Tutorials with Sinta Tantra: 4/3/2021 & 19/11/2020

Self Portrait: Studio Photograph drawing awareness to physical and mental anguish, to use for next molten metal painting.

Tutorial with Sinta Tantra 4/3/2021 (and incorporating Tutorial 19/11/2020)

Back in November, I had my first Tutorial with Sinta (apologies for late entry) and we touched upon topics (below) around Claybus which were also discussed briefly today (4/3/2020) but due to hip problems I am putting Claybus on the back burner for the moment but will still commit to some research but my main focus will now be my own personal practice around painting/metal works and possibly sculpture:

Claybus discussions:

Claybus as a business and ways to connect with and building a community for Claybus.

Create a business structure/statement/manifesto.

Create a blueprint for Claybus and think about partnerships or a franchise,

UK tour of Claybus

Claybus Youtube channel. Sinta pointed out she thought I hade the right attitude with regards to personality, presence and passion.

Alternative forms of funding rather than funding from awarding bodies/councils, patron page/sponsorship/wish list, podcasts, bartering,

A collective way of promoting Claybus/Ideas of identity

Identity needs to fuse with the community of Claybus. Turn Claybus on its head, Really get to grips with all possible directions Claybus can go in and discovering the bigger thing that Claybus is/has potential to be.

Research new ways to make Claybus sustainable, think about material choice.

Eco friendly ways to engage and build a community/following.

The main point is to be build up the Claybus Community.

Why am I doing Claybus: Its good for mental health for starters.

Personal practice:

The main points of discussion today were based around my shift in direction for the MA. This is due to problems with my hips and not being in a physical or mental position to engage fully with Claybus. It is not a complete shift as my proposal at the beginning of the year also incorporated developing myself as an artist and the desire to expand on my personal practice with in depth research to materials and rationale around my figurative, head and fragmented body part images. This has been discussed with Anya both at interview stage and more recently and was also echoed today with Sinta with an emphasis on Why the body? Why my body (when used) ? What do you want to say about the body? Research into the body has already begun, starting with looking at the history of anatomy from the dualism of art and science to liberating the criteria of the body and art in Burne Hogarth's "Dynamic Anatomy" and William A Ewings book "The Body": "Photographs of the Body continue to deeply stir passions, cause controversy and compel interests in all levels of society. The Body is a true reflection of this fascination - and an exciting and provocative record of the cameras infatuation with the human figure. " (inside cover)

"Whether their motives have been scientific, aesthetic or political, photographers continue to find the human body a subject of infinite potential." (p30)

My next piece of artwork will be based on the image at the top of this post, to reflect my continued desire to draw awareness to mental anguish and to now encompass a more (personal included) physical anguish and chronic pain suffering.

I have started to look at the work of photographers like Antoinne D'Agata and Bill Brandt and Sinta suggeted looking at other painters such as:

Chuck Close

Arthur Fleischmann

Jenny Saville

Egon Schiele

and the work of Swiss sculptor Alberto Giacometti who was also a painter, draftsman and printmaker. Beginning in 1922, he lived and worked mainly in Paris but regularly visited his hometown Borgonovo to see his family and work on his art. Giacometti was one of the most important sculptors of the 20th century.

Sinta also suggested that I investigate why I am using metal more closely and after discussing my current health problems, that I look at the work of Matisse that he created from his bed when he was also of ill health. This and any other artists work from being bed bound.

I found my discussion around Claybus and personal practice with Sinta extremely helpful and very encouraging. And overall I considered Sinta's approach humanistic, putting me at the centre and encouraging self development.

Sinta was also very encouraging to considering more sculptural pieces especially easily malleable wire given my lack of physical abilities, to which I agreed.