the first faculty critique results - I'll let you know ALL about it...

     The critique; it went --- surprisingly well. I was both worried and terrified, having only "one" piece to show and a fragmented artist statement that got mixed around and added and subtracted to daily due to the nature of my own personal artistic process.
     I was incredibly nervous (I usually am confident). I anxiously shuffled through my notes while waiting for my turn to present and looked over at Karen, "Um..." I asked cautiously, "Do we have to have and artist statement?" Karen's response was to the tune of: Its our critique, we can do whatever we want to get our concept across. I was relieved. I had a Hockney quote in my hand that I was going to read, along with some selected sentences from my artist statement that express the intent of my artwork. I have trouble writing a full artist statement right off the bat- or a more precise one so quickly. When I first start a project, I have a very vague concept as to what I want the reader of the statement to know and most of the time what I myself understand about the project I am working on. The statement is very important. It is the words the artist uses to guide the viewer in understanding the artwork. The artist can choose where to guide the viewer, if at all. For me, as the days go by, I confidently narrow in closer and closer to what my statement should be. As of now, the project is midway through, and therefore, my artist statement is as well.
     When I hung my project on the wall, it looked lonely. I had envisioned my critique already in my head. I was going to first be scolded on my amount of work, while Karen would then scold me on my printing (which thought was pretty good where conscious contrast decisions were made), Peter would tear me a new hole for some reason (have never really had him a teacher, however, I had seen his reaction (and hopefully it was helpful) to other peoples projects - and I figured I wasn't exempt). I wasn't sure about the other faculty members - but I had a feeling it would not be good.
     I sat on a stool next to my print and began to organize thought in my head as to how I would begin. Karen came up for a closer inspection. "Its stunning," she whispered. I smiled. I beamed. It was the confidence boost I needed, at the most appropriate time. My critique; it went --- surprisingly well.

There were many helpful suggestions that stick out in my mind:
1.] It was suggested that I focus more on MY style derived FROM Hockney, not just making something that is "Hockney-Style". It was suggested I vary my vantage points: Zoom out more. Encompass more of the person than just the front of the face. I agree, and will spend more time experimenting with this. This is a major piece of advice.
2.] I was curious about the seemingly necessary introduction of color. The never was really addressed to my liking, until Barb came to me after the critique and suggested that I try printing in a sepia tone. I am willing to try this. [Stay posted for pics.]
3.] It was suggested to me that I show the passage of time in a different way: to have my father dress in different outfits and collage those images. I thought about it for a minute (remembering that had actually thought of doing this myself), but realized that it was a layer of thinking that I did not want to include in my concept. In my case, I feel that the simpler it is, the more it makes you think. I remember telling the faculty member who suggest it that though it was a good suggestion, it was not my intent. I wanted to capture a "single conversation", and how it was my response to the Kodak Image. (See Below) *
4.] I asked about my feelings to include more of an "enviorment" around my subjects; to include a context from which hints of personality to shine through. In this case, I would have liked to show the cluttered yet organized office of my father. I don't think that idea was received as well, so I think that I am going to stick with the traditional shoulders and head shots.
3.] Many people seemed to respond really well to the black and white version. The more time I spend with it, the more I like it. Surprisingly, I cant remember anyone getting a feeling of macabre. Instead, many students thought it was elegant. (Correct me if I'm wrong....I want to know ALL the feelings it evoked).
4.] A classmate piped up "Thats going to be a great memory of your parents". Eek. I guess.


*I had brought up a point in speaking about my work, that I had considered but never really fully elaborated on until then; it was that this type of art is IN REACTION to Cartier Bresson's "Decisive Moment". I expressed that there will never be a Kodak image of my father. There will never be one image, one view of my father. Different people have different memories of my father, and each one paints the picture of my father in many different contexts. There is not one story that could define the complexities of my father. He is held together by many stories, that make up his IDENTITY, and that build his personality.