Part 1

Contextual practice



 Is there a specific point at which action becomes art?

  • How an action is presented can make it artistic, if said "actions" are delivered in an impactful way they surely could become artistic. For instance I looked at sexual hand gestures and actions, then presented them as an art piece through presenting them in a stylistic and evocative manner. Art can grab peoples attention as we are visual creatures who like to receive visual information and interpret it.


How did you find the use of your smartphone as a medium? Consider the local and wider implications of the use of such a mediated device.

  • I decided to utilise the smartphone as both a medium and a way to present some of my experiments. Phones are so widely used by our entire generation and I wanted to consider how frivolous people are with sexting and sending explicit pictures. This idea was generated from personal experience and my approach to this throughout my life. Teenagers in general can be so quick to sexually exploit themselves, so using a smartphone was the perfect medium to explore this. I created a series of images and a video to depict this notion.


Screen grabs from 'fingering' gesture video


In what ways has this advanced your understanding of how a camera lens observes the world around you?

  • Camera lenses observe us both when we want them to and when we don't want them to. During this workshop I explored how casual smartphone cameras are constantly being used to capture amateur porn while sexting, and how many young people are not careful when sending this material to people. I find it very thought provoking the idea that many of us including myself like to be private, however when we become sexually curious or attracted to somebody we are more quick to exploit ourselves.

Omegle video outcome

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Reflecting on my day

  • Today was an extremely enjoyable day, I found the process and content of what we were doing to be a great concept. How adding and taking away to images in different aspects can alter the perception and overall vibe of an image. 


  • I greatly want to specialise in fashion communication, therefore decided to choose my image from an issue of 'DAZED' magazine. I chose an editorial reflecting the diversities of the LGBTQ+ youth, with some rebellious imagery. I decided to make an ANTI-Prada add by using images from other pages in the magazine, curating my own raunchy Prada ad by utilising one of their logos from a leather bag and turning this into a g-string. 


  • I wanted to see how adding and taking away would alter the message of the image and the way in which it was communicated. I chose to play around with the garments adding different prints, a G string and a jockstrap. These somewhat played with the idea of gender, sex and fetish. It was rather liberating to just simply white out or rub out part of the images and was quite a natural and relaxed process. 




Where you able to adapt your idea and visual language to the screen print process effectively?

  • I believed it was quite successful, It was an interesting process do develop my initial idea to fit my given letter. It meant I had to simplify the shapes so that everything would work together. After my design had been screen printed I was pleased with it and thought the minimal colour choice and simple shapes worked really well with one another and overall created a strikingly sexually ambiguous image. Although, there were certain elements I wasn't a fan of, I believe this would have potentially worked better if the original letter had more of a solid black fill to add to the graphic nature of the print, and I am not fully sold on the "hairy balls" I think they potentially would have looked somewhat better if they were just plain. 


How did the restrictions shape your image?

  • I found that it made the image a lot more clear and effective, as the restrictions forced me to rethink my design in a way which would translate with my given letter. I managed to work with the obstacles which I faced and all the shapes worked well with one another. The colour restrictions was a tad challenging as the bold red, black and white wouldn't exactly be my first preference. I could see this image overall working better with fleshy tones of pink and peach or something overall a tad more muted. But a more unexpected pallet helps t make the image a lot more implicit and ambiguous rather than straight up penis.


What were the biggest challenged your faced during the workshop?

  • At times it was hard to figure out what went where especially with the stencils and which layers were needed for each layer of screen printing. I found myself getting extremely confused over and over again and frequently asking tutors what went where. It was beneficial to be ablate learn how to do this as now having finished the print im a lot more clear on the whole process and enjoyed it very much. The fact that this was tough to do made the outcome a lot more rewarding as a lot of timed effort had gone into this piece of work.





 How did you find working with so many constraints (limited time/material, given objects) ?

  • Working with the time limits I found particularly hard to generate such a multitude of ideas within a short space of time as I think I have been programmed to believe I need to think rigorously before getting ideas down. Therefore being rushed and made to draw many ideas was a very interesting approach and spurred on a lot of creativity, even if i struggled with it at first.
  • The limited materials were challenging yet interesting as it meant a lot of problem solving had to take place to enable different designs to function and hold the weight of the given objects.


Did the constraints make it easier/harder to come up with ideas? Why?

  • I found the constraints harder to make me come up with ideas, I often got caught up with the idea of whether or not the designs would be practical in real life which hundred my brains process. However, once I got past this mental obstacle my drawings became a lot more free. I will say I didn't generate quite as many ides as I probably should have or would of liked to due to the sheer stress of it.


Was the product design and ceramic pathway what you expected? Why?

  • No not at all, I usually think when designing it would be a lot more precious and particular and thought out. Watching the more liberal approach was quite refreshing and I can see how this enables a lot of free-thinking and thus some brilliant creativity. Although not for me, the approach was fascinating and certainly put me out of my comfort zone. From doing product design GCSE I can definitely say the approach was a lot less clinical, and slow paced. Much more intensive and interesting 



What is the purpose of peer to peer critique and feedback?

  • This enables me to take a step back from my work and become introduced to a fresh approach from somebody else, as often we can become too invested from work and unable to remove ourselves from it and thus cannot gain another perspective. This can make work stagnant, however from the help of peer critique and feedback this can be used to develop and improve work.


What was successful about the 3D setup and why?

  • It was a reflection of 'party culture', the 3d element enabled us to easily capture an idea as using objects and styling. Working three dimensionally can make work quite experimental as you begin to use a wide range of materials to communicate an idea


Does switching between 2D and 3D aid your creative process?

  • Yes and no, it can be slightly disorientating and intensive to keep switching the approach to work in a short space of time, however the inherent intensive nature of this course is meant to keep us creatively on our toes. Working with multiple approaches does benefit creative process I found as it helps to produce a lot of varied work. Taking a step back and then using 2d drawings to communicate a 3D piece allowed me to perhaps draw what I saw more according to how it looked internally, in my head.


I really enjoy this illustration, the paper silhouette is from the shape of my model wearing the draping experiment, I then chose to create a figure awkwardly curving out of the cut out in my own style as I probably got a bit carried away and often tend to draw strange witch like drawings. In this instance it worked really well.


The mixed media in this illustration worked particularly well to depict the different fabrics used. I thing the string sewn around the arms and chest is quite effective and conveyed the material in a pleasing way which also has a lot of movement and adds to the gestural sense of drawing.


12.9.19- PODCAST


The podcasts were definitely beneficial and enabled me to see other peoples perception especially as this course is particularly intensive and difficult which can overall be quite frustrating- and as a pessimistic person I often struggle when in these type of situations. It is reassuring to hear that other students feel similar ways and have had similar experiences so I know its not just me and that i am definitely not going crazy. The first two weeks of the course are very intensive as I expected, however it is certainly exciting to be exposed to such a wide range of skills and ways of working. Coming from doing Fine Art A-level, to this isn't as big of a shock as I expected because I found myself often ignoring my teachers conservative opinions and following my own lead. I liked to work in an experimental way and often explored controversial/sexual topics which I am glad to see is definitely welcomed here. I feel a lot more accepted artistically and enjoy how a lot of the time everything is more liberal and self-directed. I think the way in which we are taught so many different things and approaches to working is fascinating and certainly generates lots of interesting and unique ideas which otherwise I probably wouldn't have thought of. Overall I am extremley excited and keen to embark on this course and can't wait to see what work I produce and where I end up.







How did you approach working in a team?

  • In contrast to how I previously worked before Central Saint Martins, which was more individual, working alongside others enables to build upon and develop ideas with the varied insights of the group.
  • However, often as a creative I like to take charge, meaning it was hard at times to take a step back. I can be very particular with the way I work or how I want to portray something. Working in a group was a great way to experience others thought processes and use each other’s strengths to produce quality work. It can be very important to take a step back from your work.


What strategies did you discover to combine ideas into experimental looks?

  • I found I was trying to do too much at once due to the hectic nature as there was limited time, sometimes stripping back the layers of an idea and then turning them into their own looks enabled my ideas to translate better and they were more clear.


What have you learnt about styling?

  •  Styling isn’t always about putting ready-made piece on the body, you can alter and contort one piece to make it have a completely different effect depending on placement on the body. This is a much more artisanal approach and can create very artistic and telling outfits.
  • Additionally, sometimes more is more and also less is more depending on the overall aim of effect for a certain outfit


How did you use photography to transform your ideas?

  •  Photography can really catch a particular ambience or change the way we approach thinking about something. I tried to use photography to capture a sense of the outfit and what location would best highlight what it was I was trying to portray.
  • Also using post manipulation to create some interesting graphic compositions (shown on digital outcomes)- as I am keen to do fashion communication.


Reflection September 5th IDEAS FACTORY

Reflective Questions

What makes a good pitch?

  • The best pitches included clear and informed speakers, who had accumulated research and other contextual factors to clarify and support work. Additionally a clear visual communication is crucial to enable the audience a grasp of what it is they are trying to understand. It was beneficial to be in groups and watching other people talk as we each learnt a lot creatively about each other and it was interesting to see many various interpretations of this introduction project.


How did your own pitch go? What did you do well? What can you improve on next time?

  • My own pitch was relatively clear and for the most part conveyed my ideas accurately, however I could have researched more to gain better information on materials and artistic processes to explain better. This would have meant that my thoughts and processes were a-lot more eloquent and backed up by research. Inevitably doing sufficient, thorough research enables more strong and coherent ideas. Cultural and historical research could have benefitted my process much more and in the bid for a more successful pitch.


What work from another student did you see from the exhibition that you thought was good? Why?

  • When looking around I appreciated the way people had recorded their pitch, one student in particular used varied collage, colour and materials which created very evocative work mostly through drawing. This communicated ideas in an exiting way which was visually captivating and had an energetic quality to it which I myself would like to try and embody.






How did you respond to the process of translating the text from your conversation into a typographic communication?

  • I found this at first to be difficult as I was extremely ill however still decided to come in, it hindered my creative process at first. The text I chose was to my boyfriend after a night out  (I didn't manage to participate in the texting with another student as I was late, so I sifted through some WhatsApp conversations of my own). The text I chose stated 'Im on a comedown I wanna see you', therefore I decided to communicate this through all the items I would take on a night out. Then I shifted the letters onto one of my peers belongings and rephotographed it to show how we can all feel after being intoxicated after being on a night out. 


What were your conversations in relation to the choice of type of material and placement of text?

  • I chose a glittery material in order to depict party culture and how you feel on the night, whilst intoxicated. which poses a contrast to the aftermath- a 'comedown'. The pictures themselves has quite a drained and apathetic vibe to them, which creates a narrative alongside this gaudy typography. The sloppy letter placement relates to the conversation and reflects feeling down or unwell.


How successful do you think your text communication was? Does it function as you intended?

  • I think overall it was successful as it looks effective and conveys the message how I had imagined it to, although the letters don't majorly stand out like I wanted them to and perhaps are not necessarily fully legible which is crucial within typography. Those are some things which potentially I could have improved.

Contextual Practice lecture

“Is there a language of space (a space language)?”
Bachelard, Gaston, 1964, The Poetics of Space. 
Different interpretations of space - a place, a room etc. 
Places where language - isolated places. 
Personal space, personal boundaries is a language of space. Space between people. Invasion of personal space - can assert dominance, can make people feel uncomfortable. Women are meant to not take up as much space whereas taking up space for men is an expression of power.
How peoples’ relationship affects their language of space. 
Things left unsaid - things that don’t necessarily need to be said but they’re both implied and acknowledged. Not a verbal language. It is still a form of communication but is expressed instead through body language, gestures, expression, emotion. 
When people are too uncomfortable to say something, it may be revealed through their language of space.
Distance created through loss of connection with people; friends, family etc. 
Communication - space is not a language, however it informs how we communicate.
How personality and character correlates to your communication of space. 
Performance - dance, a universal language. The original universal language? Gestures. Mime. 
Personal writing task, writing about a space personal to me
Small, confined. Cold- single glazed typical east London sash windows, although I like the balconette as I don’t have to go downstairs to have a fag.

I often hear and see the large white lady in my view across the near gardens shouting at her husband- she drinks Budweiser like it’s running through a tap. Quite often she stares at me through my window, smiling at me- kind of funny kind of makes me feel uncomfortable. It’s a relatively tidy space however is just full of art work and clothes prior to me going out.

Not really a fan of my flat mate Carolina she’s kind of rude and doesn’t clean up after herself but I have learnt to deal with her and I just cover the hob in cleaning spray before she goes in the kitchen so she has no choice but to wipe it off. The other day I heard her playing this weird music that sounded like she was tapping a steel drum, had to ask her to shut her bedroom door because it pissed me off. Don’t know why she leaves her door wide open...

I feel safe in my east London gaff, but won’t forget when I first moved in, sat on the bed then cried my eyes out. So my boyfriend sent me £15 to come to the pub and then I stayed at his. Moving out from home wasn’t exactly  the send off that I had planned or wanted, was more of a dramatic argument with my step dad. It was time to spread my wings. I won’t forget this flat, first time of complete freedom and finally realising the fact that I’m now an adult forever. Only done 1 food shop since I moved in, and when I can’t afford to eat I just sleep till I’m no longer hungry. If it comes to it I’ll go buy a packet of super noodles or go to my boyfriends house to steal food.

The room feels like home, which my mum doesn’t like to hear me say. But it does, kind of like a sanctuary where I go to, when my day is finally done, then I just pass out. Not bad for £550 a month. My room usually smells like Ikea furniture and Ikea candles with probably a  faint smell of cigarettes which I’ve become immune to and YSL aftershave. You aren’t really supposed to smoke in the building but I think my landlord lives in Australia anyway so I don’t care too much.



Did you face any challenges working in 3D if so-why?

  • Sometimes it can be challenging working in 3D as human error is more a factor, sometimes its difficult to get things to lay in a specific way or be able to stand up at the right angle etc. 3D work requires more attention to structure to ensure things are where you want them to be.
  • Despite this they can be very effective and installation type work can really communicate ideas in a tactile and playful manner.
  • Moving to then use a section of the installation to project onto a model as a three dimensional textile piece was extremely stimulating, it was very interactive. Projecting work to become 3D is very rewarding and let us adjust scale and focus which curated to varied abstract design methods.




What have been the benefits of over designing?

  • I enjoyed working with the found materials from both home and the sculpture yard. Having a wide range of materials accessible definitely made the work varied and allowed me to use many textures and techniques. The process of 'one man's trash is another man's treasure' was certainly very exciting, curating some extremely fascinating pieces from random and overlooked items was also quite sustainable. I also enjoyed layering fabric over the hard copper structure, I found myself repeatedly layering this fishnet material over itself, pulling it taught whilst knotting it to create interesting shapes. This was a similar approach I had to the styling project, this pulling fabric taught approach and refined me of a few designers work who I really enjoy. For example the dress kylie minougue wore from Balenciaga SS03, and Nensi Dojaka both utilise this layered and pulled fabric aesthetic.
  • The more I over designed the more interesting and intricate the sculpture became. The process of today was very liberating and therapeutic for me.


What can you take from approaches used today going forward?

  • I can become over invested in something by thinking about it way too much, whereas today we were encouraged to just start creating as soon as possible. This way of working can be very beneficial as I noticed myself becoming less precious over work and just focusing on creating things, going ahead without overthinking and being wrapped up in perfectionism.
  • This approach of getting straight into things is very useful for this course as its very fast paced and there is no need to be constantly over thinking.




Body YES/NO?

  • I found working with the body an interesting switch from the different approach last week, the process of design was more integrated with the human body. Which was interesting to see the way in which this can influence and develop an idea.
  • As reflected in my piece, the larger scale evoked more of a sense of freedom in my approach to creating. Much more liberating, which is exactly what I needed to loosen up when in a new environment.


Happy? Frustrated?

  • Initially I must say I was rather frustrated, seemingly to the tutors I may have appeared a bit apathetic, as I was experiencing difficulties when attempting to construct my failing phallic g-string. Getting too caught up in if I liked my idea or not, as I always think there is something better I could do instead of just going ahead.
  • Despite all this conundrum, finally I started to create and began to really enjoy the process. Everything became much more fluid once I started building the piece around a model. Utilising the body helped me to kickstart much more of a successful design and everything became much easier. I was happy with the overall outcome.



  • Working three dimensionally is definitely much more exciting to me as it creates much more erratic design, when things go wrong you change it accordingly. Whilst drawing something, this element of failure in reality is not applicable, anything is possible when drawing on paper, which is also beneficial in some aspects.
  • However, when things fail during the physical making process it alters the design and means you constantly have to adapt ideas which makes things all the more exciting.


Presentation GOOD/BAD?

  • My presentation could have been executed slightly better from a technical stance, however overall my construction appeared quite effective (especially the G-string at the back), and I received some good feedback from my peers.


Concept explained-

Within my art work I enjoy bending (no pun intended) the concept of gender through artistic pieces. I am constantly exploring sexual references alongside this, which I utilised for this task. My idea initially started of with the thought of a chastity belt (essentially a penis cage), which explores the submissive nature of sex and restriction. However, I moved on to the idea of how this could be interpreted and created into a piece which blurred the line between gender and sex; while utilising the design of underwear as a garment to be worn over the clothes. The contrast between a large phallic object and a dainty G-string sparked an idea to create an invasive piece of jewellery to be worn over clothes as an accessory. Perhaps a commentary on how a penis is reflective of power and asserting dominance?. The idea of it forming around the body and wrapping around the leg was an interesting design concept to me which I wanted to explore eagerly.


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Reflection September 3rd

  • The first day of practical work at CSM was difficult, as making a model of an idea so fictional was hard to rationalise into something tangible. This caused me to sit and think for a while about how I would communicate thoughts to a physical model, the limited use of materials made it all the more difficult. Although once becoming less precious over my work and stressing myself out I began to not focus to much on how perfect the model was but how i could approach the task to attempt successful communication fo my idea.
  • It was rewarding to finally be able to create something which semi portrayed my thoughts. Although it was hard to depict these thoughts into a model and this slightly dampened down my idea and initial aesthetic. 
  • I will aim to improve this through a more refined drawing as requested to do on A2, in bid to improve.



Experimenting with cage like material- texture shape and colour and how this can depict/communicate being trapped. 





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