link with the thought I had with Tracey Emin and the way her trauma made her create something that is figurative and scuptural.

Experimantation ideas -

Change colours of the ink to see how the gestures change and whther they become perhaps more agressive if a colour red was used or yellow. When this was suggested It made me realise that when I let people use yellow before hand the lines weren't as confident in terms of being experimental. I think beause the pigment wasn't as clear people spent less time painting as well rather than this time people found it more excititng. This is something that I just hadn'y thought about. I used ink because I thought the colour black just stands out more and people's gestures are more visible however I thikn it affects more factors and variables than that.

Think about placing paint bushes on the rest of the objects and see how that object affects the painting! Make sure people don't see the drawing made by people previously so they don't have an image n their mind of what is right but give space for imagination.

- Finish the large sculpture and do experiment with adding more and more brushes on it each time.

After focusing so much more on the psychological aspects of the outcome I realized that there are so many variables that could be experimented with in this outcome. It would be interesting to even do this in public and see how painting is affected by someone being watched. Having researched into this idea in previous projects, people's behavior does change when they realize they are being watched. 

Something else that we discussed as a group yesterday was that perhaps the person's gestures and the way they paint is affected by the shape of the sculpture because people to create quite curved shapes. I haven't seen people attempt dots or gestures that break a flowing line just like the sculpture they are continuous.

I created another sculpture where the shapes are more complex. This time I didn't use anything as reference because I felt that would give it restrictions rather than using my imagination. I then used this small model as reference and tried to copy it which was challenging. I placed reference point so I knew which curves I was looking at as I as making the large scale version.

As I was making it I realised that the bigger it got the more movement it gained so I added more joining point to keep it from wobbling too much. However as I was using this to paint this was something that changed the outcome of the painting. I was less in control. The scale of it made me feel further away from the brush and therefore I was less in control of the gestures I was making. This was almost how Phiillida Barlow described her relationship to sculpture where she is on the edge of being in control of the making process. Almost like handing over some of the making to the sculpture itself.

Speaking to an engineering BA student was also interesting because I was describing that actually there wasn't a dance or a particular movement involved in the making of the painting. Because of the restriction that the objects brings, the movement is depended on the object and the way you hold it. You would begin a line but then notice the further you turn to the right the less you feel connected to the brush and therefore need to change direction. Of course some areas are where you are in control and other areas the object reminds you of its presence in the way you paint and in the final image.

Something that the student also said was that the images that were made by people reminded him of some Chinese symbols because he is studying Chinese at the moment. And this was also something really fascvhinating to me of how psyvhologival this process is. Some of the words that he found in the painting s was I am and this etc. I think I will look more and research more into this. I also want to visit Erwin Wurm's exhibition to see whteghr he addresses this part of human intuition.

Today I carried on knitting and experimenting with some thinner and a lot thicker yarns as well as following some extended ideas from the reference image. Using the image this time made me realise how many more colours and textures there are in this image. This was a fun process because I haven't worked with textiles in a while and it was interesting to learn knitting on the machine. Because I was only able to make a limited amount of work I realize I need to learn how to hand knit as well to produce enough to cover all the measurements which I look forward to learning.

Today I also finished the sculpture

Today I began working on another sculpture which was inspired by the photographs I saw at Erwin Wurms exhibition. I liked forms which were parts where people couldn't hold onto but actually put their hands through the form. A lot of the times it was every day furniture and it was the persons arm that would create this quite uncanny image. I t was also surreal to see a table being used almost as a sleeve .  I have found that the more barriers an object is able to create the more that the person can't control the object completely as they wished to and it almost becomes a collaborative action between the person and the object.

Today I wanted to experiment and test out some of the objects I have made so far. It is really useful finding people who aren't familiar with these objects and seeing where their imagination takes them. For this experiment I asked my sisters to get involved and it is so interesting to see how many things arise that I hadn't thought of. 

Of course this is a very simple run through of how I imagine these objects to be used and placed in the world however it helped me gather a lot of other information which helped me to understand my work more and it's possibilities, how it looks from somebody else's perspective.

(Side Note: having done this back home where I wasn't in an environment surrounded by artists or where people are exposed to contemporary art, it is interesting to hear how people respond to my work. Showing people my work being used by others rather than on it's own I would be asked "but how is that art it's just squiggles" or "I don't really get it though" and it made me think about how accessible I want to make it for people and how much I want to explain it to people..)

Quickly I started to get an answer to this question first example being.. I realized that by showing my sisters video's of people interacting with the objects and what they painted exactly, affected the way they thought about what they wanted to paint. My sisters are 13 and 9 and I think that the way they painted actually showed something about their personalities. The 13 y/o having seen abstract images made by others changed her approach to how she painted. She felt that she had to paint what in her mind was seen as 'better' meaning more figurative rather than expressive. Whereas for my my 9 y/o sister she saw this as an opportunity to just play and experiment and do whatever you wanted.

I find this so interesting because having showed my sister how others approach this painting, it evoked the characteristics in their personalities. 13 y/o being competitive and wanting to do in what her mind is best and the 9 y/o being a lot more indifferent to certain standards set by others or perhaps seeing that there not being any standards or a right or a wrong gave her "an opportunity to experiment" 

Some of the things that have been inspiring me are the way Erwin Wurm talks about his work in the media and what it means for a piece of art to be placed on a social media platform for example, magazine or video.Today I Experimenting with video work editing and overlapping animations

Today I started doing some drawing with biro of the abstract shadows of the objects that I have made because I liked the pigment that the one has created when people were painting, they alsmot reminded me of the ink blobs that I also wanted to somehow incorporate into the video. As I was reading through Erwin Wurm's interview I came across a sculpture Hans Arp who had created very similar drawings and this is something that has inspired me quite a lot. I think coming from Franz West's designs this is one of the sculptures that I want to delve more into and create more shapes that perhaps are more two dimnetional.

HOW DO YOU KNOW TO MOVE ON TO ANOTHER SHEET?

Thinking about the length that each painting would take I actually started to think about how do you know when it is the right time to stop painting when it is something so abstract and emotive. I found when I have asked people to paint they wouldn't do very much, kids would try and fill the page as much as possible, perhaps because of thinking they need to make a video longer and fearing finishing too soon again fear of being right or wrong.

I find that when I paint it is really easy to get carried away but sometimes I would stop and look back and decide that I won't add anymore because I like the composition. And actually maybe that's what it is about. It's a different experience for everyone and even when you have done it a multiple times there are things you begin to notice and begin to forget. It constantly changes.

Perhaps actually rather than aiming to fill the page it's about something different each time. I find that the less rules and barriers are put onto this piece there more space there is for other possibilities. It's about experimenting and seeing what every sculpture has to offer and how the purpose of this object can be discovered more.

Filming projections over the paper: I wanted to do this experiment to again highlight the transparency and to visualise the act of bridging a gap between the conscious and the subconscious. I think I will experiment with editing to create a more obvious view of transparency perhaps where the exact location of the projection is questioned. I find this interesting because it creates a more dreamlike setting where at the same time I use projection to work as something to create a distraction and even more barriers to be prevent focus on one spot and for this experience to transition to something more unconscious and performative rather than focusing on the final outcome.

Today I also started started to consider about how I wanted to place instructions on the Lethaby work. Unfortunately I wasn't able to be there to perform the painting with objects at certain times however I wanted for people to at least be able to interact with the objects and feel what this experience would be like by having a painting visible to them. I think I will likely place a small label next to the work that gives some instruction such as 'feel free to pick up/ wear/ play with these objects" or "pick me up"  that also doesn't take attention away from the instillation but is at them same time easy found. 

STOLEN WORK Today I need to separate my time to spend for re making work that I wanted to install in the park. 

Today I came to take off the work I placed in the park and started working on some collages/ edits inspired by Stephen Willats. I find the way he speaks about everyday objects really interesting because he explains some fo them to have benefits in out lives and others that are associated with negative things, He often draws diagrams which show different ways of looking at objects and filters that we may put them through according to their associations. I also found it interesting how he often places these objects overlapping a certain environment as if being part of someones subconsciousness. Objects which we look at previously overlap the next images  and objects that we see and this way we create connections and thoughts about a certain environment that has been rooted from a certain object without even realising.

This process although time consuming, has also been rewarding because whilst setting it up I have had a few people speak to me and ask about my work and the event. It is quite a unique experience and something I've never had where a member of public asks about my work. This was also good practice in making myself think about what is the most important thing that I want the audience to know and left unknown. To some people I would explain the whole meaning, others I spoke more about the technique. I found it interesting when people made references to this work reminding them of a human form. I found this important because this was some of the ways that Hand Arp looks at his work which gives his outcomes a symbiotic connection with natural form and something man made.

For a while now I have been thinking about how I can develop some of the drawing where I think about the lay out of these objects and create a space where they can be placed freely without restriction, however I found myself limited on time due to the loss of the work that needed to be installed in the park. Today I decided that instead I would make a small model of some of these ideas use the small scale models of the already made sculptures which would also give them a new use. 

I have found that doing this has contextualised some of the possibilities of the environment  that these objects could be displayed in the world beyond a gallery setting. An actual space where interaction is permitted. I wanted to make it clear to the assessor that the way my work is displayed is almost just a sample of what it could be and the way it could expand in a space which again is a space which where people are able to 

Today I also spoke to my tutor about my sketchbook and I have learnt that I need be more selective with how I choose to present information. I still find myself falling into the habit of overloading a page with information which doesn't let an idea breathe and show hierarchy of decision making. What I want to do from now on is simplify the way I display my ideas so that it is clear what idea I am addressing and how does this idea enhance the values that I hold in my work.

Peer Assessment: today has been really useful and I learned a lot from other people's work. In hindsight I wish I had used more pages in my sketchbook to just experiment or create a separate sketchbook for sketches and drawings rather than keeping it neat and leaving some of the initial Idas to stay in my head. 

- have more clarity in the way work is labeled -evaluate experimentation in more depth - make research clear where I am making n observation - create a clear outcomes page - label other artists work more clearly and show where you have been influenced.

Furthermore today I have found the missing outcome to go with the instillation therefore won't be projecting my video instead. I have found that having the painting there makes a more instantaneous composition whereas when mixing the composition with a video it can get lost in its dimension, as well as having to consider the projector now as a new object in addition to the composition which was taking the attention away from the made objects.