SArchibald-WrightArt

Make sure to attend curation group meetings  How to cost + value work - value and aesthetics Price = cost + value  Costs = materials and studio bills  Value =  Qualifications years of professional experience exhibitions publications  whether artist is local, national or internationally recognised Daily rate of pay Important to consider the commission taken by seller anything form 30% to 90% Whether Tax is added VAT currently at 20% Important to remember the possibility of works price rising costs could include - material price increase, transportation and gallery admissions. Value may include - confidence in artist increases, demand for work, better galleries and critics and death. Degree show work price max £1500 and no lower than £100 - make sure to cover all costs endured otherwise be losing money   Cover costs and time taken to complete work If the artwork costs £1500 to make charge at least £2000 Calculate what i want from the sale - costs + value = base p

When i registered my interest in Broomhill Nation Sculpture Prize i initially intend to submit a tree in metal but soon realising that i wouldn't be able to finish it too a high standard. This left me with a competition i had paid for but nothing to submit. I had been thinking about presenting upturned tree roots however the possibility of sourcing one has proved to be rather difficult and i have since steered away from this as a possible venture.  Not wanting to not submit anything at all i have decided to submit the piece i intent to make for the degree show. Weighing up the time i have to make everything means highlights that there wouldn't be enough time to create a brand new sculpture as well as making my degree piece as well as other works. For the submission i had to decide whether i was going to somehow make the vitrine water proof or if i could submit the ivy itself and maybe incorporate it into a new sculpture or straight into nature itself. after evaluation i

Documentation on social media- will mostly likely by Instagram, not the most professional platform as more used throughout the making process but easiest way to introduce audiences to my artwork Website used as a more professional platform, including more completed works  If i cant take professional images myself then its important to not risk poorly taken photos and get a professional to document completed works  Important to be more selective into what is included in my research file, maybe don't include failed attempts and irrelevant information Must include landmark changes - important to pinpoint changes that have an influential impact on the work i currently create Important to reflect on whether i have graphic design skills, could i possibly collaborate with a graphics student or even ask for advise  Need to think about whether its right that it should be printed - if so how should it be printed, a hard back book or bound, what suits my work best  There is a feeling

In a lecture there was mention about travelling abroad to further my studies, residencies or jobs. This planted a thought into my head, do i really want to be settling down right away? I knew my answer straight away was no. Travelling being something i do in my personal time often booking flights last minute with no knowledge of where i am staying and what i am doing there, often to just wander around and come across anything of interest. i thought i may as well travel now while i have no responsibilities or anything holding me back. Still wanting to teach as a future career i thought that i could possibly combine both prospects together and look at possibly teaching abroad. This way i could see the countries i wanted to while still gaining a qualification and experience in my future career. It also meant that i would be saving money rather then spending it travelling meaning i would receive a wage. This option seems the most suitable for me. I am someone who often gets bored quickl

Degree show proposal in by Monday - think about what room would best suit my piece. Also am i interested in free range? - will i have time after graduation, what are my plans? Must select photos for degree show publication, send high quality images - will be using professional images taken of ginkgo leaves, select white and black backgrounds No more than 200 words for publication must be in 1st and 3rd person  email both images and text to TESSA BY 22ND MARCH 5 PM Need to continuously revisit national sculpture prize and evaluate how my work could possibly fit into a sculpture park or would i need to make an entirely new piece. www.a-n.co.uk about insurance should revisit prospects website - job generator check travel websites into teaching abroad, funding and company  Remember DIALOGUES - modernity and technologies  STRATEGIES - residencies and placements 4TH APRIL Notes in note book pages 5 

Collecting natural materials around this time of year has proved to be more challenging than anticipated. It only becomes apparent that the woodlands are extremely bare when walking with a purpose for looking for inspirational materials. The materials that provide me with the most curiosity are often the plants that are green, in a sense looking 'living'. At this time of year the only green is from evergreen plants, thus resulting in the large collection of ivy i have collected. I am continuing to press my plant material yet with the ivy the thickness of the stalks would make it extremely hard for me to press ivy at home. Instead of relying on an industrial pressing machine i thought about coming up with a new way of preserving the cuttings as documentation. Examining the vines drew me towards the larger leaves thinking back to the ginkgo leaves i made last unit. With this in mind i thought why not cast the whole vine in bronze instead of just the leaves themselves. I plan t

Before starting wall to wall i didn't really know how i would be attaching the fabric to the wall. I had initially thought to attach the fabric using velcro and then on the wooden walls attaching with nails. To produce the draping i thought by using these attachment i could create drapes natural. . When i was allocated a space i found that i would be working primarily on the natural walls which meant that i wasn't able to use nails to attach my work this meant i had to use velcro. Attaching the fabric on it proved more of a struggle then i first thought.As i began working i wound that the velcro held but it was hard to see exactly where the fabric was falling because there was so much of it, this lead me to using masking tape as a temporary fixture. By using the masking tape i could see where the fabric was falling before adding a more permanent fixture of velcro ( permanent as once the velcro was attached to the material it would leave a sticky residue).  I soon rea

Although my own work doesn't reside with figurative sculpture i thought it would be an interesting to see how others view the work of Frink and what they think of using bronze as a medium in the modern day. Not only this but i thought it would be a great place to talk to people outside of university who all have an interest in sculpture and most likely are sculptors themselves. As well as this i recently visited Humans and other Animals exhibition at UEA, by going to this lecture it will hopefully give me and wider understanding. What does it mean to make figurative sculpture?  Pilkington traditionally uses modelling clay and plaster to form her sculptures, she enjoys making through touch and seeing the work present itself through her labour Pilkington uses domestic spaces as her gallery space - feeling of making at home using the things around her as inspiration to incorporate into a piece.  plinths shouldn't be just a plinth, its important to play around with the spac

I have been keeping up with my flaneuring and walking in nature. I have been collecting natural material that symbolises my fascination with the particular form. Sourcing these materials for research purposes has resulted in me having a vast collection of material that is wilting and fading. The wilting of the plants indicates its loss of purpose.  How could I obtain its living aesthetic even after it dies? Pressing the plants has become a form of documentation, sustaining my curiosity in an object. i really like the aesthetics of the forms and could possibly used as a piece of artwork..  Previously i was looking into tree roots, with that i then thought why not start exploring roots of smaller plants that  i can press and examine more closely. The below is some of the best pressed plant roots that came out. I scanned the plants on the printer which has resulted in the plants looking dark and out of focus. The purpose of the scans is purely for documentation but i plan to preserve

With wall to wall coming up i decided to go and look at possible fixtures i could use to attach material to the walls. I wanted to find something that would contrast really well with the fabric i had ordered. Having the soft draping fabric matched with chunky industrial metal to give a strong and interesting contrast. I went shopping and documented possible fixtures which i can hopefully pair with fabric once it arrives. By doing this i avoid buying anything that isn't going to match and i know exactly the aesthetic i'm going for before installation. I really like the aesthetics of the hooks, im thinking that the brass hooks would be better the the silver however the contrast with the silver and brown fabric might also work. Something to explore!! The cable ties might also be good to bunch the material for draping. All these different methods are something to explore.