Sculptural Evidence, (collection and construction)

1. Introduction and Outline of Project

‘Evidence is evidence, whether words, numbers, images, diagrams, still or moving. The intellectual tasks remain constant regardless of the mode of evidence: to understand and to reason about the materials at hand and to appraise their quality, relevance and integrity.
Science and art have in common intense seeing, the wide- eyed observing that generates empirical information. Beautiful evidence is about how seeing turns into showing, how empirical observations turn into explanations and evidence’.
Edward Tufte, Beautiful Evidence, Graphic Press LLC, 2006

This project will ask students to develop a project, which considers the structure and nature of a selected inanimate object.

Drawing in and drawing out
Using observation and an analysis of the recording process students will investigate the object’s life, thinking also about the reasons for its selection. It might in a small way be considered a portrait of the artist.

From this point the task is based in construction. The aim is to reassemble the idea and object into a new form that operates sculpturally in space. This new object will be a synthesis of the earlier exploration. The effect of scale and materials, will be discussed alongside issues such as the translation,( of ideas from one state to another) and the role presentation might play in creating potentiality within an artwork

The project aims to provide an opportunity to advance participating students skills in three dimensional workshop skills within a context where they will have access to new methods while considering the impact and role that process plays in the development of an idea.

2. Studio Activities

• Students will choose to base their investigations in one of three material areas. As a result of developing ideas through experimentation students will develop new skills in workshop areas appropriate to their interests. Individual learning will be supported by structured classes, these will offer an introduction to a specific methodology on a small group basis

Workshops
Workshops are offered in conjunction with the course, ( please check your workshop stream). 1.Metal shop - welding
2.General workshop: mold making and casting
3.Aluminuim casting

• The project will begin with a research phase. Students will be expected to record this process of investigation using meaning appropriate to their ideas and also their intended workshop process outcome.

• Studio and workshop staff will encourage a prototype approach to thinking through ideas. This is intended to promote a process that reflects and develops on outcomes.

• In their initial conversations with workshop staff students will be assisted by documentation developed in the research phase.

• The project outcomes will be assessed at three points during the semester. There will firstly be a review of ideas prior to first construction phrase. Then consideration of work at the prototype point and finally an installation at the course’s completion

• Work with materials and processes will be accompanied by the consideration of readings that relate to the recent history of sculpture.

• Ongoing review of work will occur on an informal basis in small groups, (3-4 people)


3. Studio Project Schedule

Weeks	1	2	3	4	5	6	Break
Topic	Intro project (copies provided)	Ideas Presentation (range)	Ideas Discussion (particular)	Prototype development			Working completion
Students	Introduction conversation	Discussion about research direction	Crit 1 Presentation of research material (Space booked to enable prior installation)	Meeting with individual students (4 slots) 1/5 hr length 2.00– 4.30	All students: reading given individual students (6 slots) 2.30– 5.30	Individual students (4 slots) 2- 4.30pm
Technical support	Selection of workshop area	Stream B workshops, (14th March)	Process class 1 Stream A Begins (25th March)	Process Class 2	Process Class 4	Process Class 5
Small group		Small group discussion 4.30- 6pm		Small group discussion 4.30- 6pm		Reading discussion 4.30- 6pm
	6/3	13/3	20/3	27/3	3/4	10/4

Weeks	7	8	9	10	11	12	13
Topic	Prototype presentation	Developing the larger idea 1	Experiments are presented	Objects in conversation	Testing plans:	Feedback provided	Presentation set up week
Students	Crit 2 (Rubric used and made available in week following)	Small group discussion: the development beyond prototype	Presentation of ancillary material, (drawings and associated other experiments	All of Group: discuss issues around presentation	Crit 3 Notes taken for student’s use	Crit 3	Individual meetings with students
Technical support	Process Class 6 & 7 (Follow up on group instruction)		Booking time as a group or as individuals			Spaces organised	Assistance in installation
Small group		3 self organised groups 1.30- 6 pm
	24/4	1/5	8/5	15/5	22/5	29/5	5/6

Notes:

1. Class meets between 2 and 6 on Tuesday afternoons

2. Non-contact engagement with the course is expected to average 6 hours per week (for a 15 point paper).

3. Workshops take place Wednesday morning 9 -11, (Stream A) and Friday afternoon 2-4pm, (Stream B).

4. Stream B workshops begin one week earlier to allow for the Easter break.


Course Aims
• To ensure that students complete the course with an informed awareness of materially based sculptural issues in a way that is relevant to contemporary art and/ or design practice

• To ensure that students gain the skills required to sustain an independent research programme that actively informs their developing notion of a practice, including knowledge of contexts relevant to their practice

• To ensure that students gain the skills and knowledge required to identify and where appropriate, articulate connection/s between their own work and an issue or issues raised within the course in a generative and reflexive manner.

• To ensure that students engage at a more advanced level in critical dialogue and debate appropriate to this level

• To enable students to produce new work that effectively addresses issues raised in the course in an open-ended and resolved manner

5. Intended Learning Outcomes
By the end of this course students will be able to:

- demonstrate sound research practice. This includes sourcing relevant material and reflexively processing and analysing this material through reading, questioning and discussion.

- Identify and explore connections between their own work and an issue or issues raised within the paper in a generative and reflexive manner.

- Produce new work that effectively demonstrates an open ended and reflexive exploration of a chosen issue

- Produce new work that demonstrates thoughtful and succesful editing and resolution


6. Assessment and Final Submission
Formative Feedback/Assessment:
There will be three points of group feedback all are considered formative (the times and nature of these sessions are recorded in the studio schedule above)

Written formative feedback in the form of a completed rubric will be provided to students in the week following the second crit

Summative Assessment:
To be provided as a result of the final presentation of work (Week 13)

7. Assessment Criteria

CONCEPTUAL ENGAGEMENT
Students will provide evidence of an explorative and reflexive response to a selected issue through the making of work, use of technical processes, discussions and readings

RESEARCH
Students will source relevant material and process this material in a questioning, exploratory and critical manner. Students are expected to actively integrate this research into their studio production and provide evidence of this in workbooks, discussions and the presentation of work. Students will also demonstrate appropriate engagement with technical processes so as to expand and deepen their studio practice in relevant ways.

RESOLUTION OF WORK
The work, ideas and examples of research selected for assessment should demonstrate successful examples of open-ended exploration and analysis with regard to the new information and questions as developed in the course. These examples should be presented, where appropriate in a resolved and considered manner.

PRESENTATION OF WORK
The ability to successfully isolate relevant ideas, methods and material processes, and, to also develop these instances through to successful points of completion.

STUDIO PRACTICE
Studio practice will be evidenced through attendance and self-management in relation to briefs and timeframes. Engagement in constructive discussion with regard to students’ own work and the work of others, and initiation of contact with staff is required. Students will also demonstrate active participation in technical workshops.