Category Archives: Assignment 4

Assignment 4 – The Yorkshire Three Peaks

Three Peaks v2 1 Three Peaks v2 2 Three Peaks v2 3 Three Peaks v2 4

‘Three Peaks’
Bronze and steel

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Assignment 4 – Grassington

Grassington 1Grassington 2 Grassington 3 Grassington 4 Grassington 5

Bronze and steel

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Assignment 4 – Grimwith

Grimwith 1 Grimwith 2 Grimwith 3

Bronze and steel

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Assignment 4 – Howgills

Howgills 1 Howgills 2 Howgills 3Howgills 4 Howgills 5

Bronze and steel

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Assignment 4 – Conistone Moor

Conistone 1 Conistone 2 Conistone 3Conistone 4 Conistone 5

‘Conistone Moor’
Bronze and steel

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Assignment 4 – Malham

Malham 1 small Malham 2 small Malham 3 small

Bronze and steel

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Assignment 4 – Reflection

I enjoyed exploring a theme and producing multiple sculptures on that theme. Those I thought about more or had an idea to get across, worked better for me than the ones which were put together to finish the series and had no theme other than the landscape.

Elements to take away which worked:

  • The use of found objects in the sculptures – Conistone Moor tile with skull / plants

  • Telling a story – Grimwith reservoir drowned landscape / Howgills boundary change

  • Variation in patination – the Conistone Moor tile works best for me as it is less uniform

Elements which didn’t work as well:

  • They do not really explore my use of bronze and steel together, as steel is only used for the base in these sculptures.

  • They look too similar when displayed together as the patination colour palette is the same.

  • They need to be viewed from above to work well (they could be modified by displaying as a wall mounted “picture” – something I will try out)

I am not aware of any other artists producing similar work to this, although there are many artists who are influenced by contours, usually also incorporating water. Some of these are furniture based, e.g. LA TABLE and Duffy London. Ben Young’s work is purely sculptural and particularly inspires me. I would love to do something similar at some point using sheets of glass to represent either water, or the void between two surfaces of bronze – I am thinking here about a sculpture of Hell Ghyll gorge in the Yorkshire Dales I have been mulling over for a long while – one day…..

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Assignment 4 – Development

I am pleased with the results, but for a while I thought that this was the end of the line for these sculptures for the moment and I struggled to think of any other way to develop them which excited me. The series had been interesting to explore, but I found more potential in the sphere / virus / microscopic world arena. However, after mulling over it for a while, I realised that there were 2 other areas which could be explored, both of which moved away from the straight landscape representation :

  1. Destruction of the landscape

    • effects of industry

    • fractured landscape, landscape disintegrating, holes through it

    • industrial (steel) impact on landscape (bronze) – mixing media more than just using steel for a base

    • Grid base to the map tile, showing through the holes – rusted steel or stainless steel

This is similar to the work of Angela Eames. Her work is more akin to flooding of the landscape, but it creates a similar effect.

Fractured landscape sketch

1 Fractured landscape tile

7 Tree fractured tile8 Fractured landscape no3

  1. ‘Landscape’ of the body

    • Combining landscape tiles with bronze spheres

    • Effect of viruses on the body

    • Could make a tile out of steel (how to form it)? How would get a ‘skin’ texture (etching / welding)? Or use a steel sphere on a bronze tile? Alternative would be to do all out of bronze and vary the patina on the skin and sphere?

Skin virus sketch

I will explore both of these potential developments, although the results of these explorations will have to be added in at a later date.

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Assignment 4 – Tutor Feedback

Some bullet points taken from Skype assignment feedback:

  • Think about whether the accuracy of the topography is something which is needed. It could be more representative of the experience of being there / exploring the area.
  • Increase depth of reflections and contextualisation. More about my thoughts in creating the work. Question more what the pieces are communicating to the viewer. Are there areas that lose the communication of the ideas?
  • The museum-like presentation bases work well, however the additional pointed steel grid on the Conistone tile is over-elaborate and detracts from the message of the sculpture. It adds an industrial feel to the pieces which is not warranted.
  • Do more large drawings in pen & ink / graphite. Don’t feel like have to do ‘loose’ drawings if these don’t suit me.
  • The sketch of the fractured map tile works better, both as a sketch and as a sculpture, as it doesn’t have the baggage of the OS accurate map.
  • Try more sketches working on an imagined scale / dystopian landscapes.
  • A comment my tutor made about the Grimwith tile feeling like flayed flesh gave me an idea of having a tile with an area pealed back. Could do this with an archaeology tile – pealing back the surface – could do that literally, revealing an impression of what was underneath?


Suggested reading/viewing:

  • Boyle Family
  • Robert Smithson essays
  • Paul Noble


Comments on suggested reading:

Boyle Family

The Boyle family are best known for their ‘Earth Series’, a series of casts of the earth’s surface, selected at random. They incorporate objects from the sites with resin, fibreglass and paint, and aim to be accurate representations of that site.

Their exhibition of an area of coast on Barra in the Outer Hebrides (part of their ‘World Series’, a random survey of planet Earth, selected by throwing darts at a map of the world) is a very similar idea to one I have been mulling over, essentially having an exhibition based on a small section of land. Their exhibition (Barra project, World Series. 1992-2010) consisted of reproduction of a rock cliff face and a rippled area of sand, accompanied by a film piece of the site and electron microscope images of plankton and seaweed found at the site. They also included electron microscope images of their hairs, including themselves in recognition of their impact on the site by visiting it.

It is interesting that a fellow student has just written a blog piece on originality and finding that other artists have done the same thing as your own brilliant and innovative idea (Eaton, 2017). Having completed my map tiles in stage 4 and now working on sculpture based on microscope images in stage 5, I was thinking that these could be combined by selecting a small section of land and producing both a map tile of it and sculptures based on microscope imagery of what was found there (e.g. pollen, pond creatures).

Their work concerns itself with accuracy aiming to ‘present a version of reality as objectively and truthfully as possible’ (, 2017). My aim is to move further away from the accuracy of the depiction, to capture more of the essence. So the resulting work would be very different, but part of the concept to offer different interpretations of the environment is the same.

Another interesting piece of their work to me is ‘Sand, Wind and Tide series, 1969’, fourteen studies of the same square of beach. It looks like these are all monochrome though, rather than replicating the colour of the sane and I like this idea of removing colour to concentrate on the form and texture.

No doubt I will come back to look at their work again.

References: (2017). Boyle Family (About). [online] Available at: [Accessed 10 Apr. 2017].

Eaton, A. (2017). Confessions of an art student: Part 4 – WeAreOCA. [online] WeAreOCA. Available at: [Accessed 10 Apr. 2017].

Mottram, J. (2017). Boyle Family – Submit Response. [online] Available at: [Accessed 10 Apr. 2017]. (2017). Tidal Series (1969) | National Galleries of Scotland. [online] Available at: [Accessed 10 Apr. 2017]. (2017). TateShots Edinburgh: Boyle Family. [online] Available at: [Accessed 10 Apr. 2017].


Robert Smithson

Robert Smithson works directly with the landscape, creating earthworks or land art, most notably ‘Spiral Jetty, 1970’. Works like this alter the landscape to form his art, but he also produced work such as his Non-sites, where he brought materials from remote sites into galleries and placed them with maps and mirrors to create a ‘dialectic between the outdoors and indoors’ (, 2017).

I find his essays hard to understand, but his essay on ‘A Provisional Theory of Non-Sites’ he says:

‘By drawing … a topological map, one draws a … “logical two dimensional picture” [this] differs from a natural or realistic picture in that it rarely looks like the thing it stands for. The Non-Site (an indoor earthwork) is a three dimensional logical picture that is abstract, yet it represents an actual site…’

I guess this is what my tutor is suggesting I do in moving away from ‘the baggage of the OS map’

Ideas sparked – I could construct a map tile as a container. Have the map tile around the edge, with a recessed box in the centre, fill this box with collected material from the site?

Map tile with found items

References: (2017). Robert Smithson. [online] Available at: [Accessed 10 Apr. 2017].


Paul Nobel

Paul Nobel produces drawings of a fictional place Nobson Newtown. These are very detailed pencil drawings, usually based on text as a starting point.

They are very different to my work and I am not sure what I will get out of these at the moment. I guess my tutor has pointed me towards these to show that detailed intricate drawings can be a valid way forwards rather than the way students are often pushed towards loser, freer drawings. It also shows where rolling with your imagination can take you.

I had some similar ideas in my ‘residency’ work, which I thought could be expanded to incorporate drawings in the form of architectural plans for the ‘buildings’ and a language used by the ‘unknown creatures’ – again proof that there are no original ideas, however much you may think you have them!

References: (2017). Paul Noble Nobson Newtown drawings. [online] Available at: [Accessed 10 Apr. 2017].

Tate. (2017). Paul Noble | Tate. [online] Available at: [Accessed 10 Apr. 2017].

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Assignment 4 – Follow-up

Wall hung map tile

In the reflection I mentioned trying a map tile as a wall hung work. I tried this with another cast of the Grimwith tile (photographed on the ground):

Grimwith wall tile


Although this is now much easier for people to find a place for in their houses, I don’t think this format works as well as it needs to sit horizontally to get a sense of the landscape form.

Fractured landscape

In the development ideas I mentioned producing a ‘fractured map tile’ exploring the themes of the destruction of the landscape from industry/etc. And produced some drawings of these. This took a while to construct, but I got there in the end:

Fractured map tile 1Fractured map tile 2 Fractured map tile 3 Fractured map tile 4

‘Fractured landscape’
Bronze, stainless steel and mild steel

I am really pleased with the way this has worked out and feel that it is a positive development of the theme and the way I will take these map tiles forwards in the future. This piece has lost the ‘baggage’ of the OS map base and has a message across rather than just representing what is in a landscape. The contrast provided by the shiny and rusted steel works well with the bronze and I have improved the colouring in this tile – all round a much more successful piece.

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Map Tile Follow-up Drawings

I developed some more ideas for map tiles, covering issues such as desertification, flooding, drought, etc.

MapTileDev1 MapTileDev2 MapTileDev3 MapTileDev4MapTileDev5 MapTileDev6 MapTileDev7 MapTileDev8MapTileDev9

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