Self Appraisal

Birmingham Institute of Art and Design

School of Art
BA(Hons) Fine Art
Level 4
Student:
Ben Chandler

2
Module:
Establishing Practice

Tutor:
L. Hewett & Y. Hindle

Date of completion:
16/05/16

Orientation: Outline the imaginative explorations and technical and practical developments in your work in this
module. Has the context changed or developed?
Entropy was my final decision, yet Semiotics and The Self still featured as minor aspects of my modules development. My test
pieces closely represented my research into Entropys order to disorder to equilibrium process by use of paint (for its properties
to spill and spread out) -and more importantly- charcoal (as a metaphor for life forms and for its tendency to crumble into jagged
fragments). The paradoxes and conflicts from this process are displayed in my charcoal rubbings, prints, and modernist painting
response. My abstract photography and spontaneous writing explored, in a more personal manner, the void, both the end point
of the universe and where lost layers of meaning about myself reside. The initial process-based works of entropy produced
simple end results that quickly became unfulfilling, therefore I revaluated my approach to the theme to accept autobiographical
content and the entropy in different stages. Key culture milestones such as Minimalism and Stanley Kubricks 2001: A Space
Odyssey shaped my art both physically and conceptually, from process-based prints and markings into large sculptures.

Appraisal: Review and analyse these advances. How have these informed and developed the content and
meaning of your work?
The core (unchanging) visual point of my theme was Carbon in the Charcoal I used, for it makes up all living matter and art we
make, it also connected Entropy to myself and the overall human condition. I went on to investigate it in a more personal way by
constructing three monolithic sculptures that represented: the monoliths in 2001: A Space Odyssey but in a state of vulnerability,
my paternal lineage of me and my father and my grandfather, and recent events regarding their health. The angle of these
monoliths were done to not only resemble my charcoal pieces being grinded into the paper I used, but also demand physical
presence to show a struggle with dealing with my fathers Parkinsons diagnosis, my grandfathers Cancer and his old age.
These multiple established meanings all connect to the Carbon being grinded down into powder, this represents the
inevitabilities within life on any scale. Placing each of these sculptures side by side with one slightly behind the other also
highlights our resistance against universal forces and a segmented life span we all inherit.
My photographs were captured first and contextualised later to allow open readings. They can be seen as realms where one can
simply admire the visuals or interpret it deeper as final moments of a closing void or other worldly orbs and landscapes. My
hybridisation of different conceptual threads lets these images present something that may appear null yet asks a thousand
questions. My writing is more semiotics-based by posing as fragments of me that possess lost layers of meaning that reside in
the void; they require investment or research to achieve understanding. My practice got more autobiographical by taking aspects
of all my influences and forming a combined comment on myself, my heritage, and the human conditionor at least I eventually
admitted to it all being autobiographical.

List of skills acquired / developed: in relation to the module learning outcomes, identify the acquisition of
particular practical, technical and intellectual skills.
Choosing Charcoal, Poster paint, Acrylic paint, MDF, Styrofoam, and sound were chosen with their properties being identified as
fit for function. All paints were chosen for their surface finish and viscosity, examples being the poster paint for its weak viscosity
in order to spread, and Matt Dulux paint applied by foam rollers in attempt to remove brush marks and the artists touch.
Technical support in the workshop allowed my designs to be made with accuracy with large machinery I cannot use. Such
support advised constructing my monoliths with large MDF panels with mitre joints, allowing them to be easily cut and fused
together. Making my sculptures hollow made them easier to transport, only requiring one person to pick them up. Choosing
Styrofoam for my Islands of Order sculptures allowed more control for sculpting with sand paper and a Rasp, and their light
weight eased their transportation. The editing suite allowed me to experiment more with Adobe Premier and construct a sound
piece to work in conjunction with my final sculptures, which should enhance their presence.
Regular and thorough investigation into research and exhibitions helped me understand more about the theme I chose, the art
movement of Minimalism, and other texts that fuelled the form of my work. It highlighted what had already been done and how I
can develop my work to be more independent and mature. Ronald Bladens Three Elements aided my decision in making three
monoliths of different heights to show a process, instead of mimicking his monolith sculptures that show repetition, whilst both
our works still suggest imminent collapse. Regular internal criticism helped me rethink about how I want to explore my theme
and make work that is sophisticated enough to stand up against the complex nature that is Entropy. Using a weekly timetable
divided into 30 minute segments allowed me to know and order my tasks realistically in order to use my time efficiently for
different areas of my practice, be it: art production, research, tutorials, visits, or tasks from other modules. Having this timetable
reduced time being wasted from hesitation and uncertainty of what to do, it has helped me strive for a more enhanced rigour in
my time management.

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