Reflections On My Second 1-2-1.
I had my second 1-2-1 tutorial on the last Friday in January. After the first tutorial, I was excited to see where this conversation would lead and what I would take away from it. These check-ins feel like a valuable pause within the course - moments to reflect, recalibrate, and renew my sense of excitement. They leave me re-energised, ready to push forward with fresh perspective.
I was surprised by how quickly this second tutorial came around. The pace of the course feels relentless in the best way - I’m fully immersed, following my instincts as I navigate my direction of study. At the same time, I appreciate the guidance and insight from Jonathan and my peers, offering just the right balance of structure and freedom. I knew I would enjoy being on this course, but I hadn’t quite anticipated just how much it would shape my practice and thinking, and impact me personally. We’re only into the second term, and already I can see how much I’ve evolved - there’s still another year and a bit to go, and that’s both exhilarating and slightly daunting.
My key areas of focus going into this tutorial were my study statement, which I had put up at the start of January ahead of our mid-February submission, and my initial ideas for the interim exhibition in March. I wanted to explore what might be feasible within that space. My current working idea for the exhibition draws inspiration from the tenement drying greens I grew up around - whether in the back gardens of my parents and grandparents or the communal spaces of various tenement flats. I’m envisioning twine or hemp strung between posts to echo the drying lines traditionally found in these spaces, with my scroll paintings draped over them like household linens. I’m interested in evoking that childhood sense of wonder - running through freshly washed sheets, playing make-believe - while tapping into memory and longing, not just through the paintings themselves but through their arrangement and display.
Key Discussion Points.
Since my last 1-2-1 at the end of last year, part of my research has focused on Traditional Chinese Brush Painting - particularly how its theory and history might help evolve my current practice. One of the key themes we discussed was the Chinese tradition of balance in painting, where blank or empty space is just as important as the areas that are painted. This idea resonated with me, and we explored how it could feed into my own work - for instance, considering how negative space can allow viewers to project their own interpretations, feelings, and memories onto a piece. It ties into the way we experience memory and dreams; often, we struggle to recall every detail clearly and instead rely on others to help us fill in the gaps. I love the idea that, through this approach, my work could invite people to complete the picture in their own way.
Another aspect of Chinese Brush Painting that stood out to me was the idea that these works traditionally have no single focal point. Instead, they are designed to guide the viewer on a journey, allowing them to meander through the piece in their own time. This really intrigued me because it contrasts so sharply with the way I was taught in school - that paintings should have a focal point to direct the viewer’s eye. If I want people to experience my pieces in their own way, then perhaps there shouldn’t be a set focal point. Instead, each person might find a different entry point that speaks to them, making the experience more personal and fluid.
We also touched on my experience with using an ink stone rather than bottled ink and the difficulties I’ve had in achieving the depth I want. Jonathan reassured me that most people today don’t use ink stones and that I shouldn’t worry if I decide it’s not for me. This led to a broader conversation about materials - how experimentation helps me refine what works best for my practice. For example, I’ve found that coarse, hard brushes allow me to achieve the textures I want far better than smooth, soft ones.
Another fascinating topic was the tradition in Chinese painting where collectors, viewers, or owners of a piece would add their own red seal to the work, marking their presence in its ongoing story. This idea - that a painting continues to evolve as it moves through different hands - contrasts sharply with how we view art in Europe. I found this concept really exciting because it reinforces the idea that art is never static; it carries an ongoing energy that changes as more people engage with it and also help to challenge some of my anxiety around sharing my work.
This discussion naturally led us to the idea of translation - how art can bridge language, cultural, and geographical barriers, allowing people to connect through shared emotions and experiences. We explored how this relates to my current practice, as my paintings are based on places I’ve photographed throughout my life, whether during a hike, a family holiday, or even something as mundane as a daily commute. My goal isn’t to create a direct reproduction of these locations but rather to translate their emotional resonance, capturing a deeper, shared history that extends beyond my own experience. The theme of translation also made me think about echoes - another idea that I might explore further as my work develops.
Resonant Feedback & Unexpected Insights.
One of the most affirming moments in the tutorial was Jonathan expressing how excited he is to see where my practice takes me. He noted a definite shift in my work, which was really reassuring to hear. This course has been the best educational experience I’ve had - it has completely changed my perception of what learning can be. It has also made me think more about my potential, about what else I can achieve, and how I can continue growing - not just in my practice but as a person.
Challenges & Considerations.
We briefly discussed my biggest challenge at the moment: managing my time and energy. Because I’m enjoying the course so much and constantly discovering new things to explore, there’s a temptation to try to do everything - to see, do, write, and record as much as possible. But I also know I need to manage my own expectations. From the outside, Jonathan said I appear to have been very productive, which was reassuring, but he also reminded me that I need to prioritise my health. If I push myself too far now, the knock-on effects could be worse in the long run.I know that with having Fibromyalgia, I need to listen to my body and recognise when I need to slow down. Striking a better balance this year will not only help my physical well-being but might also teach me more about myself in the process.
Reflections on Feedback.
The feedback from my tutorial reaffirmed that I am heading in the right direction, which was both reassuring and energising. It was great to have my own excitement about where my work is going mirrored by Jonathan’s enthusiasm - there’s something really motivating about knowing that others are as intrigued as I am to see how things evolve over the next few weeks and months.
One particularly interesting challenge Jonathan posed was to explore the idea of balance by working on a more elongated scale - perhaps starting with a height of two metres. This would give me more space to integrate blank areas without feeling as though I’m sacrificing the details and layered textures that are such a core part of my work. The suggestion made me think about how altering the scale of my pieces might change the experience of viewing them - how space, emptiness, and form interact at a larger scale compared to my current dimensions. I’m intrigued by how this could shift the dynamic of the work, particularly in relation to the themes of memory and emotional resonance that I’ve been exploring. My aim is to test this in the interim exhibition in March by creating a few larger pieces at around two metres in height. I think this could work particularly well with the drying green concept, allowing for a more immersive display that shifts how the viewer physically engages with the pieces. This, in turn, could further emphasise the themes I’m exploring - place attachment, memory, isolation, and belonging.
As I move forward, I’m excited to push these ideas further - experimenting with scale, embracing negative space, and refining how I translate memory into form. This tutorial not only gave me new directions to explore but also renewed my confidence in the process itself.
