Summary of First year at Cardiff Met

This year has been really fantastic and I’ve been able to develop my practice to a more confident point. As well as creating over 100 blog posts that have made me more comfortable to show and talk about the work I produce.


In the first term it was difficult to get the ball rolling on the Inside/ Outside brief while also trying to get used to a new place and moving away from home. The workshops in the first term were a fantastic way of helping to settle in and begin thinking about what I might create. My first thoughts were to follow a more abstract line or enquiry that explored the layering of ideas and paintings and thought about Inside/ outside in a more 2D way. As the term progressed and I was exploring the works of other artists such as Hepworth and Kandinsky I started to get braver and tried out a few new mediums. It was during this exploration period that I began the continuous painting that has really pushed my thinking and is something I would like to come back to in the future.

During the third term though I had a massive shift in ideas, which I think had been because of an increase in confidence through the field module. I then began working very quickly, with ideas and thoughts moving and developing towards the work I finally produced. First there was the body, which I later decided wouldn’t be enough for me to feel satisfied with showing it. It was after a long discussion with my work that I stumbled on the ball of light and the work of Jessica Drenk which has massively influenced the pieces I have shown (mirror and hat stand).


The field module was incredibly important to my personal development as I now feel more comfortable within the university as well as comfortable with the thought of collaboration pieces. I was lucky to have a positive experience with both groups the first producing a video showing the city we live in, and the second an installation that explored a sensory experience of Llandaff cathedral.


Jessica Drenk

Seeing the work of Jessica Drenk has really inspired my hat stand piece; Drenk uses everyday objects and turns them into something very beautiful. I don’t think that my ideas have quite evolved enough yet to produce something like her work but I can see my work moving in a direction that will incorporate man- made objects and giving them a refreshing new appearance similar to Drenk.

Ball of Light

While exploring the idea of other worlds and doorways into them it easy to go for the literary side to look for the want to escape to other more exciting worlds like in The Chronicles of Narnia or cinema and the adaptation of treasure island into disneys treasure planet. However I managed to stumble upon the photographic work of Denis Smith:


” The Ball of Light is created in a single exposure by swinging lights around. There is no “Photoshop” here at all. It is super challenging, and certainly adds a new dimension to long exposure photography.”

In the documentary Smith talks about people creating stories about them or how  stories evolve through the process of creating the images. As well as the idea of them being a portal into other times; creating a link between past and present or even between worlds.

I think these are really unique and awe inspiring. Giving something new to the landscapes and photographic shots we are used to experiencing.

J.U.S.T.I.C.E animation

Directed by jonas & françois – a French directing team who work on advertisement and music videos.

The animation over the video is something that I might look into. Maybe be creating a drawn or painted layer that covers part of a camera image. So people could walk up to the piece and see themselves with the drawing on top moving. The idea being that people would be able to see “their own” heart beating or brain, or even muscles changing as they bend and flex.

If I couldn’t work out how to digitally create the overlay I could create a still image on acetate that people could stand in front of.


Janet Cardiff and George Bores Miller

After Watching this in the big question I could help but want to see more:

The shift between phone and reality was odd, but not uncomfortable. Something that is tricky to achieve, watching it felt like a moving illusion. I could imagine a sort of inception being created with this piece. With this form a melting of time is created as a visible shift between the tenses unfolds. The video itself is very calming, giving time and space for the audience to think about what it is experiencing. This also gives a melting of memories, through time, and distorts what we know was present for us and what was not.

I don’t believe that I could incorporate this into my work at present, but this is definitely something I want to keep in the back of my mind if I need something to explore.

Gillian Wearing

My grip on life is rather loose! Gillian Wearing









Gillian Wearing’s photography interests me because of what it has sparked through the media. Although from the 1960’s they have a timelessness. The photographs above are from her  Signs that Say What You Want Them To Say and Not Signs that Say What Someone Else Wants You To Say collection but on the social campaigning of the internet this format is being used more and more frequently to send messages and gain awareness. A way of putting a face/ identity on to a social campaign, making it more powerful as we are focused to look into the eyes of the people campaigning.


feminsert1 from wearing
























Walter De Maria, The lighting field

Catron, U.S. 60, Quemado, NM 87829, United Stateslightning_field

I’m not sure why but this piece struck my attention (no pun intended). I think it might have something to do with the unpredictability of nature and how man continually tries to manipulate it. May no have much to do with my project path at the moment, but gives something to think about: wonder what the lightning would have struck if the pools hadn’t been positioned there.

walter-de-maria-the-lightning-field-1977-61 walter-de-maria-lightning-field-filed-demaria-marie

Something I didn’t know:

Does lightning strike from the sky down, or the ground up?

The answer is both. Cloud-to-ground lightning comes from the sky down, but the part you see comes from the ground up. A typical cloud-to-ground flash lowers a path of negative electricity (that we cannot see) towards the ground in a series of spurts. Objects on the ground generally have a positive charge. Since opposites attract, an upward streamer is sent out from the object about to be struck. When these two paths meet, a return stroke zips back up to the sky. It is the return stroke that produces the visible flash, but it all happens so fast – in about one-millionth of a second – so the human eye doesn’t see the actual formation of the stroke.

Also a symbol of natures dangerous beauty are the photographs of peoples scars after being struck by lightning: