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Individual Practice: Statement of Intent 1

Birmingham Institute of Art and Design School of Art Module:

BA(Hons) Fine Art Level 5 Extending Practice

Student: Tutor: Date of completion
Ben Chandler David Cheeseman 13/02/17

Module learning outcomes (on successful completion you will be able to do the following)
Through imaginative and speculative exploration, apply further developments in your knowledge and understanding of
processes, methods, and materials.
Articulate thinking and ideas in relation to broadening a range of practical and contextual research, including optional
external projects and placements.
Apply analytical, critical, and reflective skills in the development of a body of work.
Apply developments in your range of technical, practical, and manipulative skills appropriate to your ideas and

Summative review of key issues raised in feedback and your previous module self-appraisal
The final sculpture from Developing Practice failed to achieve its surface finish for a desired and highly specific effect; I
need to be more realistic with required materials, finishes, and time restraints to execute an artwork effectively.
The Monoliths form, meaning and cultural underpinning has caused tunnel vision and limited by ability to generate and
actualise other ideas. I need to move away from this to challenge my creativity.
Experimentation within and across the facilities, materials and processes needs to happen as much as possible to make up
for not doing so in the previous module, as well as completing the criteria of fine tuning my work.

Content of Investigation (including an explanation and rationale for the identified area/subject)
My practice has expanded to cover self-awareness, entropy, impermanence, memento mori, and other related themes stemming
from my interest in science, atheism, and autobiographical elements. The overarching concept is how we live in a universe that is
moving towards inevitable disorder; exploration of these evidential signs in more personal and implicit ways should reveal
shocking truths for the audience, delivering said truths with a soft power. Ideally the spectator would be upset or become aware
when engaging with the artwork and then act inversely to how the work made them feel. My romantically conceptual way of
working should make any/all of my artworks clearly point to the above themes and concepts through the highly specific forms,
shapes, colours, placements, and processes, as well as significations of the components that I am using; each element to a work
is very particular to keep the preferred reading as accurate as possible whilst still giving the audience room for manoeuvre. As
the work will typically be visually limited, ideally still visually impactful, the title of each work will need more consideration as titles
are very important for the context I wish to made apparent.

Processes/Materials/Workshops (describe in relation to the above. How does your choice relate to meaning?)
Foam, Vinamold (studio and casting workshop): Carving, sanding, and pouring processes for Fingernail
Tombstones idea.
Found object, text (studio, LBMS): Space for inspiration, research, and ideas generation. Experimentation of works
curation and achievement of preferred reading.
Projection, digital (LBMS, other): playing with light, space, matter, context, and other elements such as text.
Traditional and digital print (Print room, Media suite): Various methods of mark making, ink types, learning print
room etiquette.
Video (Video/Sound suite): Film editing, colour grading, narrative, pacing, diegetic and non-diegetic music.
Photography (LBMS, Media Suite): recording work, camera techniques for desired shot types,

Contextual Research (identified expansion of prior or new research)

Ceal Floyer: Use of found objects and projections, conceptual art, minimal intervention/gestures, highly particular
Robert Irwin: Use of light, perception, limited colour palette, consideration of space, particular material choices.
Clare Flatley: Process-based practice, limited colour palette, importance of depth, surface finish, strong formal
Short films/films: Narrative, flow, cinematography, equipment type and settings, key plot and character points, showing
not telling.
Signed Student Signed Staff: