How do you begin an artwork, forge connections between ideas and materials, build upon them, recognize strengths and direct properties toward an overriding expression? Your ability to create opportunities, make choices - problem find and problem solve requires ‘creative thinking’ and you can become better at it. 

This resource comprises film of BA and MA ceramics students discussing the development of their ideas from initial catalyst to final exhibition and the role of process, material values, drawing and theory within it. As the students speak about the development of their ideas the strategies used are identified and illustrated through still imagery and additional footage.

The films can be viewed in two ways 1) in their entirety to understand the evolution of a body of work and 2) as shorter clips illustrating three key stages in the development of an idea:

    Beginning Approaches         

    Developmental Strategies     

    Presentation and Curation

The films render visible the negotiation of thought and seek to illustrate tendencies and patterns in the ways ideas are developed. As a collective they provide a toolbox of possibilities to be altered or rejected at any stage in the development of a given body of work but are always present, to generate and keep ideas mobile.

 Devising Discipline Research

Creative Strategies

These films explore ways in which ideas are generated, developed and presented:Containing indicative examples of ways to develop ideas from a number of perspectives, encouraging objectivity and innovation of thought.

Initial

Films

These films explore ways in which ideas are generated, developed and presented:Containing indicative examples of ways to develop ideas from a number of perspectives, encouraging objectivity and innovation of thought.

Beginning Approaches

These films explore ways in which ideas are generated, developed and presented:Containing indicative examples of ways to develop ideas from a number of perspectives, encouraging objectivity and innovation of thought.

Testing Possibilities

These films contain examples of tendencies and patterns in way Ideas are developed in art practice

This is the main area for developmental strategies: the following methods are interchangeable and applicable at any stage of development, in two or three dimensions.

Curation

These films show examples of different approaches to display and its impact on the development of ideas

The presentation or curation of work should not necessarily be the last stage of creative practice. A viewers’ interpretation of an artwork can be drastically informed by its presentation

Creative Strategies - The Activity of Perception: Helen Pickles BA Ceramics UWIC 2008
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Creative Strategies - The Activity of Perception: Helen Pickles BA Ceramics UWIC 2008

Perception is the process of attaining awareness or understanding of sensory information. Its role in art may at first appear obvious - that it is the means by which we experience colour, shape or form through sight, touch or sound. However, it is not something that simply happens to us. Understanding how a viewer might be affected or moved by certain properties and relationships should be an active element in the development of our ideas. We can become skilful practitioners not only in creating art objects but also in creating small worlds of experience. As a developmental strategy the activity of Perception forces you to consider your personal thoughts in relation to other peoples understanding, to place your subjective experience in relation to a more universal language. Begin by asking your self what type of experiences you want your work to express then, consider in what ways you have previously encountered that experience in the environment or through an artwork. It is important to understand your response only according to the sensations or emotions it evokes and to remove, as much as is possible, all subjective, personal responses. To find connections between concrete examples already in the world and their affect upon a responsive human body can build an aesthetic vocabulary, which can then be translated into an artwork. Your experience of these properties once rendered will change due to scale and material values but you can apply this approach again by questioning: what am I feeling, what is contributing to it, what can I change in order to make this sensation stronger or weaker. Scale Altering scale not only enabled Helen to re-introduce everyday almost forgotten objects to the forefront of our minds, but also created a fictional, slightly otherworldly space around them. The differences in our perception of an object triggered simply by altering scale and presentation became an important part of Helen’s final exhibition.