DISCUSSION NOTES (researcher)
In attendance: Mark Roughley- Lead Supervisor
Borinquen Gallo- TT Supervisor
Gina Dominique Hersey- PGR
Mark Roughley stated that Colin Fallows is out ill, and prior to submission, I should not, as previously instructed, forward my Programme Approval Application form to him. Instead, prior to submission, I am to have one more round of revisions with my supervisors.
Points emphasized included:
-Being clear
-New revisions made
-Reverse order of Research Questions posed
-Ask "How can the exclusionary art historical narrative be reframed?"
-Make sure to state that I am "challenging" the canon of color theory
-Include "post-feminist" abstract painting
-Include personal and political
-Within the literary review, include:
--Color
--Exclusionary narratives
--Abstract painting
--Summary of findings
---Affirmation
---Empowerment of women
-Describe what is found
--Make list an appendix and use space to write an Introductory paragraph
---painters
-Clarify the methodologies in 4 bullet points
1) Artists writings format
2) Literature review
3) Auto-ethnographic- weekly art based self-study
4) Interviews (surveys?)-qualitative analysis
-Attach images of my work and studio in appendices pdfs and add as links
--Appendix A-list of Abstract painting techniques
--Appendix B-Color Theory time line
--Appendix C- examples of skin tone charts
--Appendix D- pics of my works in progress&studio
--separate Bibliography pdf file
--add process blog link to the above, as its own
Supervisor discussion notes
~Agreed action points (to be completed after the meeting)
~Revise, then within a few days, re-"share" Programme Approval Application form via google drive.
Discussion notes (researcher)
On Friday, 21 January, 2022, via zoom, Transart Supervisor Robyn Ferrell and I met for 75 minutes. We discussed my recently submitted Programme Approval Application, as well as my new studio work...7 more acrylic paintings on canvas or linen and twelve 12 x 12" acrylic on paper.
Supervisor Ferrell and I specifically focused on how I might proceed on the paintings, now 30 total. She suggested they may be now be complete, but acknowledged I will know that when they are. We looked at past work on my website, and she suggested I consider making a second canvas and possibly, for some existing paintings, also a third...similar to how I approached my "Pink Drishti" portfolio.
That is, I keep these new gestural canvases as they are and, to resolve them, make a geometric abstract canvas to pair with, i.e., as a diptych. And/or to complete some, that I consider making a second or third canvas using a "color field" painting approach, i.e., gestural canvas, plus a geometric canvas, and a color field canvas...all within a triptych.
She thinks using this approach instead of what I was considering, which is to complete these canvases by drawing in pencil on top of the gestural brushwork, then paint with acrylics geometric shapes...either circles or squares...in a line or grid-like fashion...how I made my "Luminious Matter" portfolio, means that I will not loose too much of the energy and information the gestural canvases now contain.
In all instances we discussed and imagined the "graphics" or shapes and colors being borrowed/appropriated from popular online or print advertisements of skin care products, i.e. that directly or indirectly reference "The Fitzpatrick Skin Type Scale". We both agree and like the popular cultural references as an approach for the next step, as it covers "race/ethnicity" and the codification of gender aims of my thesis project...as well as being 21st C. culturally specific.
Supervisor discussion notes
Agreed action points (to be completed after the meeting)
Once it is published/available, read Neal Pearson's "Mission" text.
Prof. Ferrell also suggested that I might investigate the various skin tones of Renaissance paintings...that is, in "Pre-colonialized" Italy, which I will do.
