FMP : Checklist Review

With a week to go before the submission deadline, it seems like a good moment to check my progress against the assessment criteria . . .

INDIVIDUAL PROJECT ― PROCESS AND REALISATION

What is my project theme? How does it express individual perception and expression?

My theme is ‘the comfort of creativity: a personal exploration of therapeutic, expressive art practice’. By its very nature, it is highly individual and the focus throughout has been on self expression.

What are my processes, methods and materials? How will they enable in-depth exploration of my theme?

At the beginning of the project, I mapped out six weeks of ‘self-coaching’ process. I researched art therapy exercises to incorporate into my own practice and this gave me a structure to follow. I had no set final outcome in mind: the process itself was the purpose. Each week brought something new to explore and my materials have ranged from pencil and paint through digital illustrating and photography to book-binding and sewing. 

The initial clear plan of structured activities in particular has helped give me a sense of security and permission to explore my creative practice without being paralysed by the pressure to achieve an Outcome.

By putting myself through a process of therapeutic creativity I am gaining a deeper understanding of how the creative arts can be beneficial in a non-clinical context to boost mood, confidence and self expression.

What design boards, sketchbooks, working/construction drawings, maquettes and models have I created?

My development work ranges from mind-maps and collages to hand-stitched sketchbooks, flatplan spreadsheets to test print cards and booklets. My digital sketchbook has 85 pages and counting! I find the weekly (sometimes daily) act of compiling the keynote slides for my digital sketchbook, and writing up my blog posts, a helpful exercise in seeing my progress, pinpointing my most relevant work and deciding what to build on or develop to the next stage.

How have I developed my ideas (in thoughtful structured activities carefully juxtaposed with experimental approaches?)

I have consciously tried different media I wanted to explore, often inspired by my research ― for example, an ‘expressive sketchbook’ working in bold felt tip colours, inspired by artist Helen Wells. I often work intuitively, in the moment (eg adding the scraps of foil left from a fellow student’s work). I like to work in hand-stitched books made from scrap paper, and I like to make research notes in an expressive way (eg my little hand-painted book on colour therapy). I like to draw first in pencil ― graph paper helps me with proportion ― and then refine with apple pen in ProCreate. I have found that working in this way helps to quieten my inner critic, and overcome paralysis brought on by perfectionism. Digital drawing is great for rapid, multiple iterations and being able to combine elements to create the best outcome.

Which ideas have I extended and developed into my finished piece(s)? What has been my process of developing those ideas?

My finished pieces will include textile art, printed cards and hand-stitched booklets. They are an expression of things I find comforting: words, images and textures that bring me pleasure and help calm me. This six week process has helped me to refine the content and my visual language. Learning from therapeutic art practice, I have confronted creative block and been able to focus on the moment of making, so that I could then respond to unexpected discoveries and weave them back into the development process.

The Mandala exercise in particular has emerged as a strong theme throughout this FMP: repeated patterns and circles; also learning how to work with colour and texture and the freedom of giving myself permission to just let go and try things.

VISUAL RESEARCH

What information have I gathered around my themes?

I’ve gathered a range of information, beginning with scientific research into the benefits of creative activity, through insights from practicing art therapists and example art therapy exercises, to sketchbook tours and interviews with artists about their work, historical archives of letters and articles, and instructional ‘how-to’ videos. I also conducted ‘colour walks’ to develop my observational skills and wove in experience gathered from many years of attending exhibitions and working with design, communication and coaching.

How has it helped extend and develop my work?

It has inspired me and helped me to gain confidence. By grounding my creative practice in facts and translating my research into instructions I have had a structure to my work that allowed me to keep moving forwards even when I wasn’t sure what direction I was heading in.

What have been my personal responses to ideas and subjects I’ve researched?

Throughout the course I have discovered how female artists have used and are using the ‘domestic’ arts ― such as ceramics and textiles ― to express their own experience and offer provocative social commentary. It inspires me to work on an intimate, personal scale, in media I feel most comfortable with, to find ways of capturing my own experience that might have a wider resonance.

What medium have I used and why is it relevant?

I want to make portable work in familiar media; I aim to bring comfort through objects that to me seem inherently comforting ― because they can be slipped into a pocket, kept with you, easily popped in the post and shared.

How have I interpreted researched material in my work?

My research has particularly informed my use of colour ― for example, introducing narrow black ribbon to outline the edges of patchwork in my quilted ‘comfort blanket’ is a direct result of seeing the impact of black in drawing out the vibrancy of colour in Helen Wells’ work; and the combination of oranges and blues in Van Gogh’s Mulberry Tree painting informed my choices of fabric. 

I deliberately researched art therapy exercises to put into practice for myself.

I have found it both inspiring and reassuring to learn the wide ranging applications and experiences of art as therapeutic ― from Churchill and Jung to Marice Cumber and the drop-in arts centres of downtown New York featured in Art Therapy: The Movie.