DISCUSSION NOTES (researcher) Supervision meetings 12 & 13 Notes- 13 May 2022
Friday 13 May 2022 LJMU Supervisory Meeting Notes
Attending on Friday 13 May from 10-11 AM EST:
Lead Supervisor Mark Roughley, TT Supervisor
and LJMU PGR/TT practice-based PhD candidate Gina Dominique
Attending on Friday 13 May from Noon-2PM EST:
Transart Supervisor Borinquen Gallo
and LJMU PGR/TT practice-based PhD candidate Gina Dominique
Mark and Gina met first and discussed eDoc issues re: "Project History" and "Training Record" overlapping, but not mirroring one another. I will report back to him after my scheduled May 19, 2022 meeting with Victoria Sheppard regarding clarification, where to enter what on eDoc.
We also discussed my updated praxis work, specifically the addition of "intermediate" painting applications and the color scheme. I noted that during one of Robyn Ferrell's and my supervisory meetings earlier this year, I vacillated between an approach to this intermediate phase...not sure if I should go for a scientifically based color palette, or one inspired by contemporary make-up/beauty product palettes. Without hesitation Robyn said the contemporary make-up inspired palette, so I went that direction with it.
Mark shared pics of his and his teams use of a primary palette to create skin tones on their digitally reconstructed facial models. We discussed my upcoming July travel to LJMU/Transart residency. Mark stated he has reached out to one of the LJMU print professors, regarding a printer that can might work on paintings...with "paint-like" inks. They stated no printer in the shop works like this. So they are looking into a printer that may exist and be made available to me during the 2nd week of my 2 week LJMU-Transart July residency, via Manchester University's print studio.
THEN, DURING MY AND BORINQUEN GALLO'S NOON-2PM EST meeting, we discussed the following:
Borinquen gave me a lot of positive feedback and encouragement re: my updates (or intermediate phase) of my current series of paintings. Among many more remarks and observations, all of which I really appreciate, she stated that at this stage the paintings appear to have:
1. Something of a Pre-Raphaelite color palette. (I told her that Robyn had similar reaction, and stated that I might investigate those as well as Italian Renaissance painting skin tone palettes.)
2. It is a good thing that I am in the midst of so very many canvases as it keeps me from over-working any one of them. (haha)
3. Two distinct and dynamic "layers" that create a sense of depth-of-field and richness.
4. And while creating this multi-layered effect or approach, I am so far, able to maintain very energetic, fresh mark-making.
5. A uniquely abstract gestural approach to identity-based art. In this way, she sees that it "adds to" (if not updates) many of the assertions (if not complaints) made or about by the male-dominant mid-20th C. AbEx painters works...in that this work is clearly immersed in the larger contemporary cultural dialog re: color, race, gender, etc.. Whereas almost all of the work by contemporary artists (she named several, specifically artists of color) currently dealing with these very issues, all within her awareness, have a similar "figurative" approaches...either painting very naturalistic/realistic figuration, expressive figuration, or abstracted figuration modes.
Borinquen also generously outlined an approach I might adopt to writing my Thesis/Dissertation. She asked me to set up a shared document via Google Docs, where I outline and eventually write my thesis. She suggested to begin with, it include these categories:
1. Introduction-Personal narrative…state how I became interested in my subject/project topic. Include top 3 research questions…outline them. To answer these questions state that I undertook an art based self-study consisting of …here describe my process of making of the paintings. (I.e., Liminality-PAINTING AS A RECLAMATION PRACTICE…creatively occupying the "negative space" or "erasure"…IDENTITY POLITICS and abstract painting…reference Helene Cixous’s encouraging women to “write with white ink…in-between the lines…essentially in the negative space. Connect that to artists like C. Sherman, flipping the script…being the artist and the muse, and to Rachel Whiteread’s practice and work, which is to cast the negative space…)
2. Methodology-articulate more clearly and with more detail, my methodology
3. Literature review-as per Robyn Ferrell, arrange what I already have into different topic categories…they may become the chapters
4. Data Collection- To create my thesis, weave together or triangulate these three categories of data collection:
a) Literature review
b) Praxis and journal notes about my process/thoughts/evolutionary
process
c) Interview notes on abstract painters processes, practices, literary
reviews…conduct them
5. Data Analysis-categories that may become the thesis/dissertation’s chapters…Borinquen’s notes: Data Analysis - you will articulate categories/themes/chapters of the book here…this is where you will triangulate the data collected from both your data collection you will let us know what it means and fold in related literature and quotes from both your studio journaling notes/ and interviewees quotes of both other artists (and yourself)
6. Findings- (7-10 are likely)…Borinquen’s notes: “what emerges from your data analysis - what did you discover?”
7. Conclusions… what these findings mean for the field at large - and based on this findings I offer recommendations…Borinquen’s notes: “…And in conclusion - re-summarize the findings, and state what do these findings mean for the field at large - and based on this findings you can offer recommendations.”
8. Recommendations
Agreed action points (to be completed after these May meetings)
Gina, Mark and Borinquen established the following action points:
1. May 2022-
a) Create and share the outlined above google doc.
b) Attend the next and final "required" Transart Intensive, completing the pre-session assignment.
c) Complete TT CRJ/blog posts and eDoc summaries, and Intensive follow-up notes, etc.
2. June-through remainder of PhD-
a) Continue my praxis/painting development by experimenting on the dozen "test" paper paintings that I have been experiment with. Specifically, use the lines-of-squares stencils that I ordered and received.
b) And, equally important, going forward, JOURNAL about my studio praxis/processes and thoughts immediately after each of my studio sessions. (I relayed to Borinquen how I do maintain this very practice following all of my supervisory meeting notes. It helps me summarize the main points, details, as well as capture some of the meetings' nuances or spirit.) I really appreciate BG's suggestion for me to do this after painting. If she's suggested this previously, today I heard her, and I can envision why it will assist my thesis/dissertation writing.)
c) Meet for two previously scheduled Supervisory meetings:
One: Mark and I, Gina have a Friday, June 10 meeting scheduled at 10 AM EST
Two: Robyn Ferrell and I will meet again on Wednesday, June 15 at 5 PM EST
d) Apply for and obtain LJMU permission to conduct interviews.
e) Construct an interview outline...write 3-5 questions
3, July- Attend the on-site LJMU-Transart residency in Liverpool
4. Fall 2022:
a) Finalize list of interviewees
b) Schedule interviews
c) Conduct interviews, of 2 or 4 female abstract artists who also use self-identifying color in their/our work, as well as of myself (today, independently of one another, both Mark and Borinquen emphasized this!)...making sure that I use the same:
-Set of questions
-Time keeping method
-Amount of time to asking/answer each question
-Recording device
-Method of transcription
-Method of analysisConduct interviews of:
d) Work throughout each month on organizing and re-organizing my thesis/dissertation outline, my chapter topics, sorting my literary review, etc.
