Much like my first participation in the Shaun Crit, I found seeing the artworks and concepts orchestrated by my class peers has been truly beneficial. Although my Shaun Crit session was held online once more due to travel constraints on my behalf and the fragility of a lot of my work, I have found the Shaun Crit classes to have been opportunist to explore elements of my own work, collating feedback from both lecturers and peers and seeing the works of others. Sharing our processes, hardships and final works of art has enabled there to be seminars held and opinions to be shared and addressed other than just my own.
Having eyes other than my own study the nature of my work and the technical application employed, allows room for improvement and progression. Seeing that each of us are still facing the same difficulties in being confined to the spaces of our homes/ restricted studio access, this has further ensued that I am not alone, nor are my peers. I have found it quite liberating to see the variation within the class, themes of beauty, oppression, daily life, feminism, identity etc. Its been great to see how peoples ideas or concepts have changed and adapted over the second semester, and potential live outcomes to go ahead.
In a "work" environment it can be hard not to compare yourself to your "colleagues", but this year I have focused on exhibiting what I want to do. I have spent years oppressing further displays of creativity due to being a perfectionist but now I just do. I found myself and procrastination to be my worst critics and there shan't be anymore of that. I have stopped comparing skillsets and work loads. Though at times it can be difficult to avoid this when looking through criteria and other peoples works or lack of it.
The importance lies not in technical ability, but in expressing ones self. Fine art is a subjective area, opinions are warranted and I have found in the recent years people have been void of just experiencing the work. The Shaun Crit has shown that regardless of skillset, theme or body of work we are all in this together; we each have our own concerns but we don't need to oppress, instead we can express. We each have value.
Moreover, having had the opportunity to see the process of each artists alongside finished works, has admitted a sense of indulgence to the raw process and the journey. Some works in progress are works of art themselves and seeing such can evoke a new perception of the work and the artist. Hearing the opinions of my peers and lectures is imperative to the construction of my work, Shaun Crit issues a sample simulation of what exhibiting our work to the public could be like. All in all I found the Crit to be a great success in assisting my process.
I hadn't received much feedback from my peers other than Jezzelle. Jezzelle has been a truly supportive friend over the course of this semester, we have went over ideas, discussed current projects with one another and I couldn't be more gracious for her feedback.
My Shaun Crit Presentation
Jezzelles Shaun Crit Presentation
Reflection of a Peer -
I chose Jezzelles Shaun Crit to reflect upon. Her representation of the body through the use of ambiguous, and moderately surreal imagery has allowed room for juxtaposed narratives and displays. Jezzelle primarily works with graphite, conjuring photorealistic images, contortion, devoid of a sugar coating. Jezzelle shows the body as it is, abrasive scarring, stretch marks, cellulite, fatty tissue.... she does not adorn her work with a veil of fallacy in order to protect the viewer from a "worn in" subject - No, Jezzelle creates genuine replicas of what it means to be human. Raw decay, turmoil and anguish are but a few recent values established within Jezzelles work, experimenting with body horror and the inevitability o death and how it perplexes the mind and body alike. Jezzelle has shown true growth over the course of this semester, taken to painting for 'play.' and abandoning the need to meet criteria with everything that she does. Her 'Groovy Babes.' series has proven to be quite popular given the impression of proportion without the overt need for it to be correct.
Jezzelles continuing oeuvre displays clear ideologies to "Represent the body in its honest appearance is where my practice has led me. By feeling and looking beyond the flesh,By breaking down the form to its honest and raw self and by bridging the gap between the body and mind, I attempt to encapsulate the physical, psychological, and physiological properties of what it is like to inhabit a human body, by portraying the body in its reality, not a photoshopped, pristine, propaganda image.."
I look forward to seeing Jezzelles work develop further from the recent experimentation with simpler acrylic form painting and intricate fine liner illustrations.
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