As I walked through the exhibition “Another View: Landscapes by Women Artists” at the Lady Lever Art Gallery, I was surrounded by a narrative that challenged the traditional dominance of male artists in British landscape art. This carefully curated exhibition doesn’t just present art; it represents a reclamation of space and narrative, offering a fresh perspective on our connection to the natural world through the lens of female artists.
Seascape by Ethel Walker Oil on Canvas
Historically, the landscape genre has been male-dominated, a fact underscored by Victorian art critic John Ruskin’s blunt assertion that “no woman could paint.” Yet, “Another View” defies this notion by presenting a diverse array of landscapes painted by women, who have long been overshadowed in this genre. The exhibition showcases how these artists have carved their niches and shaped the art form from early amateur efforts to professional masterpieces.
Bedouins by the Dead Sea by Lady Caroline Gray-Hill – Watercolour on Paper
One of the most compelling aspects of the exhibition is its focus on how these artists engaged with the landscapes around them. Rather than just backdrops, these landscapes become arenas of personal expression and social commentary. Elizabeth Blackadder’s “Vence, Garden” and Vanessa Bell’s “The Vineyard” are more than just pleasant scenes; they are intimate explorations of place and identity.
The exhibition also highlights the uphill battles these artists faced for recognition, reflected in narratives like that of Elizabeth Forbes in “Blackberry Gathering.” Forbes, a figure both of her environment and ahead of her time, portrays rural scenes that challenge the viewer to see beyond the picturesque. Her depiction of women and children in the landscape underscores a deeper, often unspoken narrative about the role of women in these spaces—both as creators and as subjects.
Moreover, the show explores the intersection of landscape art with broader social and political contexts. The inclusion of Anne Holt’s “Negro [sic] huts on Mr. Middleton’s plantation, Savannah April 30/1851” is particularly striking. This piece juxtaposes the aesthetic of the landscape with the harsh realities of slavery, prompting a reflection on how British landscape painting has not always been neutral or benign.
Another View also addresses the evolution of artistic techniques among women artists, showcasing their innovative approaches to traditional and new mediums. The transition from watercolours to oils and prints reflects not only changing artistic preferences but also the increasing professionalisation of women artists who were determined to claim their space in art history.
Waterfall, Barberine Chamonix, painted in 1827 by Elizabeth Campbell – Watercolour on Paper
As I moved through the exhibition, what stood out was the sheer variety of perspectives. Each artist brought her unique view to her work, influenced by her personal experiences, cultural context, and the times she lived in.
“Another View” is more than an art exhibition. It is a vibrant celebration of women artists who have interactively engaged with the natural world, using their art to explore and question the traditional boundaries of landscape painting. It invites us to reconsider what we know about landscape art and the artists who create it, encouraging a deeper appreciation for the diverse and dynamic ways women have contributed to this genre.
Last night, I attended the online roundtable by The Photographer’s Gallery.
The central theme revolved around an age-old debate: Is photography predominantly an art form or a media medium? Given the omnipresence of images in our daily lives, this question becomes ever more significant as we advance through 2024.
The session kicked off with a deep dive into photography’s dual identity. Historically, photography has been celebrated as an artistic expression, allowing creators to encapsulate emotions, narratives, and aesthetic beauty within a frame. Conversely, its role as a medium of media cannot be overlooked. Photography is a powerful tool for journalism and communication, shaping public opinion and documenting social realities.
As we navigate through an image-saturated world in 2024, the role of photography continues to evolve. The digital age has democratised photography, enabling anyone with a smartphone to capture and share moments instantly across global platforms. This ubiquity raises pertinent questions about the dilution of quality and the impact of visual information overload on our cognitive processing and appreciation of the finer artistic elements of photography.
During the discussion, it was emphasised that our constant exposure to images might lead us to make broad assumptions about global visual culture. However, it’s crucial to acknowledge that these perspectives are often rooted in a Western viewpoint. Parts of the world remain where photography is not as accessible or visually dominant, and these regions usually do not share the same interactions with photographic content as seen in more connected areas.
This highlights the need for a more nuanced understanding of photography’s impact and varied roles across different cultures. As we consider photography’s place in art and media, we must strive for a balanced view that respects and incorporates diverse perspectives, ensuring that our dialogue about this powerful medium remains inclusive and globally relevant.
Whether viewed through the lens of art or media, photography in 2024 continues to be a dynamic field that mirrors our complex, interconnected world. The roundtable enriched my understanding and highlighted the importance of continual discussion and reevaluation of our views on photography as both an art form and a crucial element of the media landscape.
Reflecting on the recent tutorial on the 27th of March concerning my inaugural project, I was heartened to receive predominantly affirmative feedback. The commendations were multifaceted, encompassing my learning log’s coherent layout and navigability, adept application of Harvard referencing alongside diligent library research, and a nuanced exploration of how landscape vistas can positively impact hospital patients. Particularly noted was my examination centred around a singular daffodil, seamlessly intertwined with my creative use of poetry, music, and colour, crafting a rich, multi-dimensional narrative.
However, constructive action points were also highlighted, offering a roadmap for improvement in subsequent projects. These included the ongoing reflection on the received feedback to enrich my learning journey, heightened vigilance against typographical errors in my final submissions, and a suggestion to distance myself from the digital realm to foster a more experimental and creative approach in my work.
I am, without a doubt, buoyed by the feedback received, recognising it as a cornerstone upon which to build and refine my work for the forthcoming projects numbered two through ten. A recurrent theme in my creative endeavours has been a pronounced reliance on digital mediums, which I am cognisant of and keen to address. With an eye towards Project 1.3, I aspire to weave more tangible, physical elements into my artistic tapestry. This is not to say I intend to completely abandon the digital aspect of my work. On the contrary, the integration of technical and digital facets remains a hallmark of my creative identity. Nevertheless, the prospect of diversifying my methods to include more hands-on activities such as photography, sculpture, and bookmaking excites me. The chosen skills hubs promise to be fertile ground for this exploration, presenting opportunities to engage more directly with the materiality of my artistic pursuits.
Several of these skills build upon my existing expertise, notably HTML, a tool I regularly utilise in my professional capacity. Integrating this technical proficiency into a creative domain has been an enlightening venture. Likewise, my venture into Canva, hitherto used in more conventional contexts, revealed its vast capabilities for artistic endeavours, particularly in the nuanced application of colour.
Engaging with the OU library introduced me to new research methodologies, enhancing my ability to effectively use the Harvard referencing system to source material.
Additionally, this project encouraged me to deepen my engagement with the OCA community. By participating more actively in group sessions and the Google Workspaces chat than ever before, I gained access to invaluable advice on artists relevant to my project and constructive feedback to refine my work. This collaborative experience has not only broadened my network but also significantly enriched my creative and academic pursuits.
What Did I Achieve?
I believe I successfully met the primary objective of this introductory project: to begin interacting with the environment in a creatively engaging manner. This was achieved through a diverse range of creative outputs, which allowed me the freedom to explore and experiment. Despite facing challenges with time management in earlier modules, 1.1 and 1.2, I managed to adhere to a schedule for this unit. However, I recognise that the timely completion of my written work remains an area requiring further improvement. Additionally, this project presented an opportunity to connect my work with personal passions, including sustainability and involvement with local environmental networks.
Could I Have Achieved A Better Outcome?
I am satisfied with the quality of work I have produced, yet I find myself disappointed by the extended duration it took to complete this initial project. This experience has highlighted the importance of adhering to a more structured and consistent work routine to meet my scheduling commitments. It is imperative that I devise a study schedule tailored to my personal and professional obligations, ensuring it is both practical and sustainable for my lifestyle. This revised approach will enable me to enhance efficiency and achieve a more balanced allocation of time across my projects.
What Would I Do Differently In This Scenario?
Routine Evaluation: Regularly assess my current study habits and work processes. Identify what is working well and what isn’t, adjusting your approach accordingly to enhance productivity.
Structured Schedule: Create a detailed study schedule that allocates specific times for work, breaks, and leisure. Use my Google calendar to track your commitments and deadlines, ensuring your schedule is both visible and manageable.
Prioritisation Techniques: Implement prioritisation strategies such as the Eisenhower Matrix, which helps distinguish between tasks that are urgent, important, both, or neither. This can guide me in focusing on what truly matters each day.
Set Realistic Goals: Break down larger projects into smaller, achievable tasks. Setting daily or weekly goals can make a project feel more manageable and provide a sense of accomplishment as I complete each part.
Time Management Tools: Explore and utilise time management apps and tools such as Pomodoro timers.
Flexibility in Planning: While maintaining a schedule is crucial, allow for some flexibility. Life can be unpredictable, and being too rigid can lead to frustration. Adjust my plans as needed to accommodate unforeseen circumstances.
Regular Breaks: Incorporate short breaks into the study schedule to prevent burnout. Techniques such as the Pomodoro Technique advocate for breaks to maintain focus and productivity over longer periods.
Reflective Practice: Keep a reflective journal detailing what strategies worked, what didn’t, and why.
Limit Distractions: Identify and minimise potential distractions during study or work time. This might involve setting boundaries with others, using apps that limit your use of social media, or creating a dedicated workspace.
Any Skills I Should Be Developing?
Time management
Project management
Adaptability
Reflective practice
Self-discipline
Using feedback
Actions To Take
Set up project schedule on Google calendar
Plot in dedicated study time in my weekly schedule
Suzanne Simard’s Finding the Mother Tree: Discovering the Wisdom of the Forest is a seminal work that blends rigorous scientific enquiry with profound narrative depth, illuminating the complex, interdependent relationships that define our natural world. A pioneering forest ecologist, Simard unveils the intricate web of connections beneath the forest floor, centred around the titular ‘Mother Trees’. These colossal entities act as central hubs in a vast communication network, sharing nutrients and information with other trees, thereby sustaining the forest ecosystem. This book stands not only as a testament to Simard’s life and career but also as a powerful reminder of the interconnectedness of life.
From a creative arts perspective, Simard’s narrative is rich with themes and motifs ripe for exploration. Her portrayal of the forest as a dynamic, communicative entity challenges our conventional views of nature and invites a reimagining of our relationship with the natural world. There are several avenues through which Simard’s work can inspire and inform:
Metaphor and Symbolism: The concept of the Mother Tree offers a potent symbol for exploring themes of connectivity, nurture, and community. It provides a vivid metaphor for the unseen networks that bind individuals, societies, or even ideas, offering a fresh lens through which to view these relationships.
Interdisciplinary Dialogue: Simard’s work is a prime example of how science and the humanities can enrich each other. Artists can draw on her findings to inform works that bridge the gap between these disciplines, creating pieces that provoke thought about ecological issues, our place in the natural world, and the science that helps us understand it.
Narrative Structure: Simard’s personal journey, intertwined with her scientific discoveries, underscores the power of narrative in communicating complex ideas. This approach can inspire experimentation with narrative techniques that weave together personal storylines with broader themes, making complex or abstract concepts more relatable and engaging.
Visual Art: The intricate networks and symbiotic relationships detailed in the book offer a wealth of visual inspiration. From the literal depiction of the mycorrhizal networks that connect trees to more abstract representations of connectivity and support, there are many ways to visually interpret Simard’s discoveries.
Ethical and Philosophical Inquiry: Finally, Simard’s work raises profound questions about humanity’s relationship with nature, stewardship of the environment, and the ethical considerations of scientific research. These themes can be deeply explored in creative writing, film, and other media, encouraging audiences to reflect on their own views and behaviours.
When I was discussing my work on digitising the moths and daffodils in the OCA Creative Arts group, a fellow student suggested the work of Ariella Friend to me.
Ariella is someone who combines painting, sculpture and digital representation to create 3D models of pixelated trees.
I recently had the privilege of discovering David Nash’s work during a skill share session, and it has since opened up a new realm of inspiration for me in the field of creative arts. The session, led by tutor Rachel, was a great platform for exchanging ideas and exploring various artistic approaches. Here, another student presented her work on natural sculpture, which led Rachel to suggest Nash’s work as a point of reference. This recommendation was a testament to the immense benefits of group work and collaborative learning environments. Being part of this session expanded my artistic horizons and underscored the value of shared knowledge and the unexpected ways in which inspiration can strike. Nash’s unique approach to sculpting with natural materials and his profound connection with the environment has since become a significant source of inspiration in my creative journey and an area I want to continue researching through 1.3.
David Nash, a prominent British sculptor and land artist, has significantly impacted the art world with his unique approach to sculpture, particularly with his use of wood. Born in 1945 in Surrey, England, Nash developed a deep connection to the natural world from a young age, especially to woodlands, which later became a central theme in his art. His grandfather’s property in North Wales, where Nash spent much of his childhood, played a crucial role in shaping his artistic vision.
Nash’s work is characterised by its raw, organic quality and integration with the natural environment. Unlike some of his contemporaries, such as Richard Long, whose art is centred around the act of walking, Nash’s work focuses more on staying in one place and working with the materials found there. He often uses crude tools like chainsaws and axes, imparting a sense of the violence of creation in his sculptures. Nash’s sculptures, whether carved or burnt, exhibit a regularity and elegance that contrast with the wildness of the organic materials he uses.
One of Nash’s most famous works is “Wooden Boulder,” a large wooden ball carved from an oak tree and left in the Welsh woods. This piece was considered a “free-range sculpture,” as Nash tracked its progress over 35 years until it was eventually swept away by heavy rains in 2015. The sculpture highlighted the transient nature of art and its interaction with the environment.
Nash’s approach to land art is not just about creating sculptures; it’s about integrating them into the landscape to appear as if they have always been there. His work is deeply connected to the site where it is created, often using local wood and considering the impact of the land on the sculpture. This connection to the environment reflects Nash’s belief in the importance of engaging with nature and the environment.
Nash has travelled extensively throughout his career, creating works worldwide and using local materials. His commitment to working with the environment is evident in his pieces, which often explore stewardship and ecological balance themes. Nash’s art is a powerful statement about the relationship between humans and the natural world. It urges us to consider our impact on the planet and the importance of preserving its delicate ecosystems.
Nash’s contributions to the art world have been recognised with numerous solo and group exhibitions and elected a Royal Academician in 1999. His work continues to inspire and challenge viewers, offering a unique perspective on the intersection of art, nature, and human activity.
My work
Inspired by David Nash’s work, I am keen to explore a variety of disciplines to create art that resonates with his themes of nature and the environment. In painting, I could experiment with natural pigments and organic textures, creating canvases that reflect the essence of the landscapes I encounter. My aim would be to capture the transient beauty of nature, much like Nash’s sculptures that change over time.
I am motivated to work with sustainable and locally sourced materials in sculpture. I could create installations that evolve with the environment, perhaps using wood or other natural materials that change appearance as they weather and age. This approach would highlight the impermanence and adaptability of nature, echoing Nash’s philosophy.
Photography offers me a medium to document the interplay between my artworks and their surroundings. Capturing the gradual transformation of my sculptures over time or the shifting light and shadow in natural settings would allow me to explore the narrative of nature’s constant flux.
Sound art is another intriguing avenue. I could record the ambient sounds of different natural environments, perhaps juxtaposing these with the sounds of my creative process, like chiselling or carving. This would create an immersive experience, inviting the audience to engage with the sensory aspects of nature and art-making.
In poetry, I envision writing pieces that draw from the imagery and textures of the natural world, much like Nash’s work, which evokes the essence of his chosen materials. My poems could explore themes of growth, decay, and rebirth, reflecting the cycles of nature.
Finally, interdisciplinary work offers exciting possibilities. I could combine sculpture with elements of performance, inviting interaction between the audience and the natural environment. Alternatively, integrating digital technology with traditional artistic practices could result in innovative installations that blur the boundaries between the natural and the virtual worlds.
Reflecting on my skills hub options for this course, I can see a clear progression and complementarity with my previous selections. The three skills hub modules I’ve chosen – Photography (Image and Text), Global Imaginations, and The Power of the Book – build upon and enrich my earlier studies in Painting with Colour, Experimenting with Poetry, and Using the Senses in Descriptive Prose.
Starting with Photography (Image and Text), this module feels like a natural extension of my work in Painting with Colour. While painting allowed me to delve into visual expression and the nuances of colour, photography opens up a new realm where imagery and narrative intertwine. This module will challenge me to convey stories or ideas using visual elements and textual components, enhancing my skills in visual storytelling.
Global Imaginations is particularly exciting as it broadens my artistic perspective, much like Experimenting with Poetry did. Both modules encourage engagement with diverse narratives and voices, but Global Imaginations offers a more expansive view. It will help me consider how global issues and cross-cultural experiences influence artistic expression. This is crucial for addressing complex themes such as climate change, which requires an understanding of global interconnectedness and cultural sensitivity.
The Power of the Book is an intriguing complement to my interest in Using the Senses in Descriptive Prose. This module explores the physical and conceptual elements of book creation, encompassing design, layout, and materiality. It adds a tactile dimension to my creative practice, resonating with my previous focus on sensory experiences in prose. I’m particularly interested in how the physicality of books as artistic objects can be used to explore environmental themes, perhaps through sustainable materials or by creating works that engage with the sensory experiences of nature.
To integrate these skills in developing interdisciplinary methods, I plan to undertake projects requiring synthesising these various disciplines. For example, I could create a photo-textual series that captures the impacts of climate change, using poetic language to enhance the emotive power of the images. Alternatively, designing an artist’s book that combines visual art, text, and sensory elements to tell a story about environmental issues could be a compelling way to combine my diverse skill sets.
Incorporating these different artistic approaches will not only enrich my personal creative practice but also provide me with a unique set of tools to engage with and respond to critical global issues like climate change. My interdisciplinary approach fosters a deeper understanding of how different art forms can be integrated to convey powerful messages, making my work aesthetically compelling and socially relevant.
Overall, my academic choices demonstrate a thoughtful and forward-thinking approach to my studies in the creative arts, positioning me well to address wide-ranging issues in a nuanced and impactful manner.
As I embark on 1.3 Creative Arts Dimensions, I can’t help but feel a mix of excitement and anticipation. It’s been a significant wait since completing 1.2 in October. With the enrolment window only reopening in January, the gap has given me time to reflect and build up my enthusiasm for what lies ahead. With changes in my work arrangements, I’m afforded the luxury of dedicating more time to my studies, possibly even working close to full-time on 1.3. I aim to finish by April to meet the upcoming assessment deadline, setting the stage for starting level 2 in September.
One aspect of 1.3 that I’m particularly keen on is the focus on ‘place’. I’m drawn to environmental themes – an area I believe is of utmost importance for our generation. The idea of intertwining photography with text intrigues me; I’ve got my camera ready and am eager to learn new skills in text graphics. A deeper personal goal is to “find my voice”. I felt that in 1.1 and 1.2, I was still navigating my way through, not entirely uncovering my unique perspective. This time, I look forward to exploring new artists across various disciplines, drawing inspiration and perhaps finding elements that resonate with my creative self.
Moreover, I’m curious about how the creative arts can contribute to the environmental battle against global warming, yet I’m mindful of avoiding clichés. The challenge lies in creating something fresh and impactful – how can I contribute in a way that’s both innovative and meaningful? Additionally, I’m keen to maximise group sessions and interactive elements, believing collaboration and exchange can enrich my learning experience.
On a more personal note, the concept of ‘place’ holds a peculiar significance for me. I often struggle to feel at home in places, which adds an interesting layer to my exploration of this theme. How does one define a ‘place’ when the sense of belonging is elusive? This might shape how I approach my projects, possibly leading to a more introspective and exploratory journey through 1.3.
In summary, as I step into this new chapter of my creative arts journey, my goals are clear: to immerse myself in the study of ‘place’, to delve into environmental themes with a fresh perspective, to refine my artistic voice, and to fully engage with the collaborative and interactive aspects of the course. The journey promises to be challenging and rewarding, and I’m ready to embrace it with open arms.
Cairdeall 