Richard Brooks - Reflective Journal

Richard Brooks - Reflective Journal

About the Artist RWB Journal

My work is informed by my personal faith, sense of vulnerability, bereavement, and, my personal experience.

My practice centres on addressing social justice issues of the human condition. I avoid making work of any individual person; so that neither, is the individual stigmatised, nor is the work unduly personalised.

Since January 2012 I have used this blog as part of my reflective journal.
Included in this journal is some of my documentation of my research; the underlined text provides links to web pages etc that have formed part of my research.
The Research Visits category includes some responses to gallery visits.

Thursday 2012-02-09

NUA - weekly MA sessionsPosted by Richard Sat, February 11, 2012 11:28:15
I had been looking forward to the printing workshop - indeed the anticipation had helped to keep me motivated at times when my sprits were down during the last unit.

I enjoyed the screen printing session and subsequent research on VLE about screen printing and I am eagerly anticipating the next session were I can make my own screen print.

But it is a shame that I can not also do the 3D workshop at the sometime as I would also like to expire and experiment with casting - especially utilising some of my found objects from Felixstowe beach. I feel that it is good that I am expiring other media for making work, as well as photography and video; I think that even if I end up reverting to these it will mean that it will strengthen my conceptual use of them. I will be using photography/video because it is the most appropriate for me to use for that particular work - not merely because that is the media I feel most confident in using.

I am still reflecting on my choice of subject for my first printing project - it could be an existing work such as a photograph - perhaps with the addition of text - e.g. one of my mono "Damaged Portrait's", or "Paradise Part II" [but I may have to scan in or photograph the silver gelatine print]; or perhaps I could use my personal manifesto as the template for the print; or perhaps I could try not using photography at all and rely on drawing and cut outs etc.

The guest speaker talk and subsequent seminar by Fiona MacDonald, curator from Standpoint, and artist [sculpture & painting] raised some interesting issues. Standpoint's model of artist led space is very different to that of Outpost. It seems a little strange that they do not really promote their own artists; I would have expected more of a dual approach where the gallery presents not only the vision of the curator coupled with a representation of contemporary art practice, but also space of opportunity for Standpoint artists.

Standpoint's use of education and community engagement that focuses on emerging and mid-career artists is also a very different model to that adopted by many galleries which concentrate on engaging with school and youth groups - although some such as Firstsite, Colchester seem to be using both approaches in parallel - both encouraging school visits etc but also providing events and specifically for practising artists.

For me Firstsite's dual approach to education seems to be a good model for best practice.

It was also interesting to find that, despite being employed 3 day a week as curator, Fiona MacDonald regards her self as an artist and reports that she thinks as an artist. The curatorial role being seen merely in a similar light as a 0.5 teaching post. Thus her curatorial work is, I assume, a means of helping to fund her art practise, but will also presumably both help to inform her work and to find new opportunities to show her work.



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