Painting does not stop at paint. Painting is drawing. Painting is sculpture. Painting is print. Painting is process. Painting is text. Painting is space. Painting is site. Painting is mind. Painting is body. Painting is object. Painting is light. Painting is colour. Painting is smell. Painting is more than paint itself.


Workshop 1 - Paper as sight, cite, site

In the initial stages of this workshop, we discussed the use of text in art, and were shown various artists who use text in their practice. Following on from this, we created block out text poems from a second hand book that James had brought in. We then used our poems to inspire future paintings. The paintings were done with limited materials and we were blind folded so that we could produce ‘subconscious imagery’. In the second stage of the class, we used the paintings we had produced to create a final design.

Image courtesy: Sally Esse

Image courtesy: Sally Esse

Using block out poetry as a starting point for students, means that even though they are not starting from scratch, they are able to come up with unique ideas, without the fear of getting it wrong. The fact that the words in our poems were not our words, meant that we were much more comfortable sharing. Block out poetry serves as a useful starting point to ignite any creative task for students that requires brainstorming, giving them the confidence to generate new ideas, removing any barriers that may be preventing them from completely engaging with the creative process.

Because my pedagogy involves a more experiential, exploratory approach to art making, I like the idea of teaching design in a way that brings in the constraints later on in the process. It allows students to explore without too many limitations, producing imagery that will later inform a tighter design.

Workshop 2 - Responding to site, cite, sight: personal site as SPACE

This class was based around the ‘art process’ and how it is mapped out by VCAA for VCE students. We created acrylic paintings on board, and were asked to select certain elements and principles, as well as one of the analytical frameworks to produce a painting. We followed the below process during this workshop:

  • Exploration of ideas through a conceptual and practical investigation

  • Experimentation with art elements and art principles, materials, techniques, processes and art forms

  • Development of ideas, concepts, style and visual language

  • Refinement of materials, techniques and technical processes to provide visual strength to artworks resolution of ideas, directions and concepts

Artwork by Bridget Pound-Gow (fellow teacher candidate)

Artwork by Bridget Pound-Gow (fellow teacher candidate)

Workshop 3 - Responding to site, cite, sight: the body as site

This life drawing class asked us to explore the body ‘as a narrative’ through a series of drawings that were to inform a final painting. Included in the centre of all the easels was a mannequin, a life model, a blanket draped over a char, and several other objects. For the first drawing, we were asked to only focus on line work, with no shading. For the second drawing, we begun to include more detail. In the third, we were given free rein to manipulate our drawing, forming a ‘narrative’ of some sort. In the final hour of the workshop, we were given a limited palette of three colours to produce a painting. To begin with, we drew the body with the lightest shade of paint, and were scaffolded through the painting process from there. Each drawing / painting that we produced was from a different perspective.