Jasmine Roberts Fine Art

ARF605 Negotiated study 2

Statement

Aiming to communicate ideas of the unpredictability and instability of materials, emotions, sensations, transmutation, dissociation and life. I create work in response to the word ‘unstable’ and the ‘grey area’ feeling, as I call it, linked to ‘Alice in Wonderland Syndrome’. It is a feeling I have experienced frequently. It happens when I am lying down, waiting to fall asleep. I encounter an un-life like sensation of unsettlement, unstableness, and transmutation. My world changes between my body feeling huge, on a tiny bed in a tiny room, and feeling tiny, on an enormous bed, in a huge world. Other related themes that I am thinking about are the mind and the body, form, awareness, senses, spatial awareness, and sleep. I Intend to express my interpretations to achieve a better understanding of the grey area by exploring how to convey it.

I like my childlike expression, and the exploration of materials in an uncontrolled way. Focusing on doing and not over thinking. I work in a variety of media, this year with a focus on textiles, to create figurative sculptures. Examining the nature and boundaries of using textiles as a sculptural medium to create a range of figures. Common processes in my practice include moulding, stitching, photographing, videoing, moving, animating, and wearing. My favourite tool would most likely be the camera, as it often gives me a new perspective, and allows me to share my work more widely. Patterns of alternate scale, interaction with work and using photography and film to record and capture. I alternate between black & white, muted and vivid exaggerated colours. Textures can vary from smooth to grainy and glitchy. Utilising light or the lack of to create dreamlike impressions. I have recently explored working with liquid latex due to it having flesh like qualities. Having used dough in the past, I wanted a more permanent version that holds the same skin like characteristics. Using new materials in my practice, having less control and not being sure of the outcome is exciting for me, so I’m constantly exploring new and unusual ideas and methods. My Anti-Show work features my most recent figurative sculptures in outdoor settings close to home and Grey Self work, with myself as the Grey Man.

Name: Jasmine Roberts

Email: jasminejaneyr@gmail.com

Instagram: @jasminejaneroberts @jasminejaney

Facebook: Jasmine Roberts

Fine Art Blog: www.jasminerobertsfineart.co.uk

Grey Self 20.05.20

Grey Self laying on bed covered with a sheet photo experiment with the help of Tom Hughes. 20.05.20

19.05.20 1pm meeting. Oops the meeting was 11am, I joined people having a chat at the end. They said I didn’t miss a lot and informed me of what was said. It was basically a re-cap of things already said. ANTI- EXHIBITION. Outside gallery/exhibition space, try to carve another larger potato. Unconventional gallery space - fridge, oven, bath, sink, bed (under bed), garden… Use dough to make a figure, and experiment with making a small dough duvet, pillow, mattress and bed. Also experiment with baking the dough… Make tiny beds for figures, using leaves and twigs etc… use indoor and outdoor materials together?

Sculpture photograph experiment outdoors 19.05.20

Sculpture photograph experiment outdoors 19.05.20

15.05.20 Tutorial with Paul. Photos for e-publication can be any which represent my practice. Work on a short statement - re wording and refining. 1pm meeting. Press release, getting the show out there. Show, presence, audience, pro active. Alec to talk 6pm 22nd May. #fastantishow. We will all have a certain day to upload full work… A photo or 60 sec video will be posted on scafineart on 22nd.

20.04.20 Ali has posted an example prep-antishow checklist for ANTI SHOW. Monday 4th May Level 4 and 5s will be posting some work. There is an example of ‘anti shows’ in a moodle powerpoint. #fastantishow Where would I exhibit? FRIDAY 22nd MAY 6pm. Send Paul photos before if we want. Garden, Erddig, shed, pathway, side bits, bed, underbed, sofa, under sofa, kitchen, bathroom, electric cupboard.

ARF605

1. My favorite tool and why… favorite material and why, themes I explore in my work, what I like best about what I do. What I mean when I say a piece has turned out really well. What patterns emerge in my work. Is there a pattern in the way I select materials. In the way I use colour, texture or light?

2.Concepts/themes/ideas, process and techniques and influences.

3. First paragraph - begin with a simple statement of why I do the work I do. Support that statement, telling the reader more about my goals and aspirations. Second, tell the reader how I make decisions in the course of my work. How and why select materials, techniques and themes. Keep it simple and tell the truth. Third, tell the reader more about my current work. How it grew out of prior work. What am I exploring, attempting, challenging by doing this work.

14.04.20 Spoke with Ali. Thursday is DOT DOT DIGITAL. Friday 11.30am tutorial with Paul then 1pm group talk - anti show.

150 word statement and photos for the catalog. Questions… do 3-4 drafts, prompt questions and example statements on moodle. Big statement 450/500 words. Not included in the word count is: Name: Email: Social Media: Give Paul a draft page with image layout if we want. 3-5 good quality images (jpeg or tif files). Deadline is 15th May for first statement and 26th May for the big one. Do I want my show to have a title? Send Paul my draft statement.

13.04.20 Make a work plan for this week… post recent images on instagram. Spend 2 hours today on blog. Begin to photograph sketchbook pages etc for blog. Draw up ideas for the exhibition space. What would I show in the space?

10.04.20 Took figures to Erddig to photograph.

03.04.20 11am tutorial with Paul. Sent a link to my blog/website. He said it’s great so far and to carry on with it. He suggested I add commentary, annotate on there. He has seen my photos from this week and said they work well in the ‘ghost town’. Paul thought the cobbled street works really well with the figure. He commented on the repulsive, fossilised characteristics of it. Saying it looks almost deceased.

He asked me to consider the domestic environment and how I can photograph the figures in my domestic setting - the bath, the bed, sofa, garden, cupboard etc. To think of situations, activation of the work/ figures. Push further, interact. Next series? Sent me images of Cindy Sherman’s images to consider. Think of burying the figures etc… Try to make makeshift - cardboard costumes etc. Think of poses. The ‘uncomfortable’ elements. Dough - hanging fleshy dough, dough bath, sink, mass of flesh… Dough in Erddig… incorporate myself with the dough, photograph and film.

1pm Reading/debate group. ‘Almost - nothing’. Introduction. Homage to… meaning? Precarious practice. Precariousness - risk… forefront - daily things… ‘controlled observations’. Boundaries. Ephemeral, fragility, uncertainty. Fleeting moment. - The powerpoint is on moodle. Mention of Kurt Schwitterz - the everyday. Ali said “Beauty of the simplicity”.

Anti - monumental, cheap… letting things evolve, element of chance, playing around with the thoughts of people, insteration/ sharing ideas, importance of archiving, learning process. Fleetingness of the everyday. Almost nothing, insignificance, controlled action, hyper-invisibility.

2 weeks off for Easter, we can still message Paul and Ali if needed during Easter. Group crit 24.04.20 10am. Share our images etc to Paul who can share it to the group during the session, we can talk for 5 mins each. Final submission 26.05.20. Chloe and Ryan mentioned doing DOT DOT TEAMS (DASH) think about themes? Share photos to Chloe for Instagram SCAfineart page. Send Paul images of our models for our ideal exhibition/space etc. Make a model, draw, do digitally. Do a proposal for our show. Paul’s example is on moodle in the creative futures and neg 2 folders. Think about statement and images for the publication.

31.03.20 Spoke with Paul on Friday and he suggested having a group call with him, Ali and I one day. I asked him about applying for the masters and he said go for it… Keep adding to my blog. Practice wise I’m going to make at home/outside as best as I can. I have my sewing machine etc and I plan to try and make figures and costumes. I have some figures and I’ve been thinking where I can photograph them near home. I plan to make food figures too and experiment sculpting with dough. Paul advised I respond to my environment - isolation and lockdown, photographs with figures and new locations. RESPOND in town/ supermarkets (where I’m allowed at the moment). Use bread/dough, gingerbread grey man? Walks with them… potato grey man. Experiment to get back into it. Send photos to Ali by next week so we can discuss them.

27.03.20 Message Ali- she suggested a group chat with Paul, herself and I. Send a link to my blog/website to her and Paul to look over. Group chat @ 1pm. Apply for the MA. Think about the pages for the publication - 100 words ish, 1-5 images. Add NEG 2 stuff to my blog.

 

Slides from a presentation by Paul Jones presentation which particularily interested me 03.04.20

Slides from a presentation by Paul Jones presentation which particularily interested me 03.04.20

02.04.20

There is no video clip yet

13.03.20 Do an interview - talk about my work. (Video or just audio). Materials/Materiality. Ask Wayne if I can use some clay… Find James from applied arts and ask if I could do a little piece with him in metal or do a cast. Ask Colin when the photography studio is free. Ask Tom if we could go somewhere to take photos of me as the grey man and take a figure to photograph. He has a car and lives in a really beautiful part of Mold in a tiny village so it may be nice to try up there. Writing experimentation for an audio clip: Close your eyes. Can you feel/sense the size of the space around you? Think about the scale. How do you/your body feel in relation to the space around you? Consider any sensations or changes in the sense of scale.

CLOSED EYES. SENSATIONS. PERCEPTION OF SCALE. TRANSFORMATION. TRANSITIONING. Grey Area @ Undegun’s 2020 Studio Holder’s Exhibition Jasmine Roberts statement. I created this work in response to the word ‘unstable’ and the ‘grey area’ feeling as I call it. A feeling I’ve experienced frequently, it happens when I’m laying down, waiting to fall asleep. I encounter a unlifelike sensation of unsettlement, unstableness and transmutation. My world changes, my body feels huge, on a tiny bed, in a tiny room and changes between feeling tiny on an enormous bed in a huge world. Which I discovered is linked to Alice in Wonderland Syndrome. Other related themes that I’m thinking about are the mind/the body, form, awareness, senses, spatial awareness and sleep. My first expanding foam experiment which lays on a rusted found bed frame, painted in different tones of grey. In the form of an undefined figure, the ‘Grey Man’. On a plinth at the side of this is a smaller grey man figure. Current work…… Masks - Grey man masks/ head pieces, Sewing machine stuff, sketch book stuff, costume making - outdoor photos/videos, figure making, food figure making…

 

20.03.20 Questions for Paul - Applying for masters, how do I do it? Where online? Extensions for assessments? Postponing the degree show? Should I carry on as is? I cant really carry on as normal as most of my stuff is in uni,.. How can I carry on with my practice? I have my sewing machine, some fabric to make figures and costume. I have 4 cats though so I’m reluctant to bring fabric and things about that they might try to play with or potentially destroy. I have some figures that I can photograph. I could make some food figures, and experiment with dough, and I need to work on my blog/website. I can’t use the darkroom to work on my most recent film photographs. I also lack space at home. My laptop is very slow too, I much prefer working on the desktop PCs in Uni.

 

Latex figure

Plaster figure and wire

Expanding foam experiment

Expanding foam experiment

Expanding foam experiment

04.03.20 Got to Uni around 11am, topped up my printing credits £10. Printed of 4 photos from taking out the huge figure last week. Printed the glaze recipes ready to take to ceramics. Wayne looked really busy though so I’m reluctant to ask him when I can go to do it.

TO DO: -Talk to Wayne about mixing glazes/glaze figures… -Work in library - on blog and print off recent stuff for journal and contemporary bibliography. (Top up printing credits). -Begin another large textiles figure… -Add to journal and convert onto blog -Book a day to use the photography studio -Check if Colin has managed to process the film -Look into sand casting…(masks and figures) Peeled the new sheet of latex off the board, it peeled off easily but tried to stick together a little. But with Gary’s help I have pinned it to my mannequin. I don’t have anymore latex now but I might experiment with these skins for now. Stitching with them to make a figure for a sample for a costume.

GLAZING -Dark grey/black/green/brown (earthy colours) -Light grey/green (fleshy, earthy tones)

-Val’s satin black -Anja’s silky clear -Linda’s saint Johns black -Charcoal Satin -Mossy green -Cassie’s bling -Piepenburg crackle -Clear Stony Matt glaze EG-44 -Black Matt Glaze EG-42 -Stony Matt Glaze EG-128 -Brown Satin Matt Glaze SSG-4 -Opaque mirror black glaze SSG-2 -Black Matt EG-82

1240 Sola Feldspar 54g - Base AM1 China Clay 28g - Glaze Whiting 8g - Add 10g manglaze dioxide Dolomite 6g Zinc Oxide 4g - weighing out in containers

Wayne said he is free FRIDAY AFTERNOON to help me with glazing. BLOG/WEBSITE - Carry on adding to it… Put most recent stuff on too. Use hard drive and memory stick.

03.03.20 (Yesterday I moved my exhibition stuff to the studio in Undegun.) Came to Uni around 10.30am, and spent some time organising my studio space. Colin is yet to do my film - maybe I should email him. I also need to book the photography studio one day. I poured out another latex sheet, once dry I can stitch the two together. I need to plan what I need to print off and to ask Colin to help me print on A2 or A1 as an experiment. I still need to email Karen my films. Go to ceramics and talk to Wayne about the glazes, print out the photos/glaze recipes. Go to library and work on blog. Research artists - Hamza Halioubi, Wavanda and Maria Lassing, body, sculpture, videos, paintings and performance artists. Research further into where the artists I’m inspired by have exhibited and look into the galleries they’ve exhibited in. Had a quick chat with Ali, she asked what I’ve been doing this week and if I have plans for the sculpture park or if I’m just going to react. Colin said he will do my film tomorrow.

28.02.20 1pm discussion in room 21. Intuition -> artwork <->

INTUITION > <>

Questions to get us thinking… What impact does the consciousness of intent have on the process of making?

Slows it… can distract from intuition…

Does prior intention close off other possibilities of the work, with it being too quickly directed toward being finished?

I agree prior intention can close off other possibilities. It can distract you from following your intuition. There is definitely pressure to complete your intention quickly.

When is intent realised (or when does it become known to the artist?) Before, during, or after the work, or some combination of these? Does this sequence matter to the work, to the artist, or to the viewer?

Intent is mostly realised before the making of work. Although I have realised intent during and after making work. Informed decisions, understanding… When the work is made - the viewer - the artwork - the artist. The artist's intention with the work? - reaching an audience. -Intention of the viewer/audience. - inspiration - knowledge - aesthetically pleasing. The intention of the viewer… Gaining knowledge - who would be interested? Intention of satisfaction, feeling, emotion. What satisfaction does my work give? Who would intend to feel like that? Experience it etc? Inspiration - who would be inspired? Or appreciate the materials, or idea of the work... -Intent of materials -Function of a studio book -Context of working in studio than in gallery -The intent of the studio… How do I make my work accessible to the viewer?

Where do the artists I’m inspired by exhibit? Research galleries and these certain galleries in the UK especially.

27.02.20 Took photos of the pages from the book Ali borrowed me. Talked with Sophie, Chloe, and Ryan about creative futures and feedback for staff. Applications, interviews, approaching artists and galleries, getting a job in the creative arts - after uni. Helped Simon in 1st year book the Sculpture Trip. I need to check with Colin if he’s processed the film, to ask Wayne about glazing… finish stitching rubber/latex figure, pour another latex sheet to dry, fix sewing machine, add to contemporary bibliography, and to work on blog/website in library. I also want to research Yorkshire Sculpture Park, what’s there etc and to look more into glazing, Wayne suggested I select colours I want in the book from the library. Tutorial with Karen Heald, she said I can email her too and asked me to send my short films to her to see. She spoke of Hamza Haliobi, Wavanda, Maria Lassing and said I should research them.

21.02.20 Came into Uni around 10.30am. I looked at the photos Gary and I took yesterday and put them on instagram. Paul came to talk to me and asked what I’ve been doing. I explained I’ve been working on the blog/website, some small experiments and I’ve taken the huge figure outside to photograph with the help of Gary Jackson. He asked about the small experiments and

asked me to question what it is I want to achieve by doing them… Paul spoke of creating ‘Latex Skin’ body/figure. I mentioned the idea of taking the huge figure on the trip in a couple of weeks, to work with the suggested connecting myself/ my clothes to the figure.

ACTIVATING, INTERACTIVITY & PERFORMANCE What I make - walk through town. Why large/small sculptures? What does it resemble? Symbolic of a sensation - The artists’ body and the relationship to the sculpture. Talked about going outside with the huge figure and photographing/videoing and even recording the public CCTV footage of me with the work in Town. PM- Gary came with me and photographed/ videoed me carrying the figure through Wrexham & in Bellevue Park. I also took some photos/videos. We then went to Undegun/ The Void and took some more. 1pm (bit late) Lecture, Paul spoke about displaying/presenting for the degree show - presentation will be on Moodle. Collected the plaster mask and found my ceramic figures have been fired so I can experiment with glazing them on Monday.

In the darkroom

Journal sketch

Journal sketch

Journal sketch

Journal sketch

Journal sketch

Journal sketch

Journal sketch

Journal sketch

Journal sketch

Journal sketch

Journal sketch

Journal sketch

Journal sketch

Journal sketch

Journal sketch

Dough Performance Film (incomplete version)

Dough Performance recorded via vhs was my first performance and experiment with a large mass of dough. I interacted with the dough to show intimacy between work and myself. To highlight the inevitable, unstable medium in a raw uncontrolled and unpredictable way. Focusing on the fleshy qualities.

20.02.20

Today I finished stitching the huge figure. Collected my plaster mask from the plaster room, and checked if my clay figures were ready to be glazed. I photocopied the books Ali showed me and 'A book for the living' by a local artist who is studying in Cardiff. I also gave Collin back the camera and cam corder, and asked him to take my film out as I was unsure about doing it properly. 

TONIGHT - DOT DOT DIGITAL (Dot Dot Dash) 

There is no video clip yet

There is no video clip yet

There is no video clip yet

There is no video clip yet

19.02.20

To do: Meet Ali 11.30am for a chat. Work in Studio. Carry on with blog/website. Give Colin camera & cam corder back. Finish taking photos with film camera.

Came to Uni at 10am - the latex figure had dried so I've added the final layer. Talked with Ali, made notes/ took photos, stitched some of the figure and used last shots of the film camera. 

-Finish rubber/latex figure

-Finish stitching huge figure

See if clay figures are ready to be glazed

-Get plaster mask from plaster room

Work with recent film photos

-Photocopy Ali's books for my contemporary bibliography

-Buy a big potato and experiment with carving - then burrying them or just carving?

Think about interactive instillations, places to lie down, or being able to touch/move the figures. Think about presenting the work outside... Meet with Ali next Tuesday @ 2.30pm

A carved potato by a foundation student on Ali's desk

13.02.20

-Start blog

-Finish Eisteddfordd open applicationand send

-Update CV

-Send Marja the bit of text for the project brief

07.02.20

Uni @ 10am - Paul to talk to us about our creative futures module. Talk/write about the curating of my Undegun work, talk/write/reflect - exhibitions/talks etc. Do creative futures on a blog - wordpress/blogspot etc. CV - look at other artists CVs (on their websites). What am I going to do with the big figure... Ask Julie Rogers about DVD artist from Undegun, send her a message. Keep looking for oppurtunities and exhibitions etc. 

05.02.20

Arrived at 9.30am to the studio. Pulled resin model out of latex mould. Then I poured expanding foam into the latex mould without realising they would bond together. Avery costly mistake as the latex mould took vnearly 1L of latex and 2 weeks to dry/set. I did another small expanding foam experiment - a cast from the plaster model. Then another small resin sample. I peeled yesterdays thin latex layer off the plaster model too. I then took the plaster model and one of the card masks to hopefully use the vaccume cast machine to make casts of them. The plaster one came out great. Howard suggested packing it with clay to make clay models. Howard and Wayne said I could go to the workshop again after lunch. 

After lunch Wayne gave me a bag of clay and said to spray some oil into the vaccume mould so the clay slips out when done. HE said it'd be best to not do the back completely flat as the thickness may cause it to explode in the kilm. I did 2 full thick figures then 7 thinner versions. Wayne said they'll be where I've left them or in the kilm room. He asked if I want to glaze them and I said yes. (He asked as it requires a different temp for the bisc firing).

I aslo filled one of the masks with plaster with the help of Howard. 1L-water - 1.5L pounds of plaster and should be weighed on the scales. 

Mix until lumps have gone and pour when starting to thicken. We mixed 2:3 for the mask and there was some left over.

Latex and expanding foam

Latex and expanding foam

31.01.20

Edit the statement & print off x2, print off small work titles : dough performace, grey area, figure filling experiment, expanding foam grey area figure, jesmonite and coffee figure, dried dough skirt and tights from dough performance, grey area fabric figures.

Put Grey Area Film onto a disk - or unedited dough film with cropped end. Put figure filling film onto memory stick or change on hard drive so only that plays.

GREY AREA

Grey Area/ Ardal Lwyd is my first experimental vhs recorded short film featuring myself as the "Grey Man" influenced from 'Alice in Wonderland Syndrome', unstable sensations and perception of ones own body and surroundings when transitioning into a state of sleep.

24.01.20

When I arrived at Uni I found Colin and asked to borrow a film camera, he helped me put tthe film in and I took some photos in the studio.

23.01.20

Arrived at uni for 10am. Came into the stuido. Spoke to Julie. Checked my latex experiment. It's dried a lot more but will need to be left over the weekend atleast. I then did a small hand stitch experiment with a smaller piece of dried latex. It worked but it is very tough. I then began my contemporary bibliography. I need to print off my recent inspiration and get my old journal from Undegun to photochopy. 

I asked Colin for a film camera, he said find him on Friday and he will sort it out then. Then I began to experiment stitching on the rubber material I have.

22.01.20

Arrived in the studio around 9am. Writing this as a reflectionat the end of the day (5.30pm). I've just been tidying the studio a little after cutting/preparing some text/imagery from a magazine for my contemporary bibliography. Which I scanned earlier in the library. 

Before that I spent over an hour working on stitching up the big suit onto the huge figure. Nearly finished but I'm going to finish it tomorrow. My latex experiment is still drying and I think it'll take a few more days atleast.

21.01.20

Arrived at Uni at 10am and recieved my feedback from Paul for Neg 1: 75/100.

Told Paul about Undegun's exhibition on 31st Jan.

Took my smaller textiles figures to Undegun with Rob's help. 

I need to organise the Studio and the work from Neg 1.

Did some quick latex experiments, small tests to see how it works and what is like to use. So I can then think and plan to use it on a bigger scale.

Topped up printing credits.

I need to buy foam board for my Undegun statement and photos.

Printed recent stuff off and new module presentation for reference. 

20.01.20

Action/making in the studio- thinking in action. What is it doing now, not what it was when I made it. 

Clear bit of space, take work & potograph/video etc. Start putting things back in pairs/groups/randomly, until ideas start to 'gel'.

Viewing them through a lense, drawing, photographing, 'slow thinking' etc. Then describe the thing I've just made... describe the differences between the first & second THING. Distance the thing between the thing.

COVER IT UP FOR A BIT - LOOK WITH A FRESH PAIR OF EYES.

Presentation on moodle. 

For the contemporary bibliography collect things that inspire you and are like your work - clippings, photos, imagery.

Group crits on 27th 

ARF605 Module Launch: Negotiated study 2.

Start to think slowly. Keep everything, thoughts, ideas, talks; evidence. Read and fufill criterea. Go through the school and see where would be best to have my work for the degreen show. This is the last module: Negotiated study 2.

How do I explain what is good about something to someone else?

Presenting work to an audience. Present in a way that suits the work.

This week - feeback and experimenting.

Reflection.Three key elements. Problem solving. Establishing a value system. Back talk - listening to work.

17.01.20

Messaged Marja about TVs, plinths and projectors. She said there are some available and to put my name on any I want to use. - I'll go Friday PM to do this. 

I also need to do a test batch of dough to see if it would be warm enough in Undegun to do a dough performance. 

16.01.20

Undegun Studio Holders Exhibition 31st Jan.

-The exhibition space

-The work - bed & expanding foam figure; grey area

- Performace? Dough? - Rehersed one like Paul suggested?

-Statement & artist bio - begun drafts

-Artist cards - Experiment printing my own again like I did for the Elysium Gallery

Find out if I can use Neg1 work for the exhibition. (I can't see why not, it's been assessed and if I need it for Neg 2 it's only down the road). -Ask Paul. 

Ask Marja if it'spossible to suspend the expanding foam two piece cast from the cieling... ask if the lights will be off or dim, or maybe where the darkest space is.

Bring projector to Undegun. Ask Marja if there's a few space tv's I can use and plinths or plinth alternatives. Do I need my own torches or lights? Make/edit the videos especially for the exhibition: short/choppy or slowed down... experiment. 

09.01.20

Today I arrived at Uni for 10am with some things that arrived yesterday: dried lavender, more liquid latex, expanding foam liquid, b&w film rolls x5 and lots of old pillows/material from home. 

I bought some clips and nails and put up my print outs on the walls. It looks a lot better but I couldn't put up all the photos I wanted because of lack of space. Some look a bit cramped also so I may have to rethink and refine. I'll try to adjust them tomorrow and to tidy up my space more, ready for assessment on Monday.

I also had a little experiment with the liquid latex. 

I took photos of my work for assessment and put them on my instagram stories: @jasminejaney & @jasminejanerobertsfineart

08.01.20

Arrived to Uni for 11.30am, I brought with me 5kg of stuffing in a huge box, and the projector stand and screen. I set the stand up and hung the screen up so the creases fall out. I need to pick up my iron and bulldog clips from Undegun.

I went to the artshop and asked Karen about the printing paper. There were matte 200gsm, 25 pieces in a pack for £6. There was also a glossy type at 26gsmfor £6 also , so I bought a pack of each. Afterwards I popped into Town so I asked Rob to let Colin know I would be back soon if he sees him and that I have paper. Rob did see Colin and he gave the impression that I should do the printing on main campus, again. Later on I saw Daveso I thought I would ask him if he could help me print. He also gave the impression that it would be cheaper and easier doing it at main campus. Even when I said I don't mind about the cost he said it takes a lot of time tp [rint too. He said he may be free for an hour on Friday morning, around 11am and that I should try to find him a little earlier to remind him. I panicked as I need them to definately by done by Friday as assessment is on Monday.

So I tested out the paper using the library printer, it worked well, even with the gloss paper. 

06.01.20

Topped up printing credit for the large printer - £180. I need to select which images I want to be printed. Then ask Colin when we can do the printing. 

I need to make plans for the stuff being delivered.

Spent some time in the studio experimenting with the new projector.

Fleshy Dough

Studio experiment

Fleshy Pink & Yellow Dough

Dough

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