Feed back of final major critique
Here is the feedback i got, from Ann
. look more at the temporary and frozen motion
. Consider scale and how can interact with he public
. Made sculpture with more fluid movement more open
. Consider using ice
. Draw a block of melting ice

Feed back form Claire
. How important is lights to the original making of the work.
. How can lights be part of the final work
. How can i realise my final work use of layers or sheets

Feed back from Matias
. Like the suspension in your work
. Drawing of sculptures interesting, can these and photos be used to explore large scale versions?
. To what extent is beauty important to the work?
. Is this about the original project proposal or something else
. Create material experiments of the final idea

Reflection of critique
I felt that from the critique i learnt that my idea for the final piece does not successfully communicate the ideas i proposed originally. The hot glue experiment people liked but it did not communicate the ephemeral or a frozen moment in time. A few people questioned if this mattered if i could not change my ideas but i was really excited at making a sculpture that captures movement. A ephemeral sculpture is like a oxymoron, as sculpture are known for being permanent, large un-moving monuments. When i talk about past practical process people like the expanding foam experiment, they thought it captured movement in a more successful way than the hot glue experiment.

I also think that i did not successfully show what my work is about. I want to combine materials, i enjoy finding out how they will react with each other. I like the fact that materials can be dependent on each other and work together. My work looks at materials in their natural form, they don't distort the materials and cover them up. I like to experiment with things that are not common processes, expanding foam, used for installation, i think it is interesting display this when it is usually hidden between walls.

Reflecting back on what Ann said, i do think i need to look back at scale. I have always wanted to make my work to a large scale, it has been my ambition to make my work larger so that it awes the viewer. I want my audience to be over whelmed by the work so that it becomes something that becomes distorted and looks more surreal. when something is either really small or large it changes the work, it makes people take note as it is not normal. I want my work to communicate the uncanny and i think this can be supported thought the size of my work. When things become huge it distorts them and makes them less recognisable. I think i want the audience to interact a bit with my work. I feel like my work is tactile and thought this i want people to experience it. It really annoys me in a gallery when you can not touch the work so i want mine to be accessible, it dose not matter to me if it gets damaged that is just part of the art, its a temporary piece that is effect by whats around it. I agree with Ann that i need to make my sculptures more open, more fluid like. I am going to be using lots of foam to achieve this so that it is spilling out of every opening. I want it to look like it has frozen in the mist of falling. I will not be making anything with ice, i want to communicate the temporary thought a un temporary sculpture. I want to try and freeze a moment forever and i feel that ice will not communicate this, however it would communicate the ephemeral very well. 

Looking at what Claire said, i think lights are no longer important to my work. I experimented with them a bit in the beginning but now feel that they are not important. I liked exploring how lights could effect the look of the work, but not feel that i want my work to be about materials, to experiment with combinations of materials. I think i need to take note of what Claire is saying about how can i relies my finial piece  I am not very good at making my larger ideas come to life. I think i need to look in to ways of building up my work so that it is done in layers. I think this way my work can achieve the scale i desire while keeping the interesting detail and form. I think i need to look at artist like Eva Hesse who builds up her work as inspiration. 

Matias said that he liked the suspension in my work, i think suspension is important to my art as it helps communicate my idea of the frozen moment better.Also i like how it changes the view of the audience  by hanging something above eye level it forces people to look up and engage more in the work. Matias asked to what extent is beauty important in my work, i have been thinking about this and have concluded that i don't set out to make the work beautiful i just let the materials make their own forms. I think it is nice that people do find beauty in my work and that it is interesting as i do not set out to make it so. I think this could link to my theme of the uncanny, something unintended through materials, something beautiful and grotesque at the same time. I did look at the sublime at the beginning of my project, i think that maybe this has influence my work and that i do subconsciously set out to make my work have some aspect of beauty. I think my project proposal has changed to a degree, it is no longer directly about nature, i am not looking at elements and natural occurrences anymore. Although i do like that my work has a natural aspect to it the way that it looks like it is growing or changing as if alive. The artist that i thought would be a direct link in my work also changed, i moved on to material artist, people who experiment with different mediums more. I did follow Matias's advice and i have developed more material experiments to help me realise my final piece, i think this let me down in my last assessment as i did not look at how to build my work enough i just expected everything to come together like i imagined. 


New idea
Through the critique and talking to my tutors i have realised that my current final major project proposal is not right. It does not communicate what i set out to. I needed to look back at my other experiments and see what was most successful as communicate the ephemeral  engaging the viewer, freezing time. I talked to my friends and they agreed that the expanding foam had a sense of movement to it just through the use of combining the netting and the foam. It looked like it could continue to grow and expand, to move and flow. The foam in a sense froze, it set while expanding so it had these tendrils that hung down giving the feeling that they could fall at any moment. 

The new idea is to use nets again and foam, but on a larger scale, a mass of nets that combine to create a whole. I want to have a large sculpture that people can stand under and be engulfed by the size. That can feel like it is about to fall on people, and cover them. A mass of movement that looks like it is frozen in the mist of change.