Crit 58  @ Central Saint Martins

Monday 23 February 2015

Q-Art Crit 6.30-8.30pm

 

Room M207

Central Saint Martins

Granary Building

1 Granary Square

London

N1C 4AA

 

This crit brings together student, graduate and self-taught artists from across London.

 

Serafima

Foundation Course

Central Saint Martins

Statement about your practice

My current project revolves around the questions of situation, place and space. I have tested the sense of place in institutions by making site specific interventions. I use walking as a way of gathering physical and narrative material for my work. I am interested in data, memory and free will.

Feedback you are seeking from crit participants and what you’d most like to get out of the crit:

I would like to find out how my work communicates. It would be great to find out how my work is seen

 

Inés Cámara Leret

Postgraduate student

Wimbledon Arts College

www.inescamaraleret.com

Statement about your practice:

My practice revolves around the notions of labour, productivity and inefficiency. By visibilizing and reproducing time-consuming process within labour I shift the notion of work and substitute it with that of ocupation. I am then led to  question the exponential equation of time plus effort in order to produce an object for monetary exchange. In order to accomplish this, I de-contextualize certain elements and examine pre-established cultural linguistic notions of productivity & inefficiency. As a consequence of these processes, derived from our complex engrained economic system, my work either erases, breaks or rots itself.

Whilst developing my practice there are two aspects that inform my work: what my objective is, (the functions stated previously) and where my work is being produced (the context). Works developed in the studio differ substantially from those that are site-responsive and those that are site-responsive vary amongst themselves substantially. Site, therefore, is an added stimulus to my line of enquiry.

Feedback you are seeking from crit participants and what you’d most like to get out of the crit:

I would like to engage in a conversation of where the artwork resides within the project I will be showing. Whether it is the actual process, the archetype of a finished object or maybe within the realm of the idea. By exposing it to a different environment, than the one in Wimbledon, I am hoping to receive a varied range of responses and suggestions of source material I could look into in order to enrich my work as well as understand and re-evaluate decisions made previously.

 

Erica Lewis

BA Fine Art 3^rd Year

Middlesex University

Statement about your practice:

My practice seems to be developing in the direction of transforming form and colour into a 3rd dimension. I use mixed media and experimental materials.

Feedback you are seeking from crit participants and what you’d most like to get out of the crit:

I would like to have an understanding as to how my work is perceived. Doubtless that will differ from my own views!

 

Poppy Tibbetts

University of Brighton (2011 – 2014)

Music and Visual Art

Artist/Musician

www.poppytibbetts.berta.me

Statement about your practice:

Poppy Tibbetts is a musician and artist based in London and Birmingham, UK. Her practice combines the performance of spoken text, sound design and melodic composition. Her most recent work presents storytelling, in a very literal and perhaps traditional sense within an artistic context; exploring notions of collective listening and imagining as experiences that are simultaneously shared and personal. Narratives within her work often explore the relationships that are created between characters and objects, sites and points in time, investigating how these connections might inform a sense of place and notions of belonging.

Feedback you are seeking from crit participants and what you’d most like to get out of the crit:

Advice upon how to fund, create and distribute a publication of my stories.

References to organisations’, groups and people who might help me produce my publication.

•Feedback on the choice of photograph that accompanies my story.

How might I use or collect imagery to accompany text in my publication.

Is imagery needed?

•Advice on how I might develop the reading of my stories as performances pieces.

•Advice on how I might better combine music and spoken word to become a performance piece.

•Should I play/mix music live during a performance?

•How might I incorporate gesture?

•Should I work with other singers, musicians or dancers?