National Botanical Gardens

Good lord was I cold.  Will I ever be warm again?  I was not prepared for this weather – note to self please bring a warmer coat and more layers when you spend four days on a cliffside at the Gower.

I have been to the Botanical Gardens before when I was younger but haven’t been in over a decade so I was looking forward to going back and seeing how it had changed.  We had several tasks to complete over the day, including the 100 drawings that had been mentioned at the first briefing on Tuesday.  I did find it quite difficult to find my stride with this exercise as I can find it difficult to decide on a subject to sit down and draw.  I found it hard to really get on board with the whole ‘note taking’ aspect, of doing the quick drawings just to jot down things that catch your eye.  I had only done about 30 by the end of the day but I was pleased with what I had.  Rather than drawing things I saw, I chose to make individual rubbings of textures and other things that I found interesting and noteworthy.  During the course of the day I’d been thinking more and more about the direction I was thinking of and I thought more about texture and pattern and its appearance in nature.  Making the rubbings was a really great way of documenting this, far better than had I been trying to draw and replicate what I was seeing when I could simply take a quick rubbing of it.  Some of the textures I got were really pleasing and something I think I could definitely use.

I did take my camera with me and these are a few of the images I gathered from the day.  The old buildings we found was interesting as there was nothing else around, certainly no other dwellings or evidence that it was a community of any kind, however small it may have been.  We did sneak inside the one building as the home itself was locked and boarded, and once I got in I realised it was an old cow barn where cows would have been milked.  Again, here what I found interesting was the old marks on the walls and evidence of what used to be.  This was the first thing we discovered on our walk in the area surrounding the Botanical Gardens, and I hadn’t yet decided on making rubbings so unfortunately took none from here.  Most of the windows had cracks in them or were smashed and broken in places, and they made interesting viewpoints.  Yes, windows are intentional to let light in and to allow you to observe what’s going on outside, but with the cracks in their appearance it got me thinking more about how obscured our view of a landscape can see.  Personal preference, experiences, likes and dislikes, can all alter a person’s viewpoint on what they are seeing or alter it’s appearance.  Like two people looking at a painting, two people looking at the exact same view can see something entirely different to one another.

For me I find that photography is a much better way of documenting.  This teamed with the rubbings I acquired across the day give a real feel of the different textures, shapes, and difference that there is in front of you.  The fungi growing on the long dead tree stump have these soft silky edges up against the rotting wood, and together these things make up what is in front of you.  It’s how these all interact that makes up the landscape as a whole.  All the tiny dew drops on each piece of grass create that shimmer you see on a hillside or a field when the sun hits it.  I think there’s something infinitely more fascinating in noticing those tiny details and appreciating what you’re looking at is actually hundreds of thousands of smaller landscapes.

Things Behind the Sun

Second Field project has been unexpected.  I knew it was coming, yes, but I didn’t realise that I had been put into this Field option which has been thus far surprising but if I’m honest I’m not totally feeling it.  It’s with David Fitzjohn (our head of Fine Art) so it’s particularly ethereal with loose concepts and seemingly directionless compared to having our noses pressed at the metaphorical grindstone over in Graphics.

I thought I had picked the photography module, an exploration of rivers and sequence and documenting change and flow etc etc., but I had not.  Our first meet up with Fitzjohn centred around a lengthy powerpoint which discussed ‘What is a Landscape?’ and other questions lacking tangible answers.  I enjoy Fine Art, and certainly the freedom it gives you is something I relish from time to time, but at degree level it’s something I have often found daunting and at some points something that I can struggle to get to grips with and relate to because it’s so far from my comfort zone.  I’m looking forward to it and will certainly try my hand at anything, but so far I’m quite on the fence about this one.

This project offers students from any discipline the opportunity to explore the concept of landscape as a source of inspiration, with specific focus on the experiential, the sublime and the role of reverie in the creative process and how this can be related to a studio based practice.

Students will be offered two contrasting experiences of landscape.  One a mediated ‘planned’ environment and one a ‘wild / natural’ environment.

By physically experiencing the landscapes through walking, recording and reflection, students will generate primary research in the form of drawings, photographs, writing etc. in both locations. These outcomes will then be processed and developed through a series or ideas and skills workshops either individually or collaboratively depending on the student’s particular needs back in the studios. Ultimately it is intended for students to use the results of this exploration to generate work beyond the boundaries of the five-week project.

The talk yesterday did help me in understanding further what was going to be asked of us and what we were to be exploring over the coming weeks.  I love being outdoors, documenting, and just generally observing the things that I see and really taking a great deal from being outside in more rural areas.  I grew up in a rural area so it’s something that I love, and I thoroughly enjoy spending my time wandering about and seeing what I can find which is what I have gleaned from David’s talk.

We are going to the National Botanical Gardens of Wales tomorrow and have been asked to complete 100 drawings in a sort of note-taking exercise.  We’ve been told to not be too precious about them, we’re not drawing landscapes, we’re taking notes.  Notes of textures or shapes or anything of particular interest that we think we’d like to document obviously to explore further down the line.  This is quite daunting because my own work is quite meticulous – my symmetrical sketchbook with clean space and rational thought throughout it is my pride and joy, and the way I work might be at odds with the nature of this brief?  I can’t tell yet but I think it might be something I struggle with.  I like rough note taking and quick drawings but the way I organise my process has to be laid out in such a way that I can refer to it.  Coherency is my friend, otherwise I find myself babbling but in sketch form and words jotted down and I can’t make sense of it and everything that comes out at the end can turn into a mess also.  If I can’t look back through my work and see what I was clearly thinking or the direction I was heading then I get lost, and if I’m honest, bored out of confusion.  This is something I may have to abandon.

Joseph_Mallord_William_Turner_-_Snow_Storm_-_Steam-Boat_off_a_Harbour's_Mouth_-_WGA23178

We were shown some work by Turner, whose light and ghostly paintings are of course a stalwart of landscape painting.  I thoroughly appreciate his work, but for me there’s something gritty and real about a landscape.  What you’re looking at before you has edges and lines and sharp bits and rough bits and all the other bits that make up the view as a whole.  I personally believe that to wash over this does the landscape an injustice.  Yes, Turner’s work communicates a power (particularly the seascapes and stormier ones) but I think there’s something so important in the detail.

There was also work from an artist who photographs the landscape as he sees it, warts and all.  Often this includes bins, rubbish, bits of plastic and other litter that usually covers part of what you’re looking at.  The burnt out car in a lay-by in a conservation area or the overflowing bin.  David expressed that what we choose to leave out is just as important as what we leave in.  When we take photographs we use the viewfinder to find the ‘perfect’ picture, or what we perceive to be the best bit of whatever it is that we’re looking at.  With photography this is interesting as it’s something I’m passionate about, and these decisions are ones that I make regularly.  When I’m out and about taking photographs I often find myself photographing the ‘unseen’, or the unsightly things, or the bits that nobody else is looking at.  In much the same way as a family photo album doesn’t have pictures of you crying because you fought with your sibling, or the time you broke your arm.  It’s what we choose to keep in or keep out and the decisions that get us there, and those decisions are important when documenting the landscape.

We were also shown work by Ansel Adams (I’m a huge fan), which to me are more about the reality of the scene.  They’re real and powerful and awe-inspiring images, and personally I think these come a lot closer to expressing the sublime aspects of nature than a Romantic landscape painter.

Adams_The_Tetons_and_the_Snake_River

Type Hunt

Today we were sent on a type hunt!  We met in the centre of Cardiff with Olwen and Paul and were given our tasks for the day.  We split up into several smaller groups and set off around Cardiff to find examples of interesting typefaces.  I was in a group with people who weren’t from Cardiff, but luckily for me I’ve lived here all my life so I had a good idea of where to look!

We started off slowly but then as we explored more, looking at the ground and the walls and places up high that you wouldn’t normally see, we started seeing a lot of interesting typefaces everywhere.  I found the day really enjoyable, and it always feel good to notice the smaller things that you’d never normally see just by looking a little harder.  There are obvious things to look for such as street signage and those more obvious places to look, but I found the most visually interesting ones to be the ones that were more hidden.  After learning about type specimens and the origins of different typefaces and families of type, it’s interesting to see how and when they’re used.

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