Tessa Fox Art

BA Hons Fine Artist. Scroll down the page for reflective studio journal and click on the images to see the full series. Or explore the other tabs by hovering over this description.

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 - NEW WEBSITE - 

http://tessalouise97.wixsite.com/tessafoxart

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Final studio appearance on submission day! - 16.02.18

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Last experiments of BA2a - 15.02.18

Working with cyanotypes had been a recurrent suggestion throughout this unit and, having researched Jessica Warboys and her cyanotype work, I didn't want to finish this unit without having had a go.

The general process was actually easier than I had thought and I was so pleased with the outcome; this print is nothing of great importance as I simply used outdoors items available to me at the time as this was merely an experiment. But, I am happy and confident in the whole process now and look forward to continuing these more into the next unit.

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Studio details in the run-up to submission - 02.02.18

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Sculptural Investigations - 02.02.18

I began this experiment last week but as I am working with latex, it was only until now that I was able to see the full outcome. I am so pleased! Initially my hope had been that the alder cones could be removed from the latex, leaving a negative space; however, it became quickly apparent that this wouldn't happen as the latex had set too much over the alder cone and I wouldn't be able to remove it without damaging the rest of the work.

But, I am so pleased with this outcome instead. I like the way the alder cone plays with the space, appearing both in and out of the latex and the luminosity of the latex's natural colour and slight translucency works so well with the opaque alder cones. Rich in dye, the alder cones have also released some of their colour in the surround latex, giving a shadow like appearance.

I am definitely going to continue experimenting with this.

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Researching natural dyes and containing found objects for the studio - 02.02.18

This post is meant to be dated back at the beginning of 2018, if not back in 2017. But I was determined to hold onto this until I had managed to experiment with natural dying; since then though, my practice has begun and change and instead I am now exploring setting naturally found objects in latex having been inspired by Rachel Whiteread and wanting to move on from previous work toward sculpture.

Interestingly, since then, then found objects I had collected with the intention of using for the natural dye process (alder cones, acorns, silver birch bark and willow leaves) are now being used in my sculptural processes.

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‘Gone to Ground’, approx 150cm x180cm, canvas, tree stump and mirror

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Interim curation and exhibition: 8.01.18- 22.01.18

Curation

The curation for our exhibition ‘Process/Progress’ was very successful. As a group, we worked well and were all dedicated to our roles within the exhibition. As previously mentioned, I took on the publicity role and felt I had achieved producing a high quality publication that not only acted as a piece information for the artists but also a gallery map and event poster. Image were taken by Jiji.

Exhibition 

I was really pleased with the work of the curators for their exhibition ‘Triad’. Harriet and Hannah produced high quality publications for the artists and their statements as well as a temporary website for the exhibition that was accessible via QR code. http://triad03.businesscatalyst.com/index.html

My work was challenged by the curation group in terms of presentation; whilst the intention of presentation I had laid out in my proposal form (which format was copied from the proposal forms I had created for my curation role) was not met. I instead found a new style of experiencing my work and in actuality, I feel that it is a far more contemporary presentation. The introduction of the mirror was effective and I was given the choice as to whether I wanted it or not which displays effective communication. 

Unfortunately originally my work description next to the piece was wrong which lead me to have to communicate with a curator and have it changed in time for the opening night; something that I feel could have been avoided had they read my artists statement properly that I had submitted to them. 

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‘Gone to ground’, 2018

Initial process for my interim exhibition piece, ‘Gone to ground’.

This piece, following in the processes similar to that of my previous studio practice pieces, explore nature and interaction. ‘Gone to ground’ however is far bigger than any of my previous pieces or experiments; due to its size, I felt as though this process needed more time and dedication to it and so that working for the piece would be spread over a duration of days as opposed to just working under one day.

My initial process saw me ‘colouring’ the canvas as an initial ground as it were, that will then later be worked upon. I took the canvas into the natural area I had intended to work in and then began using soluble wax crayon to create frottage from tree bark onto the surface. One I felt I covered the amount of area I wanted, I then proceeded to place the canvas in a shallow, fast flowing stream. Knowing the wax crayon was soluble, my intention (or more so, hope) was that the pigment from the crayon would begin to run through the canvas whilst also hopefully still leaving behind some of the mark makings from the frottage. Whilst this was happening I then also began dropping soil onto the canvas and working this in with my hands to further stain the surface.

Once happy, the canvas was removed from the stream and left to dry for more than 24 hours. My next step in the process was to create further frottage from graphite over the initial work just as I had done with previous pieces.

I enjoy the lengthy process these pieces are starting to take; it makes me think and focus and also enables me to spend even more time interacting with the natural space. I feel as though once this interim exhibition is over, I will continue working on this larger scale as I really enjoyed the challenge and tactile nature of having to work with such a large surface.

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Above are images created by myself for the publication element of the interim exhibition; I chose to take on this role within the group as I feel my strength lies in the media and writing elements of planning an exhibition. These images are going forward into a leaflet publication which will also act as a map for our exhibition.

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Studio practice - 21.11.17

The final image in this triptych is, I think, my most liked. I like the way in which the material as an inanimate object takes a semi-human like form, resting on the memorial bench in the cemetery.

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Studio practice, process documentation - 20/21.11.17

Happy with outcomes from my previous frottage experiment on canvas, I have decided to continue this onwards for my practice. This time however, I wanted to add a new element to the work - for a while I have considered using natural dyes on canvases but had be unsure as to how I could work it into my practice. Aiming to experiment with anything naturally readily available to me, I decided to research into dying materials with avocado stones (my housemate has a lot of avocados).

I found a readily informative website - https://www.kathryndavey.com/blogs/news/75241285-dyeing-with-natural-dyes-avocado-pits - and used these instructions to dye my off-cut piece of canvas that had been unused in my previous work.

I was really pleased with the outcome of the dye; I was left with a pale pink tone to the canvas with different strengths of the colour running throughout depending on how submerged the material had been.

Left to then dry, having been soaked for 24 hours, I then used the canvas in the same way I had with my piece before. This time I explored Earlham Cemetery and the Plantation Gardens and, as before, documented the materials interaction with the space.

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Documenting my work in the landscape - 12.11.17

Annoyingly, the focus started out on the canvas and then focused on the leaf in the foreground. I quite like the ambiguity of my figure moving around in the background however as the viewer may not know exactly what I am doing.

In the mid-unit review it was discussed about how when visiting an outdoor area we are surrounded and presented with a complete override of our senses; we see the scene, we smell it, we hear it and we can feel the earth. However, when this is attempted at being captured through one type of media, we can lose this. This being said, I am now considering working across several media platforms in order to help get this feeling of complete use of sense across.

Video edited on Premier Pro 

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Studio work - 11/12.11.17

Home, work and focus. 

I’d been feeling a little out of sorts recently and it left my studio work lacking, especially after I had been experiencing illness with a recent virus. I decided it was best to go home, not only to rest but also because I knew it would be far easier for me to surround myself with landscape and space when at my parents house. 

Something I really enjoyed whilst on a walk was that I was able to capture seemingly rural areas that were in actual fact next door to domesticated built up housing. The idea that there are hidden spaces like this, and that some inhabitants don’t even know this is their local space, is something I really enjoy and revel in. 

I also brought a large off-cut of canvas with me with the distinct intent on creating some rubbings on it. I took the canvas out into our woodland nearby and rubbed the canvas on tress, took rubbings from bark, laid the canvas in a stream, rubbed it in the earth and just immersed the canvas in the landscape. I was so happy with the outcome of this piece and really liked the capturing of the piece in the space; I also captured the piece drying out in our kitchen and it reminded me of Alida Sayer’s work exhibited in Felbrigg Hall (I am always currently part of the Markers workshop).

I am considering adding automatic writings to this piece and contemplating whether to leave the canvas in a natural state of to stretch in to a frame.

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Skills 6 painting overview - October 2017

I had decided to save my skills 6 write-up until I had the entirety of the workshops completely and so had all of my documentation images. I feel I had learnt a lot over this workshop series and one of the main things I took away with me was the use of different mediums and ways in which I can mix or even make paint. I took Techniques for Painters out from the library as well as it was a mentioned course reading and have since found this extremely useful (especially as I always consider making my own paint and pigments). The projection workshop was easily my favourite and I really enjoyed working from slides previously owned by a stranger; I have a few ideas in my mind for projection concepts but will hold these whilst I am continuing with my studio work. 

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Pink exhibition concepts - 20.10.17

I have been asked to participate in a large collaborative exhibition held by some members on my course. I've seen this as my opportunity to create something completely new and different to that of my studio practice, I enjoy doing this from time to time as it means I will the generally go back to my practice with a new set of eyes having taken a break.

My concept for these pieces is on expectation vs. reality; how we as children are brought up to misconceive how adult life truly is. I've used past experiences and quotations from people laid over ladybird classics illustrations to give a satirical effect to the pieces. My aim is for the text to be in a foil/holographic type of material whilst the outer frame will be false short pile pink fur. This then works with the pink theme of the exhibition a makes the work tactile whilst I've always enjoyed the concept of. These concept pieces were drawn up on Photoshop.

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Frottage, ‘The bricks that made NUA’ - 19.10.17

I’ve met a bit of a 'funk’ with my work this past week or so and haven’t felt any drive to create or develop concepts. Inspired by an artist I follow on my Instagram, third year Falmouth student Emily Tap, I decided to go back to mapping and rubbings. Using pastels and graphite, I went around the buildings of St.George’s taking rubbings from the surrounding brick work and walls. The top triptych of images are my favourite; I wanted to consider presentation within these quick pieces as I want to start considering my work as actual professional art rather than just marks on scruffy studio paper. I trimmed and lined the rubbing up onto hot press paper, I also feel that this would look really good framed.

Whilst these were just intended to get me back into the 'flow’, I am really happy with the appearance of these - I feel the first image is reflective of Richard Long’s work.