Angela's Art World

Saatchi Gallery visit

2012-02-07T21:50:00.001Z

I took the visit on the same day as the RA for David Hockney but decided to leave them separately so it is less confusing. The last time I went to Saatchi Gallery really was sometime ago but I can still remember how amazing it used to be, it was group show exhibiting contemporary art including Zhang Xiaogang, Yue Minjun, Wangechi Mutu and lots of good ones.

So I was kind of expecting something fascinated me, unfortunately not this time. The major exhibition is GESAMTKUNSTWERK: NEW ART FROM GERMANY
It has a lot of ready-made found objects seen as installation and abstract paintings, I doubt anyone would understand.. I didn't take any pictures because I haven't got my camera with me that day but the main thing I want to talk about is not the work itself but how you present it. I personally didn't find this exhibition is connected to my drawings but whenever I visit exhibition I don't just look at the art but the surrounding, I also enjoy studying the detail or minimal issues that may or may not influence the look of the artwork.

Obviously Saatchi Gallery has the prominent reputation and therefore whatever artwork it showcases people would give credit for it. Every gallery has an unique way of curating art, Saatchi Gallery is definitely contemporary, each room has wide big space with not so much artwork, each piece is separate out from each other like if they have their own personal space, the wall is always clean white with over 12 feet high, the illustration next to the art is very minimal, just names of the artist and artwork without further detail, suggested it isn't so child-friendly and possibly aim for audience who genuinely like art instead of people who randomly walking in and out the gallery.

David Hockney's Painting at RA

2012-02-05T10:32:00.003Z

(This exhibition is way too expensive and I was lucky enough to look under 18, thank god!)
I am personally not a fan of Hockney's vivid colour oil painting, although I never really look into his work, they remind me of bright blue swimming pool in 1960s American pop art style. Eye catching colours, strong and firm brushstrokes gliding onto the canvas with not so thick oil paint. They look fairly impressive from distance but not in closer look.

That is what I always thought about Hockney's work.

I must say there are certain things in terms of art will attract my attention more than others, and they more or less influenced me to create drawings in this way. I would consider myself have quite traditional taste to some extent, I like highly-detailed skillful art that also comes with surprises (or shocks) conceptually or technically, or any form of art I have never seen/experience before, like WC Escher, Peter Callesen, Mark Ryden, Paula Rego.
However I must say this exhibition changed my view slightly and I am actually quite impressed by some of Hockney's work. I am in awe of the way he uses imagination to build up the painting, it is like he is painting the landscape in his mind rather than seeing the actual view of the landscape, I also adore his way to paint the same environment over and over again just to observe the change of climate, it suggests a total different view to the landscape and each of them evokes different feelings. It is like presenting a circle of life or time frame through trees and colour but not so much to do with the view itself.

David Hockney also brings out a typical artist look to people, for the ones who are not so art-educated would think artist usually paint from life/landscapes/animals or whatsoever sitting in front of the view and do art. But to be very honest, a lot of in famous artists paint exactly the same style as Hockney and they sell their painting 1000 times cheaper than his, I suppose this question raised up a lot of debates and I am not here to argue or stand on one particular side.

I don't think this exhibition has inspired me in terms of my own practice directly, although I am interested to look at natural environment, I wasn't looking for inspiration from the show anyway. I was keen to look at the curating of the show at Royal Academy, to see how it leads the audience to view the show and study the reason behind. The show starts off with four giant paintings of Thixendale painted at different times, it leads the audience an impressive beginning. Size makes a huge difference to the painting, in fact, anything big instantly enhance the power of the insight no matter how crap it actually is. For instance, imagine you see a 1cm big cockcoach walking across your desk you wouldn't be too frighten by it, but if it is as big as your head I am sure anyone would get terrified. Size is a natural thing that affects anything on earth. Hockney's gigantic paintings go beyond the sight and the audience needs longer time to absorbs the vision, and it somehow goes beyond the standard size of a canvas and therefore people found it powerful.

Sometimes art is about packaging, not the artwork itself.

Cute Aesthetic

2012-01-25T11:29:00.000Z

I recently submitted my application to CCW exchange program to Japan but I wasn't selected, however I do think my proposal is relevant to the study so it is worth to talk about it.

My art practice hasalways been based on my personal thought towards life or experience and thereare certain aspects I was particularly interested; Childhood memories, fantasy,fairy tales, fluffy animals and innocence objects. People often described mywork as naïve but pretty. To some extend they are inspired by JapaneseKawaii(cute) culture consciously and unconsciously. I originally come from HongKong, a city that is very much influenced by Japanese culture. I often get thecomments of viewers that my art contains cute aesthetic and therefore it hasthe power to fascinate people, especially in Asia. But being educated in theUK, I constantly try to adopt or explore new ways to draw. Two years ago Idecided to abandon the cute component in my art and created a series ofdrawings which is rather brutal and not visually pleasant or illustrative, theEastern viewers have so different comments towards my art from the Western’s.

Recently I am hopingto pick up the bizarre fantasy and slightly childlike style again in adifferent way and I am so keen to explore the psychological thought andaesthetic intensity of Kawaii in Japanese Culture by interacting with the localpeople.

Whatdo you hope to learn from the experience, both short and long term? Anexchange program can offer me new encounter of life which potentially stimulateme to create new piece or idea of work. I am eager to draw in entirely new andunfamiliar surroundings. On top of that, working with people from other coursesis somehow challenging to me since art has been a solitary activity to me allthe time. I am hoping to gain exhibition abroad experience and get to know moreabout artist in residence in Far East. As a professional artist, this is agolden opportunity to experience the benefit and challenge of working abroad.My previous artist in residence experience in Milton Keynes has given me quietand subtle environment to create art; I have also met the local professionalartists and gained advice from them not only in terms of art but life. Otherthan that, I am interested to study or experience the aesthetic intensity notonly in terms of Kawaii but the way Japanese approach art, I am more interestedto analyse the differences of Chinese, Japanese and Western culture in terms ofart appreciation. The relationship between viewers and art has alwaysfascinated me and cultural difference is one of the important components. Infact I have always been a bit in awe of Japanese culture, the creativity ofJapanese people is incredible, this does not only apply to art but almosteverything you can see from daily life, for instance the toilet in Japan is oneof the most advanced yet creative toilet worldwide, it has numerous additionalfeatures—such as blow dryer, seat heating, massage options, water jetadjustments, automatic lid opening, automatic flushing, wireless control panel.Therefore I have a feeling that Japanese artists have some unique creativity orissue that I have not yet discovered and one of my most interests is tolearn/investigate the way they work on art, and I am thrilled to learn Japanesecraft art, which I have always been interested to look at.

This country is undoubtedly innovativebut it also maintain the tradition culture and architecture beautifully and yetit seems to be a mixed of very modern and traditional. Although I am keen toexplore the contemporary (Kawaii) side of the country and I am also fascinatedto meet the traditional Japan, this is a bit like an echo to my art practice,drawing is primitive and the technique I used is also considered to betraditional but the versatility is incredible and by presenting it in a new wayit can be mixed of old and new art.

Howwill you prepare for this project?

Currently I am working on severalslightly different themes but they are all based on a sequence or motionpicture, I have documented hundreds of reference pictures and experimented alot such as arranging two or even three objects into odd position or combinethem together to create distortion effect that can possibly be a metamorphosis.The documentary pictures include animals, fossils, portraits, everydaysurrounding (home), familiar architecture (London attractions), flowers, andmuseum exhibits. Recently I have also started searching for the recent news,photos and videos after the quake in Japan, and I am tempted to draw a seriesof drawings depicting the natural disaster. I will spend a couple of days toobserve the environments of Japan especially on issues that linked to thequake, take pictures of the local people and buildings and I will also spendsome time with the artists in Wonder Site if possible. All of them will help meto explore my view of Japan in a new way.

Recent Experimental Drawings

2012-01-17T23:13:00.000Z

The cat portraiture drawing is the exercise of the Drawing Lab I did last week named "Translation and Adaption", it introduces the use of a drawing aid to translate a pre-existing image from onemedium to another and from one impression to another, challenging notions ofauthorship and reproduction. For years, artists have used two ‘L’ shapes ofcardboard, a computer or even their two hands, to create a lens or pictureframe to isolate good compositions in landscapes, still life’s or figuredrawing. In this exercise you will use an L-shaped viewfinder to arrive at anew individualised drawn composition of an existing photograph and then use agrid to first map and magnify the image and then manipulate a second image intoa transformed arrangement or distortion.

I would describe this exercise as my favourite workshop so far, it strongly stimulates me to develop distortion in drawing by using grips. it also suggested the way how Chuck Close works on his portraiture. Although I am not a fan of his work it does help to bring out a really precise observational drawing.

What I also like about this exercise is that the freehand grips allows me to explore the uncertainty of the finish outcome, I was fascinated by the idea of rearranging the proportion of the cat face and yet I had not idea how it would look like when it is done, it is like doing something I have never done before and I am excited to apply this idea for my zoetrope drawing.

I have also done another practice drawing of my own hand, I named it "Drawing Drawing"

Visiting Natual History Museum

2012-01-07T18:06:00.001Z

So today I spent the whole afternoon browsing around Natural History Museum to search for inspiration and recent exhibitions. I was thinking to go see Veolia Environnement Wildlife Photographer of the Year 2011 but I didn't really have enough time so I only went to see the collection book and picked my favourites. Before that I went to visit some odd creatures in fossil, I like taking pictures of strange things and this is one of them for sure. Bone is the support of the body but invisible from the eye, and therefore we hardly know what exactly it looks like. I took pictures of some animal's skeletons and was stunned by the appearance.

Also I like taking pictures of odd expression fishes. It is rare to see fish with its mouth wide open and almost like a human face to me, I am tempted to draw a metamorphosis of fish emotion and perhaps this can go to my zoetrope idea?

Strange coral.

These pictures are the drawings drawn from viewers, you are asked to fill in your name and age and select your most inspired species. The one below is my favourite one, drawn by five-year-old Audrey, I like the innocence in the picture, it reminds me of the time I taught kids how to draw.

I attempted to do a sketch of this bear because a lot of people stopped and stared and took pictures, I suppose that is due to the scary looking expression, and again that supported the reason why I like unusual faces. Darwin centre was something I aimed to look at but I found it slightly disappointing, the space was quite empty and full of pickled animals in jug (which scared me a bit).

Change of thought

2012-01-05T22:59:00.000Z

I looked at my research paper over and over again and I feel like there is something wrong in it. Some statements are conflicting to some others and the whole thing don't seem to connect very well. For instance, I didn't want to draw ordinary movement like running horses but use my own daily life in repeated motion, they don't seem to be so different to some extent and as a viewer I don't think this is that interesting.
On the other hand, I emphasis that I wanted to work on something genuine, like depicting real life moment but think about it, if that sort of imaginary appears in a zoetrope and it will pretty much looks like what you expected to see. And that is the point I feel struggled and confused, however I will still have a go to see what is it like and try to find out an alternative.

Research Paper

2012-01-05T15:32:00.002Z

“Wheel of Life” Study how two-dimensional pencil drawing can transform into moving images by Zoetrope.
Images don’t move on their own. They have to be made to move – or appear to move by technology, invented and developed by human beings with the purpose of tricking the human brain into thinking that it sees a continuously moving two-dimensional picture. No technology – no movement. The technology in question has two components: the images themselves and the processes by which they are made to appear to move. And therefore the images applied to my drawing and the processes which made the images appear to move would be the Zoetrope.
Drawing on paper and wall have been my main focus for the past two years and it has always been narrative based with very delicate and polish detail in both large and small scale. And I have a feeling that I want to maintain these characteristics and for that reason I want to keep using pencil as my main medium. It is an honest and versatile tool and cannot be replaceable by others. I also enjoy the black and white contrast; it stands out the subject matter and created a feeling of the past. However, instead of drawing on paper in frame I want to present it in different ways. Drawing on paper gives very much traditional impression to public and often lack of interaction to viewers and it is also something that most of us would think of what art is. And for that reason I am very keen to break this boundary in my art practice as drawing can take place in many forms and many occasions.
I started exploring other ways, recently I went to visit Jerwood Drawing Prize exhibition and I am impressed by the student prize winner Nicki Rolls, who did a video installation projected onto a sketchbook. “It depicts a street scene, but the figure and a white van exit the main image and traverse the other pages of the sketchbook and onto the wall behind. “ (Quoted from http://nickirolls.net/WEBwork13.html) I enjoyed the presentation of how the figure extended to the wall and this challenged the boundaries of how video installation can go. “Rolls explored the areas of overlap in the expression of time and tense between still photography, film and video, testing how the single moment of the photograph can be extended or reduced and how the different temporalities which exist in film and video can express different durational experience. “ (Quoted from http://nickirolls.net/WEBstatement.html) This triggered me to experiment on moving images; in relation to break the boundary of predictable framed drawing on paper. I decided to work on a technology which is an old optical toy called Zoetrope; it is a device that produces an illusion of action from a rapid succession of static pictures. There are many reasons for picking a Zoetrope, and I believe one of the big push is because its simplicity that I feel it is linked to pencil drawing. Moving images generally prefers to movies, for animated movies we think about digital technology. And Zoetrope is like the very old version of digital that we have almost forgotten. And because of that reason people sees it as something reminds your childhood memory and it further echoes to my use of pencil and study or interest of personal experience.
In Greek, the word Zoetrope means life and turn, it may be taken to mean “wheel of life”, in other words this device acted like the short form or trailer of life experience and that I found connected to my studio practice as I wanted to depict my own experience in an unexpected way. Zoetrope needs a force to trigger the movement and therefore audience needs to participate in order to view the animated films which enhance the conceptual thought about the whole idea, this interaction is important because it gives impact to the viewers.
I documented a lot of photographs from daily life and environment around me and drew from them. It often gives me a quiet and inspiring feeling. I suppose I also wanted to record my everyday life in my way, to capture a certain moment of life and remember it and I suppose that is my purpose of doing all the artwork. The idea of using moving images pushes a new start of my work and evoke the meaning of cycle of life. To do this, I am going to build a Zoetrope from scratch (possibly with wood) and at the mean time I have done a paper version. I also referenced some photographer such as Eadweard Muybridge who does animal in motion photography. Muybridge captured animals running in a repeated movement and this is so connected to the idea of using Zoetrope. I used Muybridge’s photos for my paper Zoetrope and it has become my short film device. I am going to draw a series of pictures in motion that echoes to my daily life or myself such as brushing my teeth or a face expression in motion. I have also taken a series of photographs capturing the movement of my own face changed; it is odd to look at your own portraiture in this situation. Most people like to present a happy smiley self portrait to public when they have to but this sort of picture is always disguised and unreal, I want to create something genuine to remember.
Surprisingly, after doing a bunch of research I couldn’t find a single artist who has done very similar approach to my work. However, I do want to refer to a couple of artists who have great influence on me in terms of drawing.
M C Escher, the Dutch graphical pencil artist has a deep impact to me regarding on the logical impossible subject matter and the delicacy polish detail. I was drawn by the beauty of the layout at earlier age and tried to adopt his technique and sooner I started to read the content properly, I was amazed by the accurate calculation of the architectural buildings and interesting composition. Although Escher only worked on paper he has somehow influenced my style and triggered me to work on pencil. I have also looked for artists who used everyday life/ personal experience as subject matter in art, Anri Sala is one of the rare video artist that I feel interested in. recently I visited his exhibition at Sepentine Gallery. There are a couple of things In common between my artwork and his, we both depicted our personal experience and appeared to look like a cycle of something else. He used video (moving images) to represent a scene of life. I quite enjoyed the digital sound produced by the speakers echoes around the Gallery’s dome, conflating digital space and real space, it also heightening the sense of performance. However, the whole exhibition appears to be too contemporary based on the technology Sala used and I genuinely prefer something rather in a mix of traditional and new. This exhibition has then enhance my faith in building a zoetrope in relation to my drawings about my own life, I am aware that my studio practice very much prefers to “the past” and therefore I am going to do more research on this subject matter.
I have also referenced other photographers who take pictures of their lives. The memorable one would be Nan Goldin, an American Autobiographical photographer who often presented in the form of slideshows. She has affectionately documented women looking in mirrors, girls in bathrooms and barrooms, drag queens, sexual acts, and the culture of obsession and dependency. The images are viewed like a private journal made public. Nan Goldin stated “I don't photograph adults so much any more. I don't have a child and, psychologically, my focus on them is a lot about me wishing that I did. But I am a godmother to friends' children around the world. I don't remember much ever feeling like a child, so maybe photographing them triggers memories. They are wild and magical, as if from another planet. And they haven't been socially conditioned yet, so they can scream and express how they feel publicly. Sometimes I envy them. When I am in a group of people, the children and I find each other's eyes, and end up laughing at the same, unspoken thing.”
This statement makes me wonder, and I am a bit in awe the way Goldin pursued her goal. She used photographs to catch the moments that she lost or hasn’t has at all in her life and the way she documented people faces appears slightly unsettling, probably due to her heroin-high, long before Tracey Emin's unmade chaos. However, I don’t feel so connected to Goldin’s photographs simply because of the subject matter she depicted. I would describe my photographs as referencing images for my drawings which records my ordinary minimal life whereas Goldin’s photos has far more impact on its own. But what I like about Goldin’s work is that every photograph is so genuine without editing and therefore it created a down-to-earth feeling that is connected to some people. This is a sort of feeling I want to engage in my studio practice.

Research Folio Key Content

2012-01-04T17:52:00.002Z

Unit 1 Stage

The Research Folio must contain:

The 2000 word written Research Paper including bibliographies.
An illustrated diary or blog, reflecting on the successes and failures of the studio work produced to date on the course.
A log/ journal listing the exhibitions/performances/events/conferences, relevant to your research, that you have visited or participated in since the beginning of the course

Unit 2 Stage

The Research Folio must contain:

The 3000 word written Research Paper including bibliographies.
An illustrated diary or blog, reflecting on the successes and failures of the studio work produced during the Diploma stage.
Log / journal listing the exhibitions/performances/events/conferences relevant to your practice which you’ve visited/ participated during the Diploma stage.
250 word research statement.

3 x 250 word critical analyses of cultural events that you have recently attended, reflecting on how they relate to your practice. For example, these could be a performance/ film/ exhibition or book.

Whilst the contents are similar to those at the Unit 1 Stage, we would expect that the Diploma Folio will reflect the different learning outcomes for this part of the course.

How to build a zoetrope

2011-12-20T20:48:00.000Z

OK I have done quite a bit of research regarding on how to build a zoetrope from scratch. The paper ones are easy and I could easily find tons of example on internet but what I am looking for is the wooden one. Let me talk about it more specifically, here is one of the link I googled online and it explains everything you need for this paper optical toy. http://bizarrelabs.com/zokit.htm
The bendable bit where you put the drawing seems to be impossible to make by wooden though, unless you have the shape readymade. And therefore I am going to look for althernative..
http://www.sonyclassics.com/shadowmagic/index.html
http://blog.makezine.com/archive/2011/03/making-a-laser-cut-zoetrope-with-processing-and-kinect.html

Christmas Card

2011-12-11T23:41:00.001Z

This isn't really to do with college work but I thought it is worth to post an entry in here. It is a Christmas card drawn by pencil crayon, I printed off 30 copies and sent it off to my love ones. I wish you all have a Merry Christmas x

Artist Research

2011-12-10T15:33:00.000Z

Nan Goldin
An American Autobiographical Photographer. She has affectionately documented women looking in mirrors, girls in bathrooms and barrooms, drag queens, sexual acts, and the culture of obsession and dependency. The images are viewed like a private journal made public. I selected one of her most famous pictures, self-portrait. Taken after her then-boyfriend Brian violently abused her. The photograph of Goldin, staring directly into the camera, with both eyes blackened, has become one of her most widely reproduced images.

There are several things I like in Goldin's work. She revealed the dark side of human being in a very direct genuine approach that is pretty shocking. And therefore it has a "down-to-earth" feeling which I am trying to engage in my own art as well, by that I don't mean ordinary but very sincere and has no distance.
Goldin famous claimed "I was one of the first people, at least in the Western world, to photograph my entourage and say that it was as valid as photographing any exotic tribe you don't know. We were the world to each other. We were not marginalized people as everyone writes of us: outsiders, drug addicts, prostitutes, transvestites, blah, blah. It was our world."

Sex and drugs are very common subject matter in Western contemporary art and I personal don't fancy any of that kind of stuff, I don't understand why some people like to use art to add a bit of glory into sex and drugs? I mean, anything on earth can be art so why on earth is this so popular? Have you got nothing else to think about? However, since Goldin is so constantly heroin-high I wouldn't agree with it.
It is worth to have a look what the genuine other side of the world is, to reveal what I didn't already know and to learn the way Goldin took her pictures.

Drawing Lab 5

2011-12-09T23:19:00.000Z

Brief

5. Composition

EXERCISE 5.1

Composition, like any other creative act is subject to personal aesthetic judgements and cultural conditioning – for example, the Westerner’s consumption of writing from left to right for most of a lifetime coerces the viewer to scan and ‘read’ an image (whether, for example, in 2D on the page or 3D on the stage) in a similar way, favouring the corner of our peripheral vision where our gaze leads to rather than its departure point. Each project will suggest its own compositional rules: reacting to materials, spaces (including page framing) and atmospherics in the context of our conditioning.

Duration: 20 mins

Materials: Different kinds of paper (including an A1 sheet of coloured paper), a pencil and scissors.

Subject: Objects on a table (cups, bowls, bottles, pots etc).

What will I learn? All objects have a particular shape. How we see this shape depends on where the object is in relation to us, the viewer. A cup at a distance appears much smaller than the same cup when only at arm’s length. Equally, looking down on a cup from above, it appears as a round circle, which narrows as an ellipse as we move away. In this exercise we’ll begin to explore the nature and range of these changes in appearance. It then introduces notions of composition – how a drawing relates expressively to the rectangle in which it is contained.

Method:

1. Place a cup on a table a short distance in front of you. Try to establish how wide the cup is at its widest point. Then try to determine how tall it appears at the tallest point, compared to its width.

2. Imagine a rectangle of paper that would contain your cup as it appears on the table, so that the cup touches the edges of the rectangle at the widest and tallest points. Fold this rectangle out of a sheet of paper.

3. With a pencil, draw the cup with a continuous single line, so that it fills your rectangle.

4. Move the cup further away and repeat the process, thinking about how the next rectangle changes in scale and proportion.

5. Repeat this exercise, using different kinds of paper, from more extreme viewpoints – get up, move around the room, stand on a chair and look at the cup from above, kneel on the floor and look at it from below…

6. Once you have 10-15 different cup drawings, cut each one out.

7. On an A1 sheet of coloured paper, start to assemble the cut-outs. Play with grouping them closely or spreading them far apart, and think about where they sit in relation to the edges of the rectangle.

8. Think also about proportions and perspective. You are no longer only working with one point of view – each cup drawing was different. Note how mixing these perspectives together changes the sense of space and depth that your composition creates.

9. Make a sketch of compositions that you find ‘works’ – are they dynamic or static, do they create a sense of tension or stability?

What do the results show? This exercise introduces the expressive potential in the interaction between the different elements of a composition and rectangle that frames it. The proximity of the rectangle’s edges to the drawing, the positioning and proportions of subjects in relation to the rectangle… all factors that affect the end result.

SHOW & DISCUSS

EXERCISE 5.2

Duration: 1hr

Materials: Pencils and erasers, an A2 sheet of cartridge paper. A camera (or anything with a viewfinder e.g. your mobile phone) – or make a 4:3 ratio physical frame (12cm x 9 cm rectangular hole) using cardboard (NOTE: please make this beforehand).

Subject: Three mid-sized objects

What will I learn?

In this exercise you will begin to explore options for composition by using a makeshift viewfinder or digital camera. Treat your objects as characters on a stage: try to develop and change the ‘story’ of your objects, thinking about the relationship and role of your objects in terms of compositional balance.

Method:

1. You’re going to make 12 different compositional arrangements of your objects, so start by looking at your objects from every point of view: from the left/right, from the above, from eye level. Move in closer, step back, rearrange the objects and repeat the searching. Try the viewfinder n both landscape and portrait format. Consider placing one object in the foreground and one in the background to create distance and space.

2. Try to see shapes and blocks of tone instead of objects, and organise the objects to make maximum use of any tonal differences.

3. Consider the negative spaces. Leave out as much as you include – be selective. The relationship between three objects, and the interesting spaces between them, may provide a tension that you can use. Create a narrative of contrasts and rhythms: just like musical composition.

4. The edges of the composition play an important part in giving it dynamic strength. How the external shapes extend out of, and come into the rectangle is very important. If possible, try to tie some internal forms and shapes to the vertical and horizontal edges of your viewfinder.

What do the results show?

Your composition should offer your eye a journey within the picture space, leading it through an arrangement of interesting angles, lines, divisions, shapes, forms, tonal contrasts and surface marks. It’s important to realise that you have the ability to both move your objects to create a different compositional balance or tension and to change your relationship to the objects by moving around the room.

SHOW & DISCUSS

This is the result for the morning section. I didn't like it at all, the red is hideous and I was confused with the workshop at the beginning. We were suppose to draw from different angle in both large and small scale but I wasn't really into the practice so it didn't go well.

However I then concentrated in the afternoon and followed the instruction properly. We were asked to do 1min sketch on the object chosen and do the next one by moving slightly. I took pictures by my phone in slightly different direction and drew from it instead.

This is interesting and very much connected to my ideas, Although they are still-life objects, it suggests how things can transform and how different they look from a different angle. I would consider taking a series of picture in motion and place them in the zoetrope.

Experimental Drawing

2011-12-07T23:45:00.000Z

I am not sure if this applies to my college work, but I suppose it is an experiment on wood surface and I am quite happy with the outcome.

I bought this draws a while ago to place my make up, it came with ordinary wooden(from Ikea) and I always wanted to draw on it and because my room is white and purple I painted all over it with white acrylic. After a couple of months I eventually remember to draw on it..

I see this drawing as an illustration rather than anything else, it does not go with my usual style and the reason for that is because of its purpose. It is a make up draw that placed in my room and therefore I want it to look pretty happy or cute, nothing bizarre or unsettling. Like everyone else, when you are talking about decorative art you always want something aesthetically pleasant because you know this is an additional decorative object.
In other words, strange drawings only take place in my studio practice. When I create something for a certain purpose, the feeling and the layout of my thought changes completely and this is important because it almost dominated the whole outcome as well as my mood towards it.

It then helps me to figure out the need of drawing my everyday life, what exactly is the purpose of drawing my personal experience? Is it a way to express/ let go of something else? Is it to record a life history? What is it? And why zoetrope, why moving images and three dimensional surface?
It arises a lot of uncertainty but yet a long interesting journey for my coming year. I am so thrilled to discover all of them and please give me some time to put them in words :)

Here I attached some other images of my experiment.

Maryclare Foa Seminar

2011-12-06T23:18:00.000Z

Today we were off to Camberwell's campus for the whole day lecture. In the morning section we looked at how physical activity in relation to art practice and briefly talked about comedian performance. We had the lecture in an old Western church and this is what the roof looks like.

in the afternoon section we had a casual drawing class, I decided to sit at the balcony where people couldn't see me in general and sketched for 15 mins.

I am not particularly interested in architectural buildings so this didn't excite me a lot. However I did think the church is a nice area to draw from because it is so quiet and isolated from the rest.

The surrounding makes a huge difference for my concentration and mood to work on art, and this is probably why I found difficult drawing in public space ..

Us

2011-12-05T16:43:00.001Z

pencil on paper 420mm x 594mm

This drawing is not exactly following my new ideas with moving images but the content of the work is. I am going to develop a series of drawings that echos to it, "Us" is more like a gentle start of my everyday life idea.

Other supportive reference

2011-11-24T21:23:00.000Z

This is how it looks like now..

I took pictures of other small little things which support my drawing research.

Drawing in Process

2011-11-22T20:59:00.002Z

Portraiture is never my strength, I drew and rubbed for over a hundred times and it is still not what I wanted. I often draw from direct observation but this is from photograph, I would say the difference in between is the stillness of the object.
To draw someone from life has certain pressure, you know the model cannot stay still as a sculpture and therefore you will aim to draw quicker and try to be accurate at the same time. For me it doesn't work that way because I tend to get nervous and uncomfortable with it, but in picture it is so much easier and as long as the resolution is good enough I can deliver polish result.

In the picture above I am trying to depict the very natural faces of me myself and my boyfriend in our everyday life in a slightly bizarre way, I don't like drawing happy smiley faces because they are too pretty to draw. For most people to take pictures or to think of portraiture it has to be nice or smiley in order to expose publicly, but in real life our faces is so different from the smiley ones in the picture. To draw the real face I want to look at the natural expression of how we look without disguising.
I also realised a face expression can dominate the whole feeling of the piece of art, it is a direct approach to narrate the depiction and I am thrilled to carry on this drawing!

Researching for my new drawing

2011-11-19T20:39:00.032Z

I have a couple of things going on lately.
Firstly, I feel like I want to add something into my drawings other than moving images and that is working on semi-three-dimensional surface. By that means I am working on paper models that build a 3D effect on a flat sheet of paper. This is only a draft idea but I have been looking on the internet and learning how to do it. Here is some of the guildeline showed the simple steps.

This ideas echos to my original thought of working in different surface, obviously I am going to carry on with Zoetrope and I somehow think this seems to be too much in a singular approach and therefore I want to do a couple of things at the same time.
However I need to make sure that they work well together in addition to the content I am going to work on.

As I said before, my inspiration comes from my own experience and so I took pictures of my everyday life and people around me regularly. At the mean time I am starting to do some study for my new drawing. I took pictures of my house as well as self portrait, here are some of the collection.

I found this image while I was searching under the name "domestic life" and it is so "National Gallery" type of painting. Still I found it beautiful to look at, I believe it is a capture of a moment about ordinary people in the 17th century.

The pictures below were taken recently as reference images for my drawing.

500words Research Paper

2011-11-18T20:36:00.000Z

There are two main issues I am interested into explore for my coming year studio practice. They are the presentation and ideas of content and my main concern is how to link them into one unity. Drawing on paper and wall have been my main focus for the past two years and right now I feel like I am ready to go for some new changes from the use of material to the finish outcome.

I want to first talk about the presentation of my interest. My studio practice has always been narrative based with very delicate and polish detail in both large and small scale. And I have a feeling that I want to maintain these characteristics but instead of drawing on paper in frame I want to present it in different ways. Drawing on paper gives very much traditional impression to public and often lack of interaction to viewers and it is also something that most of us would think of what art is. And for that reason I am very keen to break this boundary in my art practice as drawing can take place in many forms and many occasions.

I started exploring other ways, recently I went to visit Jerwood Drawing Prize exhibition and I am impressed by the student prize winner Nicki Rolls, who did a video installation projected onto a sketchbook. “It depicts a street scene, but the figure and a white van exit the main image and traverse the other pages of the sketchbook and onto the wall behind. “ (Quoted from http://nickirolls.net/WEBwork13.html) I enjoyed the presentation of how the figure extended to the wall and this challenged the boundaries of how video installation can go. “Rolls explored the areas of overlap in the expression of time and tense between still photography, film and video, testing how the single moment of the photograph can be extended or reduced and how the different temporalities which exist in film and video can express different durational experience. “ (Quoted from http://nickirolls.net/WEBstatement.html) This triggered me to experiment on moving images; in relation to break the boundary of predictable framed drawing on paper. I decided to work on an old optical toy called Zoetrope; it is a device that produces an illusion of action from a rapid succession of static pictures. To do this I did research of how to build Zoetrope and artists who maybe relevant to my study. At the moment I am also referencing animal in motion photography such as Eadweard Muybridge’s pictures, as this is a general image for Zoetrope.

However, what I would like to capture in the zoetrope is not about animals at all. This is another main focus of my coming year study. My theme idea provoked my personal experience or domestic life in narrative based. I would describe myself as a main character in a story and bring out certain experience in short motion and place them in Zoetrope.

Drawing Lab 4

2011-11-17T19:14:00.044Z

Brief

MA Drawing Lab

4. Tone – light and shade

When we draw objects, surfaces and spaces around us, we are in effect drawing an experience of light. In these exercises you will practice how to read and recreate tone by studying monochromatic objects.

EXERCISE 4.1

Duration: 20-30 mins

Materials: A combination of HB, 2B, 3B and 4B pencils, erasers, and A3 sheets of white cartridge paper.

Subject: A3 piece of black sugar paper.

What will I learn? This exercise will introduce you to learning to recognise tonal differences. You will practice making light visible by using directional marks to animate its invisible energy. The purpose of this drawing is to describe its surface plane (your piece of black sugar paper) on which an object stands.

Method:

1. Lay your A3 piece of black paper on a flat surface in front of you.

2. Visualise the piece of paper as being monumental in scale, as if it were a field being seen from the air. See the distance between the nearest and farthest points, and across from edge to edge as being enormous.

3. Your initial idea of the piece of paper probably is that it’s the same all over, but, in this context, if you look more closely, you’ll see that there are subtle changes in tone being absorbed and reflected back from various points across the surface.

4. Spend some time looking at the surface. Observe where the darkest and lightest areas are and, before starting to draw, try to recognise these subtle tonal changes.

5. Make sure your pencils have a good, long point and sufficient graphite available to use the side of the point.

6. Hold your HB pencil comfortably in your hand across your four fingers (see photo).

7. Begin by drawing the lightest tones first.

8. If you are right handed, you will make natural directional arcs from top right to bottom left and back.

9. Be generous with the arc of your arm/hand. Try to use the natural swing of this movement and, with the side of the pencil, make relaxed but considered directional shading that conveys the energy of light. Your marks should direct your eyes across and around the surface of the paper.

10. As you make the marks, ‘feel’ the light spreading into the corners, moving down the edge, or diagonally across the middle, and change the weight of your marks as you adjust from lighter to darker.

11. Once you have created the general directional ‘feel’ of the surface, change the pencil you are using to a darker 2B or 3B, and hold it more like a pen.

12. Make more assured and possibly slightly darker directional marks that may rest on top of some of the earlier marks. ‘Feel’ the light on the surface as before.

13. You could repeat this drawing several times, until you have fully understood the relationship between the tones, the surface plane and the directional marks.

14. As you become ore confident with seeing and drawing the full range of tones, loosen up and enjoy giving the light energy and making it ‘come alive’.

What do the results show? On completion you will have described a surface of tones as perceived as reflected light. In your drawings you should see evidence of measuring and drawing different directional tones of light on a surface. You should also feel more confident in making marks that animate the energy of light and describe its visibility.

SHOW & DISCUSS

EXERCISE 4.2

Duration: 30-40 mins

Materials: A combination of B, 2B, 3B and 4B pencils, erasers and an A3 sheet of white cartridge paper.

Subject: Two or three white objects arranged on the white cartridge paper,… or black objects on black sugar paper.

What will I learn? This drawing will help you to understand how to build up a range of tones by applying small, quick, gestural marks in varying amounts. You’ll see that the object and the negative space (the space between the objects) are an independent, integrated whole in which quantities of more and less light create boundaries of definition and reveal form. Your drawing should match the measured tones of a pixelated black and white photograph, and use exciting marks to make the energy of light visible.

Method:

1. Arrange two or three white objects on the white paper. This will allow you to see light (and the absence of light) as tone. If you prefer, you could use black objects on black paper.

2. If you find it easier, you could use an Anglepoise to supplement the existing light source and exaggerate the tonal contrast.

3. Make a rectangle a little larger than A4 on your drawing paper. This will become the containing space in which your drawing is made.

4. Spend some time just looking at your arrangement and start whenever you like.

5. Resist using outlines to define your objects. Make dots and small directional marks to build up areas of graded tone in seamless patches.

6. Form the image by accumulating densities of small marks. A denser group of marks will suggest a darker tone and therefore fewer marks a lighter tone. (Strap two pencils together if you like).

7. Make dots, dashes and small lines (nothing longer than 3 or 4mm) and direct them up and down and across the surface planes, ‘feeling’ the light as you make them.

What do the results show? Your resulting drawing should be an exciting surface of small marks that merge and separate to convey both image and light. It should have an integrated wholeness where object and space meet without a linear boundary, and its ‘all over’ surface feels like energised light in contrast to the unmarked surface around your boxed frame.

SHOW & DISCUSS

I didn't have time to finish the drawing, but I believe it isn't that important and I managed to show the dots and patterns of the object at least..

Today's section is about light. We are all aware that light affects our surroundings enormously, we are used to daylight to adjust the tone and shadows in terms of drawing. This section is turning the other way around, we were asked to drawing the black sheet of paper, not to draw on it but actually drawing the paper, which sounds odd at the beginning. A few others then used their imagination to shad and added volume to the drawing but I just drew what I saw . Everything under the light has colour reflection and therefore it can't be only a single colour. To make something looks three dimensional you need to tune the tone and make a contrast of the reflection. The use of brushstroke is important too, we were encouraged to use unusual stroke to shad the object, which I was quite uncomfortable to begin with.

Stephen Farthing Seminar

2011-11-15T18:57:00.034Z

Before I went to this seminar I did a bit of research regarding this artist and listened to the CD Connecting Lines: Artists Talk About Drawing http://www.bl.uk/nls/drawing
I am quite impressed with Farthing's statement about imitating others drawings is difficult. He claimed that if a person is tried to imitate an artist's drawing he has to do it in the same speed and pressure, which is true. Because you cannot draw a fast line slowly or the other way round. He further analyses the uses/purposes of drawings and this makes me wonder what category I am on about.

It reminds me of Emma Robertson's seminar about mindset and different ways of drawings. Somehow it also influenced me the definition of what a drawing is. I always believed that a drawing is a fiction between two surfaces. And therefore, writing is a drawing, a random stroke by pencil on paper is a drawing(consciously or unconsciously), and if there is not the case maybe I should re-valuate drawing?

Drawing Lab 3

2011-11-11T18:07:00.000Z

Brief

MA Drawing Lab

3. Form, depth and contour

Appreciating where an object begins and ends is key to understanding form. These exercises ask you to use subtle tonal contrast to reveal how objects and their context are interdependent.

EXERCISE 3.1

Duration: One drawing 20-30 mins with an optional second drawing of 20-30 mins.

Materials: A3 sheets white cartridge paper, a combination of B, HB and 2B pencils, a putty rubber and a ruler.

Subject: A folded piece or white A4 cartridge paper on a piece of white A3 paper (e.g. an origami animal will work well here).

What will I learn? The aim of this drawing is to demonstrate that, in the world we see, the edges and boundaries of objects separate from and integrate with, the context in which they are seen (the negative space). You’ll discover that where an edge/line begins and ends (its origin and destination, and how it disappears into space) is vital to understanding form.

Method:

1. Take an A4 piece of white cartridge paper and fold and crease it into an interesting shape (e.g. a paper aeroplane or any origami shape). If your folded paper consists entirely of straight edges, you could try drawing it with ruled lines.

2. Place the shape in the centre of a flat piece of white A3 cartridge paper so that it is completely surrounded by white.

3. Look very closely at the tonal contrast at the edges of the folded piece of paper. You will see that there are places where the edge is more clearly seen because it is in contrast to the tone behind it, and there are other places where it is hardly visible.

4. Using a single line or sometimes double line and, by changing the weight of your mark, record the changing contrast at the edges of the folded piece of paper. Where there is more contrast, make your line darker; where there is less contrast, make your line lighter.

5. Try to ‘feel’ the mark you make as you change tones. A dark against a dark, or a mid-tone against a mid-tone shows hardly any contrast, and is therefore drawn lightly.

6. Use a putty rubber to lighten some of the tones if necessary, and redraw on top. The change in contrast is often very subtle, and needs to be constantly assessed and compared.

7. Drawing 2 option. Make second drawing, observing the same distinctions in contrast but using tone rather than line – the edge rather than the point of your pencils.

What do the results show? Every object has a point where its edge disappears into the background, and this drawing demonstrates how objects and their context are interdependent. If you have managed to accurately record the changing contrast at the edges, your drawing should clearly depict a linear illusion of the three-dimensional object/space relationship between the folded and the flat paper.

SHOW & DISCUSS

EXERCISE 3.2 (if the weather’s good enough!)

Duration: Two drawings - 20 mins per drawing

Materials: Three weights of drawing implements e.g. a fine pen, felt tip and marker pen, and A3 sheets of cartridge paper. A small drawing board or pad. A waterproof blanket to lie on.

Subject: The branched of a tree as seen underneath.

What will I learn? When trying to draw a complex space, such as the underside of a tree, the page can remain stubbornly flat. This drawing begins to examine how drawn lines sit alongside each other on the page and yet weave through, above and below each other in an apparent space.

Method:

1. Drawing 1. Lie on your back under a large tree, looking up through the branches to the top. Spend a few minutes just staring at the natural patterns of the tree’s growth.

2. Starting with the branches furthest away from you, use your finest implement and begin drawing.

3. Explore the woven tracery of the leaves and branches as well as the negative spaces between objects.

4. On the same drawing begin to consider the middle of your chosen space, using the next heavier drawing implement.

5. Allow the lines to overlap, again just concentrating on shape and direction.

6. Finally, using the heaviest implement, make an emphatic drawing of the shapes closest to you.

7. Try to relate the shapes of the nearest branches with those at the top of the tree.

8. Drawing 2. Make second drawing, starting at the bottom of the tree, with the heaviest line. This time follow the trunk away from you, back up to the top of the tree, building layers of branches rising in the drawing.

What do the results show? Your drawing should show that the relative quality of a line can affect the way a drawing reads. Different thicknesses, weights and densities of line allow the imagined space in a drawing to open. The page itself should begin to take on depth as the lines weave above and below each other.

SHOW & DISCUSS

EXERCISE 3.3 (if the weather’s not good enough for 3.2)

Duration: 15 mins for each drawing.

Materials: 2B, 3B and 4B pencils and 3-5 different coloured fibre-tipped pens, an A3 sheet of cartridge paper.

Subject: The torso and head of one of your group.

What will I learn? Developing Drawing Lab 2’s techniques, you will have to resist looking at the drawing you are making while making it – but this time you will redraw the subject three to five times from different points of view and superimpose one drawing on top of another. You will continue to develop and understanding of the relationship between looking and responding and begin to see your object as a three-dimensional form. You will also experience being ‘a subject’ and see yourself as ‘an object’.

Method:

1. Pair up with one of your peers and you will model for each other.

2. Complete a single-line drawing of our subject without looking at your drawing. Spend 10-15 mins on this and each subsequent drawing. Remember to look and draw in sync.

3. For each new drawing change your pen and pencil and change your POV (point of view), but carry on working on the same piece of paper. Ask the model to take up three to five different poses and to turn through 180° - from looking left in pose one and looking right in pose five, for example.

4. After completing each drawing, place your pen/pencil in the same place to start the next one.

What do the results show? Your drawings should show some sensitively felt linear mark-making and a searching attempt to realise, in visual language, what your object feels like to look at. Your eye should be starting to trust your hand and the two will be working together with greater synchronicity. Enjoy the abstract qualities of the superimposed drawings, and also any interesting marks from any one of the single drawings. You should be able to see something of the three-dimensional form of your subject.

SHOW & DISCUSS

These are the result I have for today.

We sat underneath the trees outside the buildings and drew from direct observation, so basically we need to look up and draw in order to catch the perspective, which is a pain to the neck and eye and the body(because it was freezing cold). Suddenly I have a feeling that the whole drawing lab section is to give ideas to draw or practice in unusual ways, which brings you alternative direction to start off your ideas! To see things in different perspective, to look up/down not only to your usual eye level can change the dimension completely! I was so thrilled to this section because I felt like I was doing something new.

Also, I started to enjoy the process of drawing something, the finish doesn't have to be perfect/important all the time but what you have learned in the whole process matters.

Reference images

2011-11-08T18:39:00.000Z

I collect images frequently. They are the inspiration, here are some of the collection I have lately and I will put some of them for Pecha Kucha.

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Mini Exhibition at the Centre of Drawing

2011-11-05T17:58:00.000Z

I hosted a mini exhibition at the Centre of Drawing at Wimbledon today, nothing fancy really but a chance to showcase my last year work to the people at school.

I actually found it quite hard to host exhibition at college area..firstly Wimbledon is a small college and the location isn't the greatest so you won't actually get a lot of audience. The Drawing Centre is not in the main building, instead you need the key to get in so the chance of viewing it by accident is zero. Although it is an art college, I don't seem to see a lot of art interaction going on at school to be honest.. people seem to come and go and never stop and share at artwork even they are placed in obvious space.
Well, however some people did manage to come have a look so it isn't so bad after all, I wish to have another proper one in later time.

Drawing Lab 2

2011-11-03T17:17:00.035Z

Brief

MA Drawing

2. Observation

A prime principle of observational drawing is to understand how your vision and actions connect; re-cognition. These exercises will help you to begin to create a route of synchronised communication between your eye and hand; bridging the memory gap. As you draw, think of the maxim: “feel it as you see it as you discover it as you draw it”.\

EXERCISE 2.1

Duration: 25 mins per drawing..

Materials: 2B or 3B pencils and erasers, an A3 sheet of cartridge paper.

Subject: A mid-size, organic object (an old shoe, half a pepper, a figurine etc).

What will I learn? Most drawing activities require a “look… gap… draw… gap… look… gap… draw” approach. If the gap between the drawing and the looking is too long, memorised information gets lost. In this exercise you will learn to translate what you are seeing directly on to your paper, with no gap between looking and drawing. To do this you will only look at your object, not at your drawing. The aim is that your drawing hand will move in sync with what your eye is seeing. It’s important to give this process of looking/feeling/drawing your total concentration. You have to learn to feel with your eyes and respond with the pencil. Your response has to be a seamless act of communication, whereby what you’re seeing is felt and expressed in the mark as you make it.

Drawing 1 Method:

1. Sit comfortably in a chair with your chosen object in front of you.

2. Position your drawing pad or board next to your body so that you can only just see it in the corner of your eye. You should be able to only see your object clearly – not your drawing.

3. Hold your pencil in a relaxed and comfortable way between the forefinger and thumb of the hand you don’t write with, and position yourself at arm’s length away from the drawing.

4. Without looking at the drawing and with your arm extended at a comfortable full length, start to pull and push the pencil around, trying to synchronise the line you make with what you are seeing.

5. Keep the pencil in contact with the paper; moving it continuously. Only take it off the paper when your arm starts to become uncomfortable.

6. Work slowly and try to make your drawing in one continuous line. See it as a journey. You will have to stop, but try to plan your stop so that it comes at the end of exploring a particular part of your object. Twist and turn the pencil as you push and pull it around, sharpen it, press harder, press lighter. Try to produce an unpredictable, awkwardly unpredictable line.

7. Don’t concern yourself with the drawing, concentrate on the looking. Your eye won’t trust your hand, and you’ll be desperate to look, but try to resist the temptation!

8. Draw until you have completed a circuit of looking at your object. Your drawing should be no larger than 30cm sq.

Drawing 2 Method:

9. Repeat Drawing 1, this time holding the pencil between forefinger and thumb of the hand you normally write with. You also need to put the pad or board on the other side of your body so it is again out of view.

What do the results show? This exercise aims to convey the journey of a drawing. Compare your two drawings. What marks in Drawing 1 are interesting? What marks in Drawing 2 are interesting?

Drawing 3 Method:

10. Make a fresh drawing of your object, again with the hand you normally write with, that begins to consciously replicate or ‘improve on’ the marks you made in each of the previous drawings.

What do the results show? The third drawing should begin to reveal the part that cognitive control plays in your technique and how you might be able develop or subvert a pattern of familiar marks in the ‘gap’ moments of observational drawing. The drawings should show a sensitive response to what has been carefully looked at and hopefully excite the viewer. What’s important is that you have opened up a route of synchronised communication between eye and hand.

SHOW & DISCUSS

OK so today's section is about drawing an object without looking at the paper. This is something I did quite a few times while I was in A-levels.. didn't enjoy it though at that time, however, I did have a different feeling towards this exercise this time. The picture below shows the drawings I did today.

The drawings at the left are drawn by right hand (I am left handed) and I didn't look at the paper at all. The ones at the right are drawn by left hand without looking. Both drawings are all done in one go, there was no single lift with the pencil at all.

The picture below is a 5min sketch drawn by my left hand and I did look at the paper.

The object itself is my iphone case.

Interesting isn't? Without looking I would draw like a 2year-old, this experiment demonstrated technical drawing can somehow be "practice makes perfect" and how our eyes trick our hand!

O Lucky Man!

2011-11-01T16:53:00.000Z

Today's section is watching a British film made in 1973 "O Lucky Man!"

The reason for that is because Wimbledon owns the Jocelyn Herbert Archive, a British Stage Designer who worked as production in O Lucky Man! and we were lucky to see the preliminary drawings for the entire film.
The collection shows how British films were made in 1970s and I was surprised to see all the drafts from start to finish, it was like the comic version for the film. I was told by a member of staff that Herbert drew from direct observation in the space for filming then illustrated free-handed. It is interesting to see all the back up work after viewing the film and for some reason it created a deeper impact to the drawings.

I personally didn't find the film so great and it was way too long and illogical in many parts (but consider it isn't an up-to-date film), some scenes were memorable especially after viewing the back up sketches.

Ideas update

2011-10-28T16:56:00.054+01:00

There are actually a lot of things I want to depict in my studio practice. I would describe them as my personal experience as I always have, but there will be a lot of changes and possibly not too narrative based or more about recording life experience?

My inspiration always comes from everyday life, people I see everyday or thing I do very often and this is so-called "Domestic Life" but instead of putting all these into ordinary flat sheets of paper I decided to be a bit more adventurous and go for a new way:- moving images.

To do this I used an optical toy called Zoetrope, in Greek it means "Wheel of Life" and therefore it is so connected to my theme. I want to create an animated story/ a series or images that can represent my story/experience/domestic life that is pretty much the same as everyone.

On top of that, Zoetrope reminds me a feeling of childhood, an old toy that most of us has forgotten and perhaps this can be added to my theme as well? However, I have not yet have a concrete idea of drawings I want to put in the Zoetrope. There are a couple of things that concern me:-

They have to be in a cycle or repeated movement that can represent my story.
I am going to build a Zoetrope from Scratch and this is something completely new to me, hence right now I am concentrating on building it properly rather than drawing.
I don't know if this idea is too small for the entire master so I believe I will keep drawing.

Drawing Lab 1

2011-10-27T16:14:00.000+01:00

Here is the copy of the first Drawing Lab brief.

MA Drawing
1. Introduction: from orientation to presentation
To start the series of technical sessions and also find your way around the campus, you will be asked to carry out tasks that immediately begin to address your purposes for drawing and what your drawings communicate directly (or perhaps stealthily) to others.
EXERCISE 1.1
Duration: 1hr 15mins
Materials: Pencils and erasers, an A2 sheet of cartridge paper
Subject: Wimbledon College of Art
What will I learn? You will orientate yourself within the college, have a practical need to discover what happens where and build a unique portrait or impression of the site and its function. Through reaching out to an audience, the work has to speak for you. You will therefore have an immediate understanding of the drawing as a visceral and intellectual extension of your mind and body.
Method: In pairs, communicate to the rest of the group a portrait of the college in terms of either:
• Geography and three dimensionality
• Intellectual activity and material production
• Temperature
• Sound
• Motion and usage
Your peer-group will be the ‘users’ of the drawings you make. Without any additional verbal information, the group will be asked to make sense of them and will tell you directly, as a response, what they see, feel and think… in other words, how they ‘work’.
What do the results show? You will appreciate the communicative power of drawing and/or alternatively, begin to understand the shortfall between your intensions and the group’s reactions.

EXERCISE 1.2
Duration: 1hr 15mins
Materials: A hand mirror, found mark-making materials, an A2 sheet of cartridge paper and a camera.
Subject: Yourself
What will I learn?
Method: In pairs, explore the campus again not for the practicalities of how to orientate yourself or others, but as a material resource with which to make a drawing on paper. Find three or more substances with which to make marks or impressions. Find a surface, other than paper, on which (or with which) to make an image.
Using the hand mirror and with your found elements, make a self-portrait. Give yourself enough time to spend a least 30 minutes drawing.
The drawing can be made, and exhibited in any location on the college site. The group will reconvene and tour the campus on a drawing ‘road show’ to view and discuss the work.
Finally, photograph the work. This, along with a commentary, can be one of the first entries of your research journal.

What do the results show? You will probably have used unfamiliar resources and have a raw experience through drawing as a primal act of mark making. You may also see material potential in site-specific fieldwork if the execution of your practice is more studio-based.
SHOW & DISCUSS

To be honest I didn't really enjoy my first Drawing Lab( sorry for not having any pics here!) I basically don't like working in pairs because art is so personal to me and it just didn't feel right when people come work with me.. However,I enjoy looking at others work and the crit was nice. I am hoping to do better for the next section.

Jerwood Drawing Prize 2011

2011-10-27T15:52:00.001+01:00

In July 2010 I submitted my drawing "The Feast" to Jerwood Drawing Prize but wasn't shortlisted.

It was the time I felt quite low not just because of that, I still felt I would definitely try again the year after. Unfortunately I didn't even try in 2011(which is a shame) and then at least I managed to have a look today and I swear to god I will try again next year!!

OK so there is a a couple of drawings that I like very much and my favourite is the student prize by Nicki Rolls

The way it captures the ordinary moment and the guy walks out of the scenery amazed me, and the interesting bit is that he uses a sketchbook as the canvas to project the image reminds audience of "flipbook". I feel connected because of the moving bit and it is black and white.

This is the other favourite of mine, Robert Battams, who used graph paper to stack patterns inspired by the fragmentations of digital recording. It is rare, eye-catching and suggested another perspective way of what a drawing can be.

Research on artists

2011-10-23T15:50:00.000+01:00

Eadweard Muybridge Race Horse Animated moving image.
Muybridge is one of the artist I am going to look at. I very much enjoy his photography of capturing animals in motion. "It shows that the hooves do all leave the ground — although not with the legs fully extended forward and back, as contemporary illustrators tended to imagine, but rather at the moment when all the hooves are tucked under the horse as it switches from "pulling" with the front legs to "pushing" with the back legs.[10] This series of photos stands as one of the earliest forms of videography."(quoted from Wiki)

And I am going to use his images for my first try on Zoetrope and see how it looks like.

Although I have a lot of uncertainty in my coming year, there is one thing I am quite sure about is the use of material. I am very keen on black and white colour and pencil has been my favourite tool for a bit of time, it is so versatile and honest.

Katharine Morling is a ceramics artist who draws directly onto her sculpture. I like the idea of drawing on three-dimensional surface and this seems to connect with my idea. On top of that Morling created a fairytale-like atmosphere that is not easy to achieve by merely black and white. I was drawn into the whole presentation when I first saw it in an commercial based gallery.
However, what I don't like about Morling's art is that because audience is so aware that the artwork is fragile and therefore people are so cautious when they walk along, plus it was in gallery space, the whole environment became quite uncomfortable.

MC Escher's logical impossible drawings has been so influential to me since a-level. What I like to look at is the content of the work where he created odd scenarios that doesn't look narrative, but more like a journey of exploring self discovery. And because he uses pencil in polish details therefore I always feel like I have a connection with his work.

Peter Callesen, a young artist who does paper sculpture, this is a drawing echos to Escher's Drawing Hands. I found out this artist by googling "paper sculpture" and was amazed by the fluency of the technique and creativity.

Ideas for the coming year

2011-10-22T15:04:00.000+01:00

I planned this idea a while ago but never bring it to real and I feel like it really is the time to do it properly. I had a tutorial a couple of days ago with Michael and we briefly talked about the ideas.

Basically I am interested in exploring the relationship of two-dimensional drawings to moving images. For the past two years I have been drawing on paper/wall in both large and small scale by pencil and somehow I feel like this has reached it final stop. Therefore I need to look for something new to break the boundary of working in flat boring surface. I can't remember how I came up with the idea of moving images, I just feel like it is an interesting option and so I started researching.

Zoetrope is an interesting optical toy and I can start off with, I bought this childlike craftwork book and made a really easy version..

I have also bought this book from the same shop in Covent Garden, I like the 3D effect of the paper model a lot and perhaps I can put this into my drawings in future.

Emma Robertson Seminar

2011-10-21T18:00:00.001+01:00

I am particularly impressed by the way Emma teaches. We taled about how an idea can be developed or found and analyses the procedure scientifically. Here are the briefs for today section.

And we did some practice about ways of drawings which I found very useful in experimenting new technique, I am particularly interested in Impressed Line and will use this method in my other drawings.

The experiment of different drawing methods.

I enjoy the way she explains why are we in or not in mood to do art scientifically and identified the categories of drawings in an unusual way that I have not heard of before. This brings me an interesting knowledge and I am eager to try out the new techniques! (see the image above)

Research Folio 2

2011-10-18T17:08:00.000+01:00

18/10/2011

Today is my first tutorial with my tutor Michael Pavelka. I bought some of my old drawings and was ready to explain my coming year plan, but he wasn't so interested.... instead he was talking about my process of drawing and general feeling about Wimbledon.
I told him I wanted to host an exhibition at the drawing centre and he agreed to look for the dates for me, I am well excited by it haha!

I have also been allocated a space at the studio, it isn't big but good enough for me to draw... in fact I doubt if I would actually do work over there, I mean, the space is nice but to be honest I rather work at home (which I always did in Uni and was told by not engaging with the course..) I believe I am the sort of person who needs to be isolated in order to concentrate, with absolutely no noise no one. In fact I found it quite irritating when someone talks to me while I work...

Sepentine Gallery Visit

2011-10-14T18:41:00.022+01:00

Friday is usually the gallery visit and today we were off to Sepentine.

Anri Sala

Anri Sala (born 1974, Tirana) is a leading contemporary artist whose early videos and films mined his personal experience to reflect on the social and political change taking place in his native Albania. Sala has attached a growing importance to sound, creating remarkable works in which he recasts sound’s relationship to the image. Linked to this development is Sala’s long-standing interest in performance, and particularly musical performance. A central premise of this exhibition is that most of the works presented at the Serpentine either use a live performance as their starting point or could lead to a performance in the future.

The exhibition is conceived as a cycle, or loop, structured around pairs of works that echo each other. Answer Me, 2008, was filmed in the abandoned dome of a Buckminster Fuller-designed surveillance station and uses the structure’s unique architecture to investigate the effect of space on the production of sound. The dome’s distinctive echo, triggered in the film by a man playing the drums in the large, empty space, drowns out all of the dialogue spoken by the female character, with the exception of the words that give the film its title. The drum that is ‘played’ by the dome’s echo in Answer Me appears in the first room of the exhibition as Doldrum, a snare drum activated by the inaudible low frequencies of the film’s soundtrack.

Two of Sala’s most recent films deconstruct and reconfigure a well known punk song. In Le Clash, 2010, performers play renditions of the song Should I Stay or Should I Go through a barrel organ and a music box outside a derelict concert hall in Bordeaux. While in Tlatelolco Clash, 2011, figures among the ruins of the Tlatelolco site in Mexico City randomly insert fragments of a musical score into a barrel organ, creating a disjointed version of the same song. Both films play at the same time in the exhibition; the continuous and disjointed renditions of the song echo each other across the gallery space.

Accompanying Le Clash is No Window No Cry, 2011, a window fitted with a music box that plays the same song as its counterpart in the film. Visitors are invited to play the music box, adding a further layer to the film’s soundtrack. Alongside Tlatelolco Clash, Sala presents Title Suspended (Sky Blue), 2008, a sculpture in which two gloves rotate slowly, briefly assuming the shape of a pair of complete hands once in each rotation. The rubber hands mirror the hands seen feeding the score into the barrel organ in Tlatelolco Clash, their continually collapsing form reflecting the ruptured melody of the film. For Score, 2011, the barrel organ’s score is given a different form. The perforated pattern is carved through walls covering the windows, translating sound into a different materiality and creating openings to the outside that allow the sounds of the park and the gallery to intertwine.

Long Sorrow, 2005, filmed on the eponymous public housing estate in Berlin, is an enigmatic record of a performance orchestrated by the artist. Sala invited noted free jazz musician Jemeel Moondoc to perform while suspended outside the window of an empty apartment on the eighteenth floor. For the Serpentine, Sala stages the performance 3-2-1, 2011, in which saxophonists Andre Vida and Caroline Kraabel respond live to Long Sorrow in a series of daily performances. 3-2-1 begins with one of these saxophonists accompanying an audio recording of Moondoc’s improvisation with his own earlier performance on film, resulting in a ‘trio’: the film, the audio recording and the live performance. The saxophonist at the Serpentine then plays live with Long Sorrow, a ‘duet’, before finally performing a solo after the film ends. 3-2-1 punctuates the fixed cycle of the show with an improvised element, integrating the strands of film and performance that run through Sala’s work. Vida will improvise live in the exhibition throughout October and November. He will undertake more than 400 performances in response to Long Sorrow during this period, exploring the tension this sets up between repetition and improvisation.

I am not usually very into sound art but this is a rare exception. I found the whole exhibition inspiring, each artwork is linked to each other and it feels like a cycle of the artist's life history, I particularly like the video that records the ultimate sound of art from Albania, the artist's native country. It implies the social and political changes of the country.

Research Paper

2011-10-10T20:14:00.000+01:00

MADRAWING

CRITICALPRACTICE PROGRAMME 2011-2012

INTRODUCTION

The MA Critical Practice programme is designed to supportthe development of your creative ideas and critical interests. It aims to encourage you to interrogate yourpractice. It will present you with a range of cultural and criticalideas and approaches intended to strengthen your practice and to challenge your current concerns.It will ask you to reflect upon and test your existing views and beliefs and enable you to question received models ofcontemporary practice.

This critical process may involve you in a widening ordeepening of your knowledge in a particular area, a sharpening of your researchfocus, further development of your critical, analytical or methodologicalskills, or some combination of all these learning processes. To that end, theprogramme generates an environment in which you are asked to develop yourabilities across the disciplines of making, speaking, thinking, reading andwriting through presentations, discussions, and tutorials. Together, theseskills allow you to construct an independent, responsible and criticalpractice.

The programme consists of five components closely alignedwith, overlapping, and integrating into other elements of the MA curriculum.

· LectureSeries

· ReadingGroups

· PostgraduateForum

· ResearchFolio

· ResearchPaper

Several components such as the lecture series run for only aterm or two. Others like the research folio and the research paper ask forengagement throughout your course. The Researchpapers will be embedded in your research folio at each of the three unit stages.

Each component is described in detail in the followingpages, which are intended to serve as reference your entire course.

LECTURE SERIES

Core CriticalPractice day: Most Fridays, starting at 10.30 am in the Lecture Theatre.

The lecturesgenerally take place on alternate weeks during the first two terms. Thelectures address concepts and themes that are current and significant tocultural practice which will have various implications for your work in itshistorical and contemporary context. The seminars (in the first few weeks) areconcerned with research methodologies and claiming a practice

The aim of thelectures is to create a forum for engagement in which we can discuss practice,ideas and their ramifications as a critical community of practitioners. Tosupport this, the lecture series is not media specific, nor does it aim toteach you the rights and wrongs of creative and critical practice by providingan overview of all forms of practice, histories and their discourses.

The lecture seriesaims to develop the skills of creative, critical, and focused thought as wellas the skills of speaking and listening. We encourage note-taking, as thissignificantly enhances critical engagement.

The lectures willbegin by introducing research methodologies and then will open up questions andissues to WCA staff and visitors who come from a range of backgrounds andinterests. Each speaker will address their topic in the context of their ownresearch and positions, and we encourage discussion as part of each session.

The lecture seriesis developed to speak to issues that could affect each cohort understood as agroup of practitioners in contemporary culture. The lecturers are there toproduce discussion as well as to give examples of the diversity of approachesto subject matter. Understanding how topics and issues are shared and workedthrough diverse student practices is another aim for the series.

SEMINARS, WHAT IS A RESEARCH QUESTION and RESEARCH METHODOLOGIES

What is a research methodology?

There has been muchdiscussion about research methodology in the last few years and it isunderstood through different orthodoxies, depending on the subject. For both artists and designers it isuseful as a way of developing an understanding of the way you go about makingwork. This aspect of the course will afford you control over how you make workby introducing you to a range of possibilities for contextualizing andnurturing your practice.

What kinds of processes do you go through tostart making a body of work or deciding what you want to explore?

Thinking aboutthese issues and becoming aware of how you form your ideas allows you to ‘own’your practice and therefore maximise your potential as an artist or designer.

You will be split into the four groups (A,B,C & D) for the following sessions and forstudio crits

PECHAKUCHAS

These are designedto build confidence in yourresearch and presentation skills. They are short presentations which contextualise your studiopractice. They involve 15 slides - each on screen for 20 seconds - of imageswhich inspire and inform your research Anything is possible EXCEPT you cannotfeature images of your own artwork. Pecha Kucha’s invite performance or atleast a peformative approach to public speaking, and involve the audiencegiving feedback on your presentation. These take place in Unit 1. Thereis a separate handout about the Pecha Kucha’s which is available on Blackboard.

POSTGRADUATE FORUM

These group seminars involve thepresentation and examination of studio work, research work and written studies.They are more formal than the Pecha Kuchas. You will be asked to make a formalten-minute presentation of your ideas in a short talk or paper, illustrated byimages of your artwork and contextual research. The aim is to explore and testpossible relationships between your written research and your studio practice.You are invited to discuss the style and content of this presentation with yourtutors beforehand. There is a separate handout about the postgraduate forumwhich is available on Blackboard.

READINGGROUPS

Over Units 1 and 2, a series of Reading Groups will beprogrammed. Here we shall explore strategies for reading and using texts and,on occasions films or other stimuli: identifying key arguments, identifying anauthor or maker’s position, and establishing a critical relationship towards anargument. We shall also thinkabout how your work situates itself in cultural discourses and discuss some ofthe contexts for your practice.

References, links,texts or videos (etc) will be posted in advance. It is vital that you haveread/ seen these prior to the reading group. This material will besupplied by the staff team. It is vital that you actively contribute to thereading group discussion; the sessions are student rather than staff-led.

RESEARCHFOLIO

This is a documentor on-line project, which evidences your holistic approach to theory andpractice, and contextualises your studio work. Written guidelines about whatthe research folio should contain are available on Blackboard.

RESEARCHPAPER

The research papershould be a sustained, critical enquiry into issues and concerns that informand support the work you are developing in the studio. As such, it needs you toundertake research and to analyse, interpret, and evaluate that research. It isnot an exercise in ‘promotional writing’ but should contribute productively tothe overall enquiry motivating your practice. The purpose of the research paperis to extend your research, conceptual, and analytical skills and to stretchyour ambitions in the course of the project rather than to justify whatyou do or prove that there are connections between your research, your writing,and your studio practice.

The research paper oftenstarts from a broad area of interest, but the final topic in Unit 3 shoulddefine a more specific territory. It takes shape over timeand could be compared to a kind of journey - you may not know where you’ll endup until you get there. The final text is a product of two shorterproposals submitted at review and assessment points, which aresupported by tutorial feedback and subjected to your own reflexive revisions.These may involve growth and development and, equally, dismantling and shiftsof direction.

The paper invites a number of approaches andis open to varied alternatives to verbal communication. Students who are happywith a fairly standard essay format may find this suits them perfectly, whilstothers may want to take new risks. Although it is not an experiment increative writing, the form can be negotiated with your tutors.Most essays work best subdivided into sections or ‘chapters’, and some of thesecomponents could occasion more experimental approaches. For example it couldconsist of fairly discrete short texts each representing a facet of a wideragenda that is reflected upon, deepened, and contextualised in a concludingsection.

The WimbledonLibrary holds an archive of previously submitted MA Research Papers. It isstrongly suggested that you consult these; look at several different approachesto get an idea of the potential scope of the task.

Use ofResearch Materials

Evaluate your sources before you reallytackle them. Some works need to be scanned for information or images, others tobe read critically. Internet sources demand rigorous critical scrutiny. Isthere a named author? What kind of site is it? Wikipedia may offer a handystarting point, but you will need to search for more academically crediblematerial.

As UAL students youcan access all UAL libraries: contact Wimbledon's Learning and InformationResources staff in the library for more information. Please note that Chelsea’sexcellent library is open on Saturdays. Check the University of the Artsintranet for opening times. http://my.arts.ac.uk/

Recordingand Citing Your Sources

You are required to cite all relevantsources used in your Proposals and Final Paper; therefore, you are stronglyadvised to make sure that their complete identification accompanies all thenotes you make, whether they record information or a quote. The University ofthe Arts recommends the ‘Harvard system’ for referencing. See their document:

http://www.arts.ac.uk/docs/llr_harvardstyle.pdf.

Plagiarism

According to the University’s Guidance forStudents:

Plagiarism is defined as stealing anotherperson's ideas and using them as though they were your own. It is also plagiarismif you do not acknowledge the co-operation of another student, friend or parentwho works with you or gives you permission to use their work.

In the course of your studies, you willexplore and utilise the ideas of others in your own work. This is an essentialand valuable part of your education. As long as the source of the ideas is acknowledged, this is notplagiarism.

Any work raising questions of academicmisconduct including plagiarism will be subject to University procedures andmay incur penalties. Ask tutors if you are in doubt about how to use andacknowledge your research sources. See also the University of the Arts adviceon avoiding plagiarism: http://www.arts.ac.uk/docs/llr_plagiarism.pdf.

Any Research Paper overly dependent on onespecific source or a restricted range of sources, even if fully acknowledged,may be deemed not to have satisfied the learning outcomes to an adequatestandard.

Critical Practice1-to-1 Tutorials at Unit 2 (Dip) and Unit 3 (MA)

Atboth the Diploma and the MA stages you have a 1-to-1 CP tutorial, whichreflects upon your work in the previous stage and considers how you might takeit forward.

Theinterrelationship of research, writing and cultural production cannot begeneric - for every individual practice, there will be an individual‘theory-practice relationship’. The programme invites you to build theparticular working methods that are right for your individual practice.Therefore, Critical Practice tutorials will take place in your studio, or atleast in relation to documentation of your practical work. The aim of thesediscussions is to assist your own understanding of the propositions, ideas,arguments and thoughts proposed by your studio work.

Critical PracticeSurgery

Ateach Unit stage your writing practice is supported by a group surgery whichproblem solves common issues about researching and negotiating a productiveroute encompassing both theory and practice, whilst exploring the myriad ofapproaches to writing.

Eachof you will be asked to circulate around a shortabstract (synopsis) of your research argument (maximum 500 words) toyour peers on the course by email at least one week before the session. Thistext should describe:

· your subject area at this time

· its contexts

· any research questions you may be developing fordiscussion.

Duringthe session, all students should have studio-based work available fordiscussion.

Length of finalwritten submissions

· Proposal(part 1): 2000 words. Submitted for the Unit 1 stage assessment.

· Proposal(part 2): 3000 words. Submitted for the Unit 2 (Diploma) stage assessment.

· Finalessay (part 3): 5000 words. Submitted for the Unit 3 (MA) stage.

Progression from Research Proposals to Paper

The followinginformation is presented roughly in the sequence you will experience during theproject.

Proposal (part 1) Unit 1 assessment

The first task isto start to formulate a proposal for your research paper. Think carefully aboutthe aims of your project and whether these can be realistically achieved, andconsider the project’s relevance to your studio practice. Try to outline aworking title, research context, and research questions.

Simultaneously, youwill need to prepare an initial bibliography. The bibliography should be abroad-ranging ‘contextography’ listing relevant textual research sources(books, articles, internet sources) as well as - where relevant - films and videos, exhibitions, recordingsor other research materials. At this point the bibliography will be largelyprospective as you will not have had time to cover a solid body of research.You should asterisk (*) the material you have read or surveyed so far andindicate the important items with a brief evaluative note.

Submit an electroniccopy of an initial draft (approximately 500 words) and your bibliography toyour tutor and members of your FT peer group by 18^th November. Bring a copy to the CP Surgery on which you can make annotations.

The group CPSurgery will aim to help you clarify and focus your ideas and to identify yourresearch question(s). One of the most important tasks over the course of theproject is to focus wider interests onto an issue or research question. Thismay take time. How you do this indicates a level of conceptual skill. It mayhelp to attempt to state your topic in a single sentence. Can you give it aname? Can it be defined as part of a larger field of interest?

Submission for Unit1

A 2000 word text, including relevantillustrations, outlining your arena of studio and critical research. Your proposed enquiry should becontextualised by other artists and theoreticians (i.e. the people you arereferencing and how you position your practice in relation to them). This isevidenced by a comprehensive bibliography/webography/ videography of proposedresearch over the Diploma stage of the course. Please see your Course Handbook reading lists for howbibliographies should be formatted.

The text will alsoconstitute part of your Research Folio, and thus will be viewed alongside yourstudio work for assessment.

Deadline (Full-time students) Thursday5th January 12 noon, to the Student Support Office

Deadline (Part-time year 1 students)Thursday 26th April 12 noon, to the Student Support Office

Proposal (part 2) Unit 2 Diploma assessment

Atthis stage there is often a great amount of uncertainty about what to rejectand what to retain in your overall enquiry, about the most appropriate writingstyle, about what new enquiries should take place. For many of you a majorchallenge of this stage will be to frame a specific topic or issue for theresearch paper from what was most likely a broad field of interest. Do notexpect to be able to cover all the concerns of your practice in the paper,rather you might find it helpful to think of the paper as a ‘chapter’ of alonger term project.

Manystudents find that their studio work is transforming rapidly at this point.Others may be in the process of dismantling their previous practice. This mayindicate the need for a radical rethink of the research proposal as well.Alternatively, the research may offer a more stable point of reference or apersistent question to push forward changes to your practice.

Whetheryou are charging ahead or hesitatingly uncertain revisit your research aims,their relationship to your practice, your research context and the interesting‘voices’ and practices, and the questions you are asking. It could beappropriate to pursue an enduring obsession. Equally, it is also perfectlynormal to feel the need to start afresh.

Someof you may want to think of this Proposal as a draft version of the final MAPaper, but this may not always be appropriate, as a draft frequently can belonger than a final, edited-down version. It should, however, aim to outlinethe question or issue, the relevant debates or positions, the ideas to becovered, and begin to articulate your position.

Submission for Unit 2

A 3000 word text, including relevantillustrations, which has developed from the enquiry of your initial reviewsubmission. The bibliography (written and other material) should be updated andshould indicate the sources already consulted and the intended prospectiveresearch.

TheProposal (part 2) will again constitute part of your revised Research Folio,and thus will be viewed alongside your studio work for assessment.

Deadline (Full-time students) Wednesday 2^ndMay 12 noon, to the Student Support Office

Final Paper (part 3) MA Stage

While the Proposal(part 2) may have been the outcome of a dismantling process, the Final Paper(part 3) needs to involve consolidation, deepening of research and analysis,critical engagement with other positions and practices, and an articulation ofyour own critically informed position.

Your 1-to-1 CPtutorial at this stage will be asking you to evaluate your Proposal in thelight of assessment feedback, to identify any further research needs, and toconsider your plans for the final text. This is often an opportunity explorethe most suitable format in terms of structure, style, and methodology.

It is often in theprocess of writing the final text that you will discover the research questionsthat have underlain your enquiries in the paper and your studio practice. It islikely that your ‘argument’ will be an informed position and involving criticalanalysis, interpretation, and evaluation rather than a conclusive answer to aclosed question. Remember that Final Paper needs to communicate to others andthat a judicious use of specific information and description will help tounderpin your critical work.

Submission for Unit 3

A 5000 word text, illustrated asrelevant. This should be accompanied by your bibliography/ webography/videography and may also be supplemented by appendices. This will be theprimary document for your Critical Practice assessment.

This final paperwill also be integrated into your Research Folio, as a resolved image-textdocument, which clearly positions your practice within current Drawing debates(in their most expanded terms). It is also acceptable that this research ispresented as a blog, CD Rom or website. Whichever form the Research Foliotakes, it must be presented in the studio for assessment. We expect that theFolio will change and be added to over the set up period of your MA exhibition,and therefore will place a strong emphasis on professionalism in conception andpresentation.

Deadline (Full-time) Monday 6^thAugust 12 noon, to the Student Support Office

All Submissions

All writtensubmissions should be submitted to the Student Support Office by 12 noon on thedeadline day. The SubmissionDeadline Is Final. Consultthe Student Support Office if you are eligible to claim extenuatingcircumstances and/or accommodated assessment.

On each occasion youshould submit:

4 x hard copies.
1 x Office Word document on CD which is both Mac and PC readable.
You should follow the formatting guidelines as closely as possible with regard to their relevance to your piece of work (see separate document available on Blackboard).
If in discussion with your CP tutor you have chosen to submit a written text in a non-standard format or wholly or partially in the form of non-written media you will normally be expected to submit an accompanying written text or transcript in a linear form.

Normally, one copy is returned after the assessment process iscompleted, and you should collect this from the Student Support Office.

The Research Folio must be submitted withthe studio work at all stages as part of the exhibition assessment. This allowsstudio staff access to your critical studies submission, and reflects theCourse’s holistic approach to theory and practice.

Assessment

Written feedback onProposals 1 and 2 is in the form of the CP tutor's comments, questions, andadvice annotated on students' own scripts along with a standard form. Be sureto submit Proposals that have space for your CP tutor's written feedback - i.e., double-spaced scripts printedon one side only in size 12 font with margins of at least 3 cm. N.B. Do notexpect your CP tutor to copy-edit your script. The feedback will focus oncontent and the general manner of its presentation, not the minutiae ofspelling and grammar.

Final Papers areassessed internally by your Course Director and a second PG tutor formoderation. The External Examiners read a sample of work and ensure that thecriteria are applied rigorously and fairly.

All notes andprevious drafts should be preserved in case they are needed for examination ordiscussion. Good practice: always makesure your scripts are backed up both digitally and as hard copy.

Research Folio

2011-10-10T16:56:00.000+01:00

10/10/2011

Today is the first day of my MA Drawing at Wimbledon, I went for the general induction talk and got to know people in my class. I am so looking forward to the coming year, it feels good to go back to college especially when you have worked full-time in elsewhere that is not so much to do with art...
In the past year after graduation I was still focusing in drawing. This is some of the work that I did at the beginning of 2011

And please feel free to visit my website www.angela-ho.com to see more artwork.

2010-08-08T11:35:00.003+01:00

Prairie Dogs 78cm x 100xm Oil on Canvas

2010-08-02T22:45:00.003+01:00

"London Bridge is not Falling Down" 39cm x 93cm, pencil on paper.

It will be showing at my exhibition for publicity.

New Drawing

2010-07-15T23:49:00.002+01:00

由今朝８點開始畫，直到１１點(evening!)畫完
一日搞掂晒，幾快手！

不過真係有Ｄ攰，訓覺先。Goodnite x

2010-07-13T16:23:00.004+01:00

Angela's official website is done!!!!

www.angela-ho.com

come visit my site quickquickquick!!!

LONDON IS BOILING

2010-07-10T20:10:00.008+01:00

No joking, I am sweating almost every minute and it stops me concentrating on my painting, thank you very much-,-...
I went to Camberwell BA Illustration degree show the other day, without a doubt it was impressive, better than Chelsea hahaha..

One of my favourite!!

I am a commissioned artist on here
Buy my artwork on there!!

2010-07-08T11:15:00.001+01:00

Done.
Got to work on other proposals, aiiiii...

I got my postcards!!

2010-07-04T19:22:00.005+01:00

YEH I got them!
Well...for the ones who really really like my artwork, I am actually selling these postcards, so let me know if you are interested to buy them.
£9 for 10postcards come with pretty little box, free delivery within the UK.
For Hong Kong buyers, it would be $120 including delivery.

Please email me for any queries. yanwing_hoi@yahoo.com.hk

"little White"+ my eyes

New wallpaper

I am still drawing everyday from 9 to 12.. what else I can possibly do apart from being an artist?

Goodbye my love..

2010-07-01T09:36:00.004+01:00

I will miss you as always x

BA Fine Art Degree Show 2010

2010-06-27T11:00:00.005+01:00

I finally come to the end of the show..
Thanks for all my lovely friends and family who came to support me, it is such a great encouragement!! I am now a professional artist and I will be tough and pursue my dream no matters how hard it is.

My latest drawing

2010-06-21T21:39:00.007+01:00

I have been working on this drawing for 4weeks.. it is actually slightly behind schedule @@
aiiii I want a break away from this country.......

2010-06-17T23:31:00.002+01:00

Angela's Degree Show opens tomorrow at 6pm until 26 Saturday 4pm. Come to see my show if you are free, I am looking forward to see all of you!

Address:

16 John Islip Street,
London
SW1P 4JU

nearest tube: Pimlico

emmmm...what should I wear for tomorrow...?

2010-06-13T14:43:00.002+01:00

Finally I have finished all the set up, installation, painting, drawing, cleaning.. I thought it was going to be happy when things got done but after all I am feeling lost.. degree show is the last thing I did in Art school, it seems surreal to see myself about to graduate and becoming a professional artist.

This path is not easily walked, I know I will come across tons of barriers and bullshits and it is also true that I am financially and emotionally lost.. aiii, AngelaAngelaAngela..

Catalogue arrived...

2010-06-08T22:13:00.006+01:00

但個封面唔靚lor

我果版仲離譜
成幅畫比佢cut到咁樣

original係咁架

真係無奈到爆炸。

張invitation又無厘頭. what do u mean by "close your achievement gap"??????doesn't any fucking sense-,-
唉，都唔係路

2010-06-02T19:21:00.002+01:00

The Coral 150cm x 200cm Pencil crayon on paper
Working in process.
This is not entirely done yet, it has another piece of drawing connects to it so its like a diptych, but not to do with my degree show. It is the first drawing of another collection, what should I call it..?

2010-05-17T00:49:00.003+01:00

baby bear.
free hand drawing黎架！

2010-05-14T17:33:00.004+01:00

I just finished this drawing 30mins ago

Fresh Meat
100cm x 150cm pencil crayon on paper.

Reference image.

I am building a website at the moment, www.angela-ho.com is coming soon..

New Drawing

2010-05-04T00:44:00.002+01:00

People has been asking me the ideas and contents of my recent artwork since it is sort of different from the past. They are no longer adorable although you might found it "cute" at the very first glance.
I have set up a theme for my whole year work: Animal Rights.

Viewers are initially drawn in by the bizarre beauty of my pop-culture references, then challenged by their circumstances, and finally transported to the my final intent – a world where creatures speak from a place of childlike honesty about the state of mankind and our relationships with ourselves, each other and our past. I adapted the language of childhood innocence and fantasy to communicate, to create non-existed kingdom where animals dominated the world like a reversal of the reality; animals eating human, or babies are kept in aquarium for fishes visit.

In fact I have loads to say, but rite now I just want to briefly talk about it. It is 1am now and I really need to get to bed.... so please wait for my proper artist statement, I will update it soon. Nite x

The Hunter

2010-04-23T16:52:00.005+01:00

120cm x 400cm Pencil on paper.
The biggest drawing I have done so far.

Ignore the stuff at the back please-,- this is not my studio space.

今日畫既..

2010-04-13T22:05:00.003+01:00

呢隻squirrel係幅畫既一部份，所以係未有耐畫完。

佢都幾大隻架

ps.無化裝，隻眼細左幾多﹣０﹣

2010-03-28T21:41:00.001+01:00

latest painting.
the camera isn't very good indeed..

2010-03-19T20:18:00.002Z

squirrel.

This is one of hundreds drafts I drew lately..
I am sort of lack of inspiration to move on, too many work needs to be done.. I am making myself into deep shit where things got fucking out of control. This ongoing battle is not fun but i will still be the last winner

我會證明比所有睇唔起讀art／覺得我讀唔成書所以求其讀科唔洗exam既科／認為我會無前途既人睇，你個腦生晌law pat度。

亦都會證明比所有支持我，欣賞我既人睇, 我唔會令你失望。

Latest Drawing

2010-03-06T23:13:00.003Z

終於畫完。

但係dissertation未寫完，唉！

我要加油加油再加油．

恭喜發財！！

2010-02-15T10:49:00.013Z

已經唔記得拜年exactly要做Ｄ咩

有太多太多年無晌ＨＫ過年lah.

所以呢。。琴日對我黎講完全淨係情人節♥

不過我無花收

但係有necklace收wakakaka

都幾好飲既onion soup

過去果個禮拜日日都忙到嘔又黑到暈低

事件１：２個星期前既review不如理想所以要勤力Ｄ畫多Ｄ畫

事件２：dissertation３個禮拜後交

事件３：heidi飛番ＨＫpermanently所以要同佢farewell+送機

事件４：cherry黎短stay幾日

事件５(main incident!!)：屋企停電停足２日，頂佢個肺！仲要晌heidi armarm飛走左之後番到屋企先停，成間屋黑蚊蚊又凍，網又上唔到，野食又煮唔到，涼都沖唔到，凍到我連畫都畫唔到，最後局住要去曹生屋企訓。咁都不突止，雪櫃Ｄ野壞Ｘ晒，一開個freezer有水流出黎！！！跟住打電話去求救投訢講到一半電話無Ｘ晒電，ＸＸＸＸＸＸＸＸ

點解無啦啦會停電呢？

原因：樓下唔知邊Ｘ度整路唔小心整Ｑ爛左條cable搞到無power connect到我屋企

英國咁Ｘ大咁Ｘ多地方整路你好整唔整淨係整爛左connect去我屋企條cable？？？？我真係有無咁Ｘ好彩呀ＸＸＸＸ？

最鬼離譜既係我打比agent同佢講，佢竟然話：right, let me know if it has repaired
有無Ｄ咁Ｘ有責任心既人架？？？？

aiiiiiiiiiiiiiiiii算啦算啦過左去lah,２０１０我應該會虎年行大運既.

2010-02-07T19:20:00.003Z

too many things coming at once and they seem beyond my ability to comprehend, I am so confused and lost..
This is the first time ever in my life that I doubt if I will make it.. "How do you locate yourself in contemporary art?"

This is not a rabbit without ears, this is prairie dog.

I love art, don't I?

2010-02-03T01:00:00.010Z

31/01/2010

畫起張卡送比你。

呢晚發生左d ok o咀既事A_____A
娛樂性十分豐富wakakaka

2010-01-30T01:48:00.003Z

半夜２點

我坐在前做prep work

原因有兩個

１．因為星期一有review
２．因為曹生Ｄ鼻寒聲嘈到爆炸

咁樣落去都唔係辦法wor，我真係要買番個超勁既耳塞-,-

一千零一張既生日照，仲要影到我塊面超肥

Mr Cho's Birthday..

2010-01-26T16:22:00.006Z

Hazelnuts with white chocolate mousse cake.

The decoration took me AGES!! But I eventually gained some genuine compliment in cooking from Mr Cho by saying「好靚wor」

And we had a simple but happy night with this cat.....

有感...

2010-01-24T22:37:00.002Z

呢個世界真係乜人都有

有３０幾歲但唔識坐地鑯既

有對你好似好好但原來會搵你笨既

有天生中意講人是非仲要無中生有既

有中意save低暗戀對象d相再upload去自己album再offer要做第３者既

有２個鐘頭內call爆你１０幾次既

有太多太多不能盡錄

但armarm講果Ｄ都係近排遇到

唔記得左邊個講過。。你總會從你遇見的人身上學會一些東西

而家諗起，發覺又幾有道理

無佢地　我又唔知自己原來都唔係咁蠢

多謝晒

2010-01-22T19:08:00.006Z

由於我housemate決定番ＨＫ搵野做，所以我要盡快搵人頂佢間房

麻煩各位幫我留意下有無friend要搵屋，萬分感激！

詳情請閱下則entry.

___________________________________________

呢幾日都有野忙緊，忙畫畫啦，忙搵人睇屋啦，忙..唔講得住haha

上個星期行街晌H&M見到一隻好得意既兔兔

不過件衫著左上身完全唔係咁既樣

用左laura mercier３年，有d心郁郁想試下其他粉
聽過好多人話rmk好用所以我都買番樽試下。

我本身唔白所以用１０２
rmk比lm long lasting少少
coverage幾好，用完佢唔洗再搽concealor遮黑眼圈
價錢ＯＫ啦,£27。唔知ＨＫ買係咪平Ｄ，不過我覺得佢最唔好既就係個樽既design，就咁倒出黎搞到我次次都倒多左！lm就有個pump方便好多。

另外我仲買左支指甲油tim,　未有機會搽。

新買左條裙again...

hehe情侶裝..放心啦我一定會迫大王同我著出街架wakakakaka

Announcement:

2010-01-22T18:23:00.012Z

Room to rent

Amazing double room in Putney, one of the crime free area in London. Sharing with a 22-year-old Hong Kong born British Chinese girl, everything is refurbished to professional standard. Nicely furnished lounge and SEPARATE dining-room, bathroom and well equipped kitchen. 8mins walk to East Putney tube station, 15mins tube to Earls Court and 30mins to Piccadilly Circus. Close to shops and buses.
Wireless broadband inclusive and the bills are roughly 30 to 50 pounds a month, depends on how much you used.
Available on 11 Feb, for viewing please email me: yanwing_hoi@yahoo.com.hk or call 07786391693
Thanks

Angela

Here are the pics

Dinning room

2010-01-17T20:41:00.008Z

終於搞掂左你

The Dinner. Pencil on paper 40"x60"

由構思到畫draft到搵reference到買畫紙到畫完成幅畫，total６個星期
其間xmas果時又postpone左Ｄ時間，實在有Ｄ慢。
用鉛筆真係攞黎搞

琴日收到一個晌ＨＫ寄黎既parcel，係遲來既生日禮物

咩黎架咩黎架

嘩！

完全無諗過會咁重手
多謝晒你呀Ricky！！

早前cinggie都寄左呢個蘋果lip balm比我
我收到時超開心呀！！thank you so much!!
又香又hydrating，而且個樣好得意！

2010-01-16T23:33:00.001Z

可憐的adapter

它的死不是別人的錯

因為。。。

佢係比我兜腳踢爛

睇黎我都唔係無protential打交wor

2010-01-14T22:22:00.003Z

近來很忙

生活都被thesis/exhibition/basil/drawing完全consume了

過幾天我會upload一張新作。

等我

送上new year's eve去唱Ｋ的照片

Heidi's 18th birthday haha

2010-01-09T15:15:00.012Z

見唔見到個cake上面有個頭？　ＨＡＨＡＨＡ

唱完Ｋ我地仲去左Vanilla食飯

佢Ｄ裝修有８個靚呀！去london既話可以試下去食
http://www.vanillalondon.co.uk/

second entry in 2010

2010-01-06T22:29:00.004Z

送上穿睡衣的我

不過　係有化裝既kakakaka

今日晌topshop買左佢地

雖則而家周圍都on sale，但係真係無咩心機睇sale items，又迫又一地都係衫，Ｄ　size又唔arm，唔買唔買

不過最後都睇中左呢條裙。。。唔。。。。。。tempting...

2010-01-02T19:12:00.006Z

Happy New Year!!

琴日去左玩狗狗呀

佢識比hand hand架！

2009-12-31T18:27:00.002Z

終於來到２００９的最後一天

實在有點感觸

我想　２００９是我人生經歷得最多改變最多高低起跌的一年

有快樂的　辛酸的　難忘的　

一切一切都像是昨日發生

一切一切都是意料之外的事

然後　我發覺自己其實一直都是十分幸福

有父母供書教學呵護備至生活無憂

有２個錫我既家姐

有幾個真心真意的好朋友

有一隻陪伴我走過快樂和不快樂的可愛寶寶兔

有一雙能畫我心的手

有健康的身體

而且還有一個都幾錫我既男朋友（雖然佢成日扮晒唔緊唔要又懶係受女仔歡迎又口臭）

還求什麼呢？

２０１０
我不想再set任何resolution

因為自知今日set完聽日就忘記得一乾二淨

既然如此何必多此一舉呢？

最重要的是　我知道自己在做什麼想要什麼

只是不曉得來年今天　我們會怎樣？

28/12/2009

2009-12-29T17:06:00.009Z

I am no longer 21.

食完飯去睇wicked

2009-12-23T21:31:00.007Z

今天我　寒夜裡看雪飄過

懷著冷卻了的心窩飄遠方

風雨裡追趕霧裡分不清影蹤

天空海闊你與我可會變

誰沒在變？

睇黎今年應該會有白色聖誕wor
不過未到聖誕我已經買野買到不受控制ＯＭＧ

而家咁鬼凍買多件褸arm架arm架..ＨＥＨＥ

又買袋

仲比我見到隻好搹笑既羊咩

2009-12-21T14:06:00.002Z

致所有居港的親朋好友：

對唔住呀咁多位。。。

你地既聖誕卡將會過左聖誕節先收到

因為香港收air mail既日期早於９號就截左郵

我都覺得好無奈

最多答應你地下年我會早Ｄ畫又早Ｄprint又早Ｄ寄

不過呢Ｄ講心架ja係咪？

原諒我吧俊男美女們T_______T

ps.收到果時請通知聲

Angela x

2009-12-19T14:40:00.002Z

Hey guys, I got you a clip, play it if you have time and I hope this will bring you a smile
x
Angela

2009-12-15T21:02:00.004Z

又買野A___A

其實係之前買落架，不過今日先收到
一次過買咁多盒 paper mask,睇怕都應該夠我用半年啦掛呵呵呵
Ｄ fake eyelash晌xmas會用得著hehe

仲有不夠２個星期我就大一歲啦
這幾天一直在想有沒有一些事一定要在２１歲做到。。
有的話實在要「快快趣趣」搞掂佢
你知啦，時日無多啦ma

小時候總是覺得廿歲之後已經係好大個女
應該係日日著３吋豆令踭pencil skirt番工準備嫁人生仔etc etc..
沒想過當自己真正踏入這個年頭其實依然係一舊飯
其實都唔係既，係一舊識畫畫既飯
會唔會巴閉少少？

琴日睇番自己一年前既日記，原來我曾經list左個2009new year resolution，內容如下：

1. Be more independent
2. Do more cooking
3. Less shopping
4. Better use of time
5. Be more organize

OK, they are all practical and realistic and I am so sure I can make it. Angela is 21 now and she will move on without looking back.

當日誓神劈願的承諾今日我又做到多少？

２００９
第一次隻身到異國遊學３個月

然後自己一個去旅行

又試過couch surfing(果時勁驚）

失戀

跟住再戀

養左隻兔仔

本身ling住80%(即為1st hon)升final year

不過寫essay比人周到Plagiarism爭Ｄ升唔到班

但因喊到７情上面所以professor格外開恩大步檻過

然後自覺太羅唔敢同人講

而家覺得羅完所以可以講

這一年，有很多人事物都改變了

一切都不是我想像中會發生的

我雖然沒有成功做到一年前的所有resolution

但我學會了一些與人相處的道理

學會了珍惜我所擁有的

學會了，學會了。

Shopaholic

2009-12-12T22:49:00.007Z

Shopping is a disease and you can't heal. Once you tried it, you are addicted.

真係好鬼衰

全部都係晌camden買架ＨＥＨＥＨＥＨＥ

好多人都話英國好悶又無咩野買又無咩好食，其實我覺得都唔係啦
淨係行camden都行足一日，行到你腳bite
又可以去下brick lane，portebello，好開心好多野睇架
不過近呢２年愈來愈多東方人擺當，所以好似去左利時咁
香港tourist去到可能會有多少無奈，但我又覺得ＯＫ wor,話晒成年無番過去。

美男子

忽然病倒

2009-12-07T21:32:00.003Z

自從前兩天睡得不夠加上清晨去heathrow送機之後我就病到「溫溫燉燉」

先係喉嚨痛跟住咳到聲沙繼而鼻塞再頭痛

今日仲要局住番tutorial，放學果時仲落勁大雨

又無帶遮搞到我連人帶褸濕到滴水

星期４又有份thesis要交

頂佢個肺

我係陰公豬。。。。。。。。

雖然係咁，但我慶幸有海迪寶寶take care我又煲粥比我吃

我錫晒你啦﹣３３３３３３３３３３３﹣

Xmas card preview

2009-12-06T23:02:00.003Z

I am going to get roughly 30 copies of this, leave me your address and I will try post one to you. xxx

原來

2009-12-05T19:58:00.003Z

早前我在一個機緣巧合的情況下見到一對情侶的照片

背景是似曾相識的草地

照片中的女生緊緊擁抱著其男友，嘴巴掛著甜絲絲笑容

雖然男主角的表情有點拘謹，但不減那幸福滿瀉的場面

我凝望了好一會，心想：又真係幾sweet wor

然後我知道，當過去成為過去係真係會令人成長

而且還教曉我日後要「凡事留一線，日後好相見」

The Best Dinner everrrrr

2009-12-02T21:39:00.014Z

Maze @ Gordon Ramsay.

Probably the best dinner so far I have ever had in Britain! When I read the menu online most of the food combination sounds strange, like Scottish red-leg partridge in haggis sauce, very difficult to read huh? I know I know..
Most of the time I am quick at choosing dishes, the usual scenario with friends at restaurant is either
A) I sit quietly, looking slightly paranoid at people when everyone with their heads down staring at the menu, then 15mins later, someone would eventually say: I dunno wot to eat or
B)I sit quietly, looking slightly paranoid at people when everyone with their heads down staring at the menu, then 15mins later, someone would eventually say: Which one do you think is better, rib-eye steak or tender loin?/lamb or chicken?/this or that and so on..

But seriously, this time at Maze, it took me more than 30mins to decide what to eat since everything sounds so special and unreadable-,-

Braised octopus, oxtail vinaigrette, dehydrated black olive, fine herbs and confit lemon
OMG this is LOVELY! Altho I am not beef eater but please allow me to break the rule once hehe!

The light was dim in the restaurant so the pictures are not in very good quality..

Suffolk pork ‘cheek n belly’, spiced pumpkin jam, red cabbage, crispy crackling

Then when we ordered desserts the manager offered us to visit the kitchen, ho surprised ahhhh!! It was huge and clean altho the chefs didn't look very pleasant, well that is completely understandable. We took quite some pictures and talked to a couple of staffs tim ahh

He is the Manager, very nice guy.

almost done

YUMMMMY!

wellwellwell
Nice food doesn't come in good price in this country...£70 per head to taste Gordon Ramsay's food, fair enough.

2009-11-27T19:28:00.009Z

１８個月前

１年前

今時今日

就這樣，我們一起了１５３天

時間過得很快。

有時候，我會感到一點點委屈，一點點心酸，一點點莫名其妙的失落

我明白我們都不是完美的

每天我都在學習跟你相處

偶然，我會有想放棄的念頭

世上沒有「你付出多少就能回報多少」的道理

我明白，我了解

但要做到不求回報如此豁出去恕草民未能做到

無野呀！我很好。

2009-11-21T18:43:00.005Z

終於畫完。

少有的成功感♥

琴晚我迫曹生full mask，你睇佢幾靚仔ＷＡＨＡＨＡＨＡＨＡＨＡＨＡＨＡ

佢仲虐待Marie tim

人地本身好靚女架！！

2009-11-19T20:24:00.005Z

自從前幾日我轉左facebook profile張相之後，多左好多３唔識７既ma甩佬add我

突然發覺自己都唔係無人吼

不禁有Ｄ high high地

呵呵呵呵呵呵呵呵呵呵呵呵呵呵呵呵呵呵呵呵

之前一直想買左電動牙刷，今日去boots見佢有half price就買左番屋企。yeah!
今晚玩下先。

2009-11-17T12:52:00.007Z

久違了的blog.

其實最近沒有很忙，只是人懶左。

I love my mac

昨日去pharmacy買支eye cream，點知送左好多sample，不過有好多都係anti-wrinkle，家陣係咪潤我？！

前幾日去左Brick Lane買左個好vintage又好靚靚既袋！！盛惠２２鎊咋！

仲買左個頭cool

2009-11-09T19:19:00.003Z

講個秘密比你聽

我今日好唔開心

I have been expecting too much.

有些人，有些事，還是用平常心去對待就好了

是我計較嗎？

算數啦，我無事

人地高興咪得lor

我都唔想為Ｄ小事搞到咁

我會學識大方Ｄ睇開Ｄ體諒別人多Ｄ

講完，早抖

2009-11-07T12:41:00.004Z

前２日突然心血來潮想食雲吞，因為我同曹生（又名大王A__A）都病病地所以想食得清淡Ｄ

於是乎我特登出一出china town買雲吞皮，其實都有諗過買現成就算..不過我又覺得自己包好似有愛心Ｄ　ＨＡＨＡ

一包就包左成個下奏

雖則唔係好靚不過都唔會食死既...

跟住仲煲左好大煲雞湯

以前我從來唔會入廚房，因為覺得煮野食洗碗好煩。
而家人大左睇既野實在會唔同

其實晌屋企煮飯等男朋友放工然後一齊食一齊睇下電視都幾開心ya!

你話係唔係呀？

2009-11-04T17:36:00.008Z

New painting. This is the birthday gift for my Dad.

You seem to like your new bed, don't you? hehe

I paint,paint and paint...

2009-10-30T11:52:00.002Z

琴日係２家姐２X歲大壽，妹妹祝你早日尋覓到如意郎君身體健康長命百歲。

不過呢，無禮物收ＨＡＨＡＨＡＨＡ

好窮呀呢排，下年啦。。下年補番