of
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In the Far Future, Where I Belong was a show organised by myself, Daniel Bandfield, Dan Rowan-Smith and Louis Judkins as part of our second year of BA Fine Art. As a year, we were tasked to form groups and then in those groups put on an off-site show. Dan, Daniel and I joined together
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Architectural elements of works of institutional critique often play a lesser role in the overall impression of the work, therefore the purpose of this essay is to identify how architecture and the uncanny have been used for institutional critique and what effect does psychologically to the viewer. This essay will attempt to answer the question
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Territories of Practice The end of last term culminated in the ‘Territories of Practice’ show, my group ‘Other Worlds’ consisted of Daniel Bandfield, Dan Rowan-Smith, Oli Lyon and myself. The show received a largely positive reaction from our peers, however I was unfortunately unable to attend the event or see my work to its fullest
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I asked my tutor for a short tutorial about my work and my painting, asking his opinions on the pieces I had made and of my plans. Of the painting he explained that the background as it is is too distracting in the image (echoing my own thoughts), that its casual nature detracts from it
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Overnight, it all fell apart. Literally but not figuratively, I expected the tape to fall down as the tension was very high and parts had failed to remain attached to the canvas whilst I was putting the tape on. This break up of the painting is awesome and I love the way the tape
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After creating my clocks piece, I began to see the lines on the faces of the clocks point to each other, forming patterns and shapes. Wanting to explore this, I took some tracing paper and followed the lines to a satisfactory shape that I was happy with aesthetically. Rather than just repeating the same
Robin Leverton 