Portfolio.
Portfolio.
Embedded Files
Jessica Watson
JW261139
MA Creative Practice
Leeds Arts University
Introduction.
Introduction.
Hi, I'm Jess. I am studying for my MA in Creative Practice (part-time) at Leeds Arts University while working (part-time) as a Marketing Manager at the National Science and Media Museum in Bradford. I have over three years of experience in the marketing industry across various roles, from design to production and social media management. Being a creative professional marketing and design practitioner provides me with the money I need to survive. As a person who is neurodiverse and has been through Dialectical Behavioural Therapy (DBT), I have found that reserving my creative skills solely for client or work-based projects can often lead to burnout. In my portfolio, you can find a range of carefully curated photography and print designs that represent reflective, creative and emotional turning points during the MA Creative Practice: Research for Practice module from September 2024 to January 2025. Hopefully, this portfolio will serve as a reminder of the beauty that can be found in the world when we take a moment to notice, reflect and express our emotions creatively.
My Manifesto.
My Manifesto.
During my studies, I was introduced to the concept of modernist manifestos and was encouraged to create my own. This exercise was a great way to define the values I wish to underpin throughout my work to ensure authentic narratives form during my journey. I have been drawn closest to photography as a medium during my course. Although I consider myself a multi-disciplinary creative, photography provides me with more opportunities to build on my mental well-being, encouraging me to leave the house, spend more time outdoors and notice the overlooked beauty and magic that exploring nature can provide. My Manifesto was created in early October 2024 and has been used as a guideline for the themes I aim to underpin within my process or visual narratives. Creating a manifesto within the first weeks of my course allowed me to realise my values and the importance of mindful engagement with my practice.
Art is my therapy.
Art is my therapy.
My praxis involves expressing my emotions, thoughts, and ontological standpoints through visual narratives and carefully curating them into tangible memories to share. In my personal time, I use photography and design, among other creative outlets, to better understand and manage my emotions. My motivation to engage with reality relies upon my ability to create art. Studying for an MA in Creative Practice enables me to find the time, resources and support to begin my journey of self-discovery through art. My return to education was driven by a need to reflect on my motivations, identity and narrative as an artist.
Me, Myself and my Camera.
Me, Myself and my Camera.
I learned the fundamentals of photography over a decade ago. I have continuously developed these techniques as they apply to my education and career in the creative industry alongside practising photography in my personal time as a technique for mindfulness. My constant companion is my personal Fujifilm camera, and through years of usage, I have an intuitive connection to it. The repeated use of its buttons and dials means my hands can adjust settings quickly and instinctively. Alongside the tactile functions of using tilt shift, art lenses and vintage filters, this familiarity allows me to experiment with different ideas quickly and freely.
Photographic Layouts and Narratives.
Photographic Layouts and Narratives.
My series of art and photography compositions, curated between September and December 2024, follows a visual narrative based on personal memories and emotions. As a photographer and designer, I designed the layout to depict events as they unfold, spiralling into my personal journey through life. I use a Fujifilm digital camera, tilt shift, art lenses with vintage filters, Adobe Lightroom, Illustrator, and digital print resources to create my work.
Forest of Bowland.
September 16, 2024
The week I began my MA course, I decided to visit the location where I first fell in love with photographing nature: Gisburn Forest in the Forest of Bowland. Here, the moss-covered ground provides a perfect nest for fungi to thrive as the early autumn sunlight shimmers through the canopy of coniferous trees. In late September, I packed my Fujifilm camera and three lenses, including a 30mm f1.4 lens, an 18-55mm kit lens and a Lensbaby Composer Pro II with twist 60 optics to capture the magical moments I experienced in this walk. I mainly used the Lensbaby as I enjoy the creative and twisted bokeh effect alongside the tilt-shift nature of the lens, which requires additional consideration and mindfulness during practice. I am also inspired by how these things intertwine with the finer details in nature, such as fungi, texture, shadows and colour.
Leeds Light Night.
October 25, 2024
During Light Night, Leeds city centre is illuminated by a spectacle of light installations for two nights each year, although swarming crowds may cause some sensory overload. I prepared for my hometown's annual light show this year by packing my complete camera kit alongside hiring three additional lenses (50mm f1.4, 200-300mm, 15mm f1.2) and a starburst lens filter from the University's Photography resource. I researched the various locations to attend before wandering through the city to capture the event. As a person with astigmatism and a glasses wearer, I enjoyed being able to communicate my own visual experience through the lens. Upon reviewing the original images, I wanted to push the idea of further communicating my knowledge of the moment by visually simulating my sensory overloads during events by overlaying multiple images from the night onto each other through double exposure. I received great feedback on these pieces during group critique, as my peers and tutor could understand the experiences I attempted to evoke within the images themselves.
Sunsets and Magic.
October 29, 2024
During the brief daylight hours in British Autumn, sunsets began to appear as I started my walk, lighting the garden for just a moment before the shadows took over and magic began to appear...
The joy of discovering fairy houses nestled within the trees during my late afternoon journey at Harewood House prompted me to sit down and truly experience the scene through the perspective of my inner child to envision details from a fairy's perspective, reigniting a sense of magic in my life. By experimenting with my Fujifilm camera and Lensbaby Twist 60mm tilt-shift lens, I explored how perspectives can be distorted through visual media to provide a sense of wonder and discovery in the overlooked details in nature.
Black Carr Woods.
November 18, 2024
Black Carr Woods in Bradford is local to me, yet I had not yet explored the area, and I felt the location's name almost fit the photography ideas I had before my visit. In early November, I was introduced to the art collective Marshmallow Laser Feast during my onboarding phase at work. The art collective will be hosting an exhibition at the National Science and Media Museum in the upcoming Spring (Marshmallow Laser Feast, 2025), and one of my responsibilities is to oversee the creation of marketing materials for the event. Upon becoming familiar with the progressing concept of the exhibition, I began researching the collective further and found themes that explored perception and existentialism. One interesting subject the art collective has covered in their work is the familiar patterns that emerge in the branches of trees within the winter months and how they resemble the veins in our hands and the rivers that channel the earth. The convenient timing of the frosty weather allowed me to wander through nature with my camera set to a black-and-white filter while focusing on the form, shares, textures and surfaces prevalent in nature. Slow-looking and DBT (Linehan, 2015) techniques allowed me to build a narrative that inspired a positive outlook on the frosty nature of the walk and being lost in a new location.
Slow Looking: A Photographic Journal.
December 7, 2024
Inspired by my observations while practising Slow Looking (Tishman, 2017), I designed and printed this brochure just in time to gift a copy to my mum for Christmas, who loves to receive snippets of my creative artwork. As a tangible memory and original artwork produced in this module, I value this carefully designed brochure the most. This piece was inspired by a folded booklet I enjoyed designing in my previous design role at Leeds Arts University. The photographs displayed within the format of a z-fold brochure, paired with careful layout design, showcase my attention to detail both towards the content of the piece and my considerations of user experience interacting with the piece. This fold-out printed journal is a simplistic way to showcase a variety of my photographs in a pocket-sized fashion. I intend to refine the design further to balance visual complexity, narrative, sustainability, and printing costs. I now hold this piece with me during my walks in the woods to showcase to passers-by who are curious about my work.
Research Proposal.
Research Proposal.
Jessica Watson
JW261139
MA Creative Practice
Leeds Arts University
"In an art gallery, one stands or sits and gazes at artistic works. We attend to the chirp of the birds or the car engine sounding different than before. We watch the sunset and gaze at children frolicking in the park. Each of these is a mindful activity."
(Linehan, 2015)
Introduction.
The key skills I learned through personal experiences in Dialectical Behavioural Therapy (DBT) inspired me to pursue an MA in Creative Practice while redefining my narrative as an artist. I use mindfulness skills to inform my creative process, I use cope-ahead skills to navigate barriers, and I use interpersonal effectiveness skills to improve my encounters in life as outlined within the DBT manual (Linehan, 2015).
The skills I practised through DBT have formed strong parallels to theories and literature surrounding creative practices. In Recuperating Conflict (Langlois, 2020), we discover the impact of creating dialectical discussions within groups of artists and the impacts this can have within wider society. The Craftsman (Sennett, 2009, pp.149–178) reflects upon the art of concentration and neurodiverse types within a creative practice. The concept of Slow Looking (Tishman, 2017, pp.1–7) is described as a form of mindfulness practice within the DBT framework.
These insights lead me to the question; can the DBT skills training resources provide a framework for improving creative skills and emotional well-being in neurodiverse artists? Additionally, what impact could DBT skills training have on neurodiverse artists, and could this create new dialogues on navigating barriers within society through visual narratives?
Methodology.
To form dialectics, opposing viewpoints are essential, as evidenced by the DBT manual (Linehan, 2015) and Recuperating Conflict (Langlois, 2020). Neurodiverse individuals who are interested in improving their mental well-being through creative practices will be invited to revise the DBT Skills Training Manual through a series of group-based workshops, lasting 4 hours per week across 12 weeks, while exploring how they could utilise these skills within the context of their preferred creative practice. These DBT-informed workshops will focus on building emotion regulation, distress tolerance and interpersonal effectiveness skills through arts-based teaching methods and activities such as drawing, painting, creative writing and photography.
Outside of workshops, participants will be expected to continue practising their DBT-informed creative skills and documenting their practice through reflective journals, artwork, photographs, and other outcomes that suit their preferred medium. In subsequent group sessions, participants will discuss and explore the narratives depicted in their work created outside of the workshops.
I anticipate that the artworks produced will form new narratives about the relationship between mental health and the creative process. Pre- and post-workshop surveys could provide quantitative data on DBT's potential influence on creative practices. Furthermore, the surveys could provide feedback to inform future work and create new narratives of inquiry. Additionally, the feedback can aid in refining the resources to make this DBT-inspired creative practice framework more accessible to educational institutions, healthcare practitioners, and anyone who seeks to learn more about the skills at home.
The final creative outputs produced by participants will be showcased in a public exhibition to share with a broader audience. Field notes, observations, participant feedback, and critical analysis from both the facilitator's and participant's perspectives will form the basis for case studies. These will further inform the development of creative DBT resources and could highlight how DBT skills practice translates into artistic practice to improve well-being.
Required Resources.
Workshop space. Exhibition space. Art and craft materials. Camera equipment. Marketing materials. Budget. Funding. Time. Resources provided by Leeds Arts University. Interest from MSc or MA students for collaboration. Participants who are willing to get involved. Library access and SCONUL Membership. Archival research.
Barriers.
Many art studios in Leeds provide exhibition and workshop spaces which could be utilised. I have existing contact with DBT facilitators and alumni who may be open to assisting in bringing therapeutic activities and resources into a creative setting while offering perspectives from both participants' and facilitators' stances on DBT teaching methods to inform the workshops. Connections with academic support and student wellbeing within Leeds Arts University could enhance understanding of supporting those with additional needs in a creative and educational setting. Collaborators in MSc Psychology or Social Cciences to triangulate findings and enhance credibility.
Bibliography.
Langlois, J. (2020). Recuperating Conflict: Between Critical Generosity and Antagonistic Activation. Art/Research International: A Transdisciplinary Journal, 5(1), pp.148–157. doi:https://doi.org/10.18432/ari29489.
Linehan, M. (2015). DBT Skills Training Handouts and Worksheets. 2nd ed. New York: The Guilford Press.
Sennett, R. (2009). The craftsman. London: Penguin Books, pp.149–178.
Tishman, S. (2017). Slow Looking. Routledge, pp.1–7.
Reflective Summary for CP706: Research for Practice.
Reflective Summary for CP706: Research for Practice.
Jessica Watson
JW261139
MA Creative Practice
Leeds Arts University
Introduction.
From my experience of studying the MA Creative Practice (CP706) Research for Practice module, the lines between "research" and "practice" became intertwined. Practice becomes research, and research becomes practice. I use observations from my experience within my praxis as research itself. During my process, I learned the importance of underpinning my practice with personal values and discussing various theories on creativity to form clear, cohesive narratives in my work. With the support of theoretical models, I engaged in my practice, refining my processes and changing my methodology to reach my intended goals of redefining my creative narrative and utilising art as therapy.
Reflections on Research.
In class, we were introduced to and discussed the use of various academic terms, which helped me understand the keywords I should use in my own academic writing. The bullet points below demonstrate how I have reflected keywords that fit within my practice:
My praxis in this module involves using DBT skills, photography and experience in marketing and design to inform and strengthen my creative identity. This derives from life experiences, emotions, and the search for an authentic creative identity.
I often use autography, translating my personal experiences into stories that resonate with an audience as broadly as possible while balancing authenticity.
My ontology, or my way of viewing the world, is influenced by neurodiversity, life experiences, and realisations that I have made through creative reflection.
My neonarrative is a new narrative formed through creative insights within my practice.
My work is a bricolage of carefully edited, designed, and curated photography that expresses my experiences visually.
The intertextual relationships between art theories, such as slow-looking and skills, such as mindfulness in DBT, inspire my work.
When creating my "Slow Looking: A Photographic Journal" Project, I considered how the layout of my images, as printed within a fold-out zine, could bring a sense of unexpected wonder through the design's narratology.
Phenomenography is a qualitative research method which I could use to gather data on individual sensory experiences, depicting visual outputs based on shared experiences of a common sensory phenomenon.
I will find many ways to triangulate my research findings to ensure fair and repeatable outcomes.
Being critical is not about criticising; it's more about critiquing, where you must be objective to see your work through other people's eyes.
Reflections on Practice.
I was inspired by the variety of creative practices and the diversity of my peer's backgrounds. Reading and reflecting on key literature within class allowed me to consider multiple perspectives on my work and learn about new techniques for my practice.
During the module, I noticed many connections between the creative theories we learned in class and those underpinning the DBT skills I learned during therapy. As I began to relate these theories and integrate them into my work, I began to contemplate how these skills can be taught to other creatives who have faced mental health experiences similar to my own. Using these experiences and connections as inspiration, I then developed a research proposal that could explore applying DBT techniques across a variety of creative practices as a method to enhance emotional wellbeing and reduce burnout.
I was provided with multiple texts that influenced my work throughout the course. I also effectively used practice-based research methods, as evidenced by evaluating literature, artworks, narrations, and reflections on my practice.
Reflections on Personal Progress
Organising my images, notes and reflections cohesively and letting go of work that doesn't fit my narrative can make translating my work into a coherent format much more straightforward. My main challenge was refining my visual narrative within the arts, which is my underpinning motivation to study this course. I embraced this challenge and learned to trust that a narrative will form with continuous practice, editing and refinement. At first, I spent many hours finding ways to build a template which could outline my work at the end of the module. This was because I often create and edit templates in a work environment to streamline the process. However, I found myself discarding my original template and starting again multiple times throughout the course with each new direction my research was taking me. Over-planning my work during the beginning phase of a module can lead to feeling constrained within my practice. Around 10% of my original work made it into my final submission. Initially, I created a wide range of compositions for my photography design layouts by selecting the four best images from an event to depict a story. However, the constraints I set myself to enable consistent formatting and resistance to cropping my original photographs limited the narrative. To change/rectify this I built considerations for this layout within my photography process.
On the days leading up to this module's submission date, I also submitted my photography to the Sunny Bank Mills ‘Ones to Watch’ exhibition and workshops programme. Sunny Bank Mills is a local gallery, workshop, and market venue. Throughout 2024, I attended a variety of their workshops, such as printmaking, bookbinding, and ceramics workshops, throughout 2024. I also adapted my photography work from this module to form my submission to their Ones to Watch scheme. Being creatively seen or heard in society often prevents me from fully engaging with creative opportunities. I have missed opportunities to submit my work to exhibitions due to a lack of direction and fear of rejection. Through reflecting on my work within this module, I found the confidence to enter my first submission to an exhibition callout within my local community.
Engaging in classroom discussions has allowed me to view my work from various perspectives and notice my photography's strengths, weaknesses, and emerging new narratives throughout the module. I saw the impact of my extreme emotions during the creation process on my photographic outputs, gaining the highest positive feedback on photography that represents emotions such as sensory overload. Writing and refining personal reflections on my creative outputs allowed me to contemplate the impact of my emotions within my work. Through participating in the MA Creative Practice course and utilising Leeds Arts University's resources and facilities, I experimented with my creative identity in a space that allowed freedom and expression.
Resource Planning and Barriers to Overcome.
My personal resources are:
Fujifilm X-S10 camera body with an 18–55mm kit lens
Lensbaby Twist 60 with Composer Pro II lens kit.
Sigma 30mm f/1.4 lens (useful for low-light/night/event shooting)
Viltrox 14mm f1.4 lens (useful for low light, indoor, architecture and capturing large spaces)
iPhone
Two mini tripods
iPad
While other lenses and camera bodies are available through the university, my ADHD tendencies risk damaging expensive equipment; therefore, using my camera as my main practice, I maintain a sense of comfort and reduce the stress of potential damage to unfamiliar gear.
I prefer experimenting creatively in solitary spaces. Writing and designing my work at home is essential to prevent overstimulation from office lighting, background chatter, and being observed in public. I'm most creatively inspired in the evenings and on weekends, using my practice to unwind from the stress of life.
I leaned on resources more readily available daily—my personal camera equipment and the photography equipment at Leeds Arts University (which can be taken off campus). I have limited access to technology at home, which hinders my ability to produce design-based work. I did, however, visit the university campus at least once per week to use the Mac suite, which allowed me to spend more time planning my design work and carefully considering the grid layouts and physical printing of photographs within my designs. I have also saved enough money to purchase a discounted Macbook via a disabled student allowance, and my eligibility assessment follows mid-January.
To further my practice, I need to be adaptable to a range of equipment and resources. The university offers various cameras, lenses, tripods, and a studio space with an infinity cove which I could explore during my further studies
Using my “cope ahead” skills derived from DBT training, I have identified the workshops and resources I would like to utilise to further develop my motivation to attend and work from campus. By using these skills, I could experiment with traditional printmaking processes, use woodworking to frame my photographic prints or modernise my photography process further with 3D scanning and printing techniques.
Annotated Bibliography.
Annotated Bibliography.
Jessica Watson
JW261139
MA Creative Practice
Leeds Arts University
Atwood, M. (2002). Negotiating with the dead: a writer on writing. Cambridge, U.K.; New York: Cambridge University Press, pp.13–24.
We read the excerpt "Negotiating with the Dead: A Writer on Writing" from Margaret Atwood's Into the Labyrinth, which prompted us to consider why we write or create. We also discussed our personal practice: Can we define our practice as one thing, or is it interdisciplinary? This helped me notice my personal approach to my work, forming narratives through photography, design, reflective writing, and utilising my marketing skills.
Barrett, E. and Bolt, B. (2010). Practice as research: approaches to creative arts enquiry. London: I.B. Tauris, pp.123–134.
R. Stuart's New Stories for Praxis: Navigations, Narrations, Neo-narratives was introduced to the classroom as a key text published within a book, Practice as Research: Approaches to Creative Arts Enquiry, for Creating Our Narrative within an academic context. Initially, reading the text was a frustrating experience, as the author's use of complex terminology required opening a dictionary with each new sentence. However, this text would be key in informing the terminology I use within my academic writing. In class, we discussed some of the keywords mentioned in the text and how they can often mean different things depending on the subject and context, leading me to create a glossary based on my understanding of new words as they apply to my practice.
Clarissa Pinkola Estes (2008). WOMEN WHO RUN WITH THE WOLVES: contacting the power of the wild woman. S.L.: Rider, pp.1–20.
Women Who Run with the Wolves: Myths and Stories of the Wild Woman Archetype was an engaging text to read and discuss in class. The text speaks on how psychology is silent about deeper issues towards women and instead teaches women how to live in a "man's world". This idea resonated with conflicting emotions I have felt towards DBT in the past. DBT, rather than providing solutions to injustices I have experienced as a woman in today's society, has taught me how to conform and manipulate situations to work in my favour through interpersonal effectiveness training. The text also talks about the "wild women" and the importance of following intuition. While following intuition is essential for my creativity and wellbeing, I have found that it takes practice to notice the difference between genuine intuition versus anxiety, intrusive thoughts or delusion. Perhaps this is one of the skills that, over time, women have lost connection to due to conforming to a man's world.
Fisher, M. (2014). Ghosts of my life. Ropley: John Hunt Publishing, pp.2–29.
When reading Mark Fisher's Ghosts of My Life: Writings on Depression, Hauntology and Lost Futures, the quote "In conditions of digital recall, loss is itself lost" prompted me to reflect on my photography practice in today's digital age. It prompted me to reflect on the permanence of my photography. Theories of hauntology also suggest that, as a society, we have lost the essence of originality. For example, if a jungle song from 1993 were played on the radio in 1989, it would sound incredibly out of place. However, the music created in modern times by popular artists is derived from the sounds popular in prior decades. For example, a song by the Arctic Monkeys may not sound too out of place on the radio in the 1960's. This was an interesting take, as, coming from a marketing background, I understand how media organisations rely heavily on data from previous successes to build on new achievements. The media industry's reliance on past "trends" could hinder their progression towards new, authentic creative outputs to maintain monetary success. This insight also leads me to realise the importance of authenticity within my work, personally and professionally. In my profession, I am expected to be unoriginal and create work based on previous ideas that are not my own. This may influence my dissatisfaction with working on professional briefs, and my preference to develop new ideas comes from a desire to be genuinely authentic.
Langlois, J. (2020). Recuperating Conflict: Between Critical Generosity and Antagonistic Activation. Art/Research International: A Transdisciplinary Journal, 5(1), pp.148–157. doi:https://doi.org/10.18432/ari29489.
In Recuperating Conflict: Between Critical Generosity and Antagonistic Activation, Justin Lanlois critically analysed conflict within educational and creative settings. He described how small-scale conflicts (dialectics) are essential to our learning process. This relates heavily to Dialectical Behavioural Therapy, which allows opposing discussions in a group setting to help individuals reach a common truth. Langlois then highlights that if a group of artists or creatives all share a common stance on a problem within society, they can use their creative skills collaboratively and work together toward a solution for the issue. His work with Broken City Lab, where they interrupted the presence of advertisements on public transport with public submissions of art, demonstrated how his theory could be practical in action. As someone with experience in marketing, I found this work incredibly intriguing, and it inspired me to consider the locations where I could showcase my art in public areas to disrupt the presence of advertisements with a piece of work that encourages reflection and introspection. It also made me consider the agility of creating an exhibition alongside the various locations and formats in which an exhibition could work.
Linehan, M. (2015). DBT Skills Training Handouts and Worksheets. 2nd ed. New York: The Guilford Press.
Key skills I learned through my experiences in Dialectical Behavioural Therapy (DBT) inspired me to pursue an MA in Creative Practice while redefining my narrative as an artist. The skills I learned in DBT relate heavily to creative literature and theories read throughout my course. This created many pivotal moments as I discovered these connections throughout the course by revisiting the training manuals I studied during therapy.
Marshmallow Laser Feast (2025). Marshmallow Laser Feast | Bradford 2025. [online] Bradford 2025. Available at: https://bradford2025.co.uk/event/marshmallow-laser-feast/ [Accessed 10 Nov. 2024].
Marshmallow Laser Feast is an art collective that I was introduced to through my work as a Marketing Manager at the National Science and Media Museum in 2024. I am currently working in collaboration with Bradford 2025 to promote their upcoming exhibition at the Museum in early 2025. Their exhibitions highlight familiar patterns that emerge in the branches of trees within the winter months and how they resemble the veins in our hands and the rivers that channel the earth. This prompted a sense of closeness to nature within me, inspiring me to focus on silhouettes within nature that resemble these features within my photography.
Sennett, R. (2009). The craftsman. London: Penguin Books, pp.149–178.
In the first session after the briefing, we read and discussed an excerpt from The Craftsman by Richard Sennett. The main takeaway was to accept and reflect upon mistakes; mistakes are key to mastering our practice. Sennett also reflects upon theories surrounding internal processes such as concentration and ADHD and the importance of focus, patience, and practice when refining a craft or reaching a goal. Discussing creative literature with people from diverse backgrounds revealed fascinating insights into the new processes, lifestyles, and purposes of those involved in varying practices across the arts.
Tate (2022). ‘The Advantages Of Being A Woman Artist‘, Guerrilla Girls, 1988 | Tate. [online] Tate. Available at: https://www.tate.org.uk/art/artworks/guerrilla-girls-the-advantages-of-being-a-woman-artist-p78796 [Accessed 5 Jan. 2025].
In particular, I have taken inspiration from the Guerilla Girls manifesto on "The Advantages of Being a Woman Artist." I enjoyed the Manifesto's raw authenticity, highlighting issues within the arts that heavily relate to feminist ideologies. I also have memories of visiting an exhibition from this art collective within the Tate Modern during a college trip visit in 2015. I was initially attracted to their striking use of graphics and colours, resembling punk aesthetics, combined with bold statements on feminism in the format of advertising graphics. Guerilla Girls as a whole inspired my journey into advertising and design as a career by demonstrating how simple observations can be translated into meaningful art.
Tishman, S. (2017). Slow Looking. Routledge, pp.1–7.
In class, we also read Slow Looking by Shari Tishman. We were also introduced to Shari Tishman's Slow Looking, which inspired my work in this module. This resonated personally due to its similarities with mindfulness, a skill I learned through DBT. When learning DBT, I found a need for mindfulness in public situations, so I initially practised 'slow looking' within nature as my photography practice. As I had previous positive experiences with this creative process and enjoyed spending time in nature, I decided to use this ontological approach of slow-looking and outdoor photography to guide me through the rest of the module.
Williams, G. (2014). How to Write About Contemporary Art. London: Thames & Hudson, pp.42–65.
When discussing the text How to Write About Art by G. Williams, we discussed how to strike a balance between academic writing and ensuring our content is accessible and understandable. We spoke about aiming not to alienate our audience with complicated terminology; however, we highlighted that the book's author seems to alienate audiences in areas of the text. The chapter was intended to be instructive, allowing us to learn how to write about our art.
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