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These are two failed alginate costs with plaster. The reason I didn't work is, I was letting the plaster dry and solidify in a flat position, meaning the top of the hand wasn't coated in plaster, therefore, not being fully cast. I fix this issue in the end by casting at an angle and moving around the plaster within the cast.

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Hard reality, the name of this piece, was made using a pillowcase as the found object aspect of my work. The process came with filling this pillowcase with plaster and moulding it around the stool. I made this during rotation for fine art.

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In order to give the pillow, some more volume and texture, I threaded through some buttons to allow more plant sides to the pillow.

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Since starting foundation, I have started to incorporate found objects more into my work than before for this reason, I believe it will be good to develop this area further into my FMP. Kaswell, I have been doubling in the idea of materials and their properties, how I can control them or how they can control me in certain scenarios. This is another aspect. I find key to my SMP and I wanted to continue developing throughout the foundation course into uni, one aspect, I haven't used so far is the outdoor process which is something I'm going to try and cooperate in this last project. In a more conceptual sense, rather than materials. I would like to continue the idea of placing a view in a slightly awkward situation depending on how they manoeuvre their way around an art work. What does the dead pan aspect of my work? I have been exploring so far in the foundation. My drill versus clay artwork brings into the idea of the lack of control between the material and me. This is the main artwork that has pushed and kept this concept in my FMP, as I enjoy exploring the possibility of the material. Shellf is a good example of putting the viewer in a slightly uncomfortable, or maybe even threatening position with the insecurity held egg above the viewer, this also relate to the material through the idea that the viewer feels out of control but after the process I have put all my materials through I am fully in control of the art work, and know, the egg won't fall.

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In terms of a design aspect in my FMP, I want to keep it similar to my other work with a a refined finished a look to it, although saying this, I am considering going larger for my FMP as most of my work leading up to it has been smaller, tangible objects. Believe it may be a good idea as I have a much longer period of time to create a few artworks I could possibly make larger ones or a large series of smaller pieces.

Doris Salcedo as an artist, I jumped four and thinking of possibly creating a larger piece with repeating found objects. Salcedo is known to create a large-scale works using found object which also incorporated with concrete and plaster weather it be filling the negative space of an object or adding around it . Another artist I am thinking of incorporating into my FMP, is Richard Sarah and his large-scale metalwork. Although I have created an artwork with Sarahs video "hand catching lead "in mind, making and catching rice, I would like to think more about the main aspects of his work, being the large scale pieces, making the audience traverse than weird ways.

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Video inspired by John Wood & Paul Harrison Project: Juxtaposition 2021

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“Hand Catching￼ Rice” Pressure Point Final Piece￼ 2021

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One of the main aspects of my FMP will be found objects. I have used found objects in my work so far through foundation, from eggs to chairs to safes. I am also keeping the idea of every day objects to the average person, non-artistic objects which can be manipulated and turned into a piece of art. Along with the idea of found objects, I will also be thinking of materials and their properties, this is something I will find key to my FMP, the experimentation of materials and where they can be taken to before they break and what impacts this can have one mix with sound objects.

Another point to my FMP will be the idea of both perceived control and lack of. Whether this be on the viewer's behalf or my own, I would like to continue experimenting with being fully out of control with materials and objects which allow me to work around restrictions, potentially creating a more interesting piece. As well as creating possible discomfort in the viewer and putting them in an awkward vulnerable position, whether this be through precariously hung objects, or the general displaying of my work.

Another possible aspect to my SMP, I am considering incorporating is the idea of processes taken outside the studio space, as I find my work to be quite studio based. I would like to branch off in the more nomadic sense for the process aspect of my work, which I think could be fascinating.

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I am considering incorporating the idea of a nomadic process rather than using an outdoor setting as the final place. I would be able to feed this concept into my work though found objects and material process

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I first discovered the idea of using a nomadic process through artist, Tim, Knowles, and walead beshty who both use an outdoor setting as a process to the artwork. Tim Knowles finds trees with very low, hanging branches, attaches pens to them and secures a canvas below, allowing the trees, overtime swing in the wind to create a drawing. Although this is not the style of work, I tend to gravitate towards, I find the idea of the wind in the tree, creating a piece, very enticing. On the other hand walead beshty the way he uses the pneumatic process in his work I find so appealing he uses the the mistreatment and handling of packages to impacts and create his art pieces. He makes a glass box with multiple layers covered in a FedEx box sends it somewhere, and then discovers all the new cracks and mistreatment in the glass from its journey. The main reason I like this series is both the end result and the process are very intertwined with each other.

One artist that has had heavy in front of my work is John Wooden Paul Harrison, for this reason, I will continue to use their work to inspire me through not just the meanings and materials but type of imagery and possibly the way this can be presented to the viewer. This is something I have to think about more going into my FMP as I plan on creating some more time based pieces and incorporating listen to my work. Although I want to come up with interesting ways to present this video or piece of work to the viewer. along John Wood and Paul Harrison I am looking into artist, Daniel Eatock who is known to incorporate found objects in his work in a similar deadpan way to John Wooden, Paul Harrison is videography.

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I will also bring the idea of pointlessness into my FMP similar to "this definitely isn't pointless" thinking of the idea that algogh things are being made in the end it may not get any further or even back track

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The works presented below are part of a wider practice in which I utilize apparatuses, mechanisms, or systems beyond my control to introduce chance into the production of my art. The pieces here are from a series produced by trees, most of which are located in the Borrowdale and Buttermere areas of England’s Lake District. I attach artists’ sketching pens to their branches and then place sheets of paper in such a way that the trees’ natural motions—as well as their moments of stillness—are recorded. Like signatures, each drawing reveals something about the different qualities and characteristics of the various trees as they sway in the breeze: the relaxed, fluid line of an oak; the delicate, tentative touch of a larch; a hawthorn’s stiff, slightly neurotic scratches. Process is key to my work, so each Tree Drawing is accompanied by a photograph or video documenting the location and manner of its creation.

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Daniel Eatock is another artist I am considering bringing into my FMP for inspiration. These ideas of found objects combine in a humerus way

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Harrison and Wood – Studio Visit | TateShots

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higher education used a similar format to artist John wood and Paul Harrison. thinking about what can change between frames