Before you embark on any practical work, write a critical self-appraisal of the work you submitted for Parts One and Two. You submitted a reflective account as part of Assignment Two but you now you have the opportunity to review Parts One and Two in response to your tutor’s feedback and to reflect upon the outcomes as a whole. You’ll also use the appraisal to help you identify what you feel were the strongest themes that emerged for you in Part One.
My responsive mark making is becoming more free, I created a range of subtle and sensitive marks relating to photos of place. My photos of found marks were very successful – feedback comments were positive. I can use my observational and composition skills moving forward to develop my work.
I identified elements in my drawings, experimented with iterations and the final outcome collage was successful in its composition and use of colour, I particularly feel that the frottaged elements of old lace that were cut and placed play a good homage to the age and texture of lichens that other elements were abstracted from. I keep coming back to this relationship/contrast between old and contemporary, for example in the piece relating to place in assignment one.
Stitched words relating to place resulted in a visually interesting surface, that was successfully frottaged. This way of embedding words in an abstract way is of great interest and something to develop further – combined with the idea of responding to words/feelings visually in the found drawings exercise perhaps. 
My collage relating to the work of Marcelo Montreal is one of my strongest pieces. It works well visually however I feel that the success is more to do with the visual metaphors, looking at the image again I see a split between ancestral inherited traits/emotional baggage and self moving forward. Perceived and self awareness, there’s actually a lot of potentially powerful stuff to explore here….
Drawing does not need to be complicated. I’ve just removed my waffling justification . This is just a simple yet important learning. Don’t over complicate.
This collage may be clumsy however , I am interested in the layering and overlaying of landscape, archaeological layers, humanity vs nature, here I like the translucence of the trees and the bedrock of words. Strata is the concept that I could take from this sketch. My understanding of part one and two is that we were not to create completed works but to experiment with ideas . Some of the idea generating was painful, the hindsight that it gives is the important learning to take away here. Already with only a short period of reflection I can see how neural pathways are being formed. When I made this collage a very few weeks ago it seemed like hoop jumping, the reflective process is powerful. I am learning that I must just do stuff that can be reflected upon to find the juiciness. 
I find monoprints give a really interesting surface, a fragility of line that is atmospheric and evocative – more so than drawing the same in pencil for example.
I am excited by this drawing of place described by capturing the paths of birds in my back garden. It has a great energy from the dynamism of the marks.
This representation of a journey is unresolved and I didn’t fully explain the concept of the branch from the place representing the route that I took. With the addition of the extension loop it is the same shape as the route on the os map. The route is way marked with totem poles, banded with colours for different walks, the stick is wrapped in bands of colour representing the ordered houses at the beginning, The Tudor period and then slowly becomes less uniform following the stream up the valley and back in time. The dyed cloth represents the valley in a more abstract way. My sketch book explains the feeling of peace the higher up the valley I climbed. The cloth will be grid like and dark like an OS map slowly loosing its formation and becoming lighter, airier and free.
work inspired by research into artists that cross boundaries . I produced this work very much based on place, using found materials.
This task is your opportunity to demonstrate, in a piece of succinct and focused writing,
both your learning and your self-awareness of your achievements. Ordering your thoughts in a structured way will help you start to develop a personal language that can sit alongside your practical work. This will enhance the writing in your learning log and build through the following projects to prepare you for writing your critical essay in Part Four. In your critical self-appraisal, as well as general comments upon your performance, ask yourself some specific questions:
• Which of the themes extracted from the de Waal article had the most personal resonance for you, and why?
I feel that in part one And two the works based on place were where I felt most comfortable, even gravitating naturally towards place in the first task. Reflecting back to MMT this is a theme that I kept returning to. I am fed by landscape.
• Was this also the theme that produced the best outcomes?
I certainly feel that these were the most engaging outcomes, although I had fun with the exercise with words in part one and my last outcomes working with text in part two were also pleasing. My most exciting piece was mapping bird flight in the garden, clearly place related and the concept I would like to take further.
• Which body of work stretched you most in terms of thinking?
I was flummoxed responding to music. I found Parts one and two quite frustrating. On reflection I can understand how elements will be invaluable moving forward however in places it felt like those times as a small child when you were asked for an impromptu performance of something, awkward and (that word that means you feel turned to stone) for example, work in response to music – in my research for 3.1 I found that Micheal Brennand-Wood chooses a sound track for the day to work to and be inspired by. This is what I often naturally do, I have a huge collection of widely different musical genres that I choose to suit my mood or task, how ever in the context of the task it felt forced, and atrophied my mind. I have often noted sounds as I walk and gather , I expect now I will note these things more. In terms of an exercise though, my work was severely lacking, my reflective outcome is richer and more useful.
• Which body of work stretched you most in terms of making?
I was most stretched working out how to respond to a personal routine, I not done much manipulating of photos before, I was reasonably successful with this task.
• Which body of work did you enjoy creating the most?
I would be torn here between the Work based on identity and labels collage work in part 2, boundary crossing piece in part one and the works based on place- particularly the bird piece and wrapped twig.
Finally, select one of the themes from Part One for further development in Project 4, together with what you feel were the key pieces of visual research from Part Two. Explain your reasons for these choices.
My reflections on artist research, point me to an investigation of my place in the landscape – I wouldn’t be able to clearly define where we separate, my being is spun from tiny everyday connections to my environment. identity is place, investigating where I am now compared to where I’m from – both physically and ancestoraly . My key pieces of visual research will be the found drawings and frottage combined with further investigation of mapping. I’m interested in the interview with Polly Binns her work is site specific but is more about her response to the Norfolk coast, than of the coast, this is similar to Jessica Warboys work with the sea and also of Barbara Hepworth walking of the landscape, their investigations of materials are fed by place but not dictated by it.
