Reflective Journal Week 0, 22 Sept – 28 Sept, 2019


After collecting a small, however sufficient amount of resource which allows initiating further experiment, I decided that the aim of the second week would be settling down the style of painting for Project 1.

So I sneaked into Chelsea’s library before enrolment time. Surprisingly, neither Camberwell and Chelsea’s gate can stop me — what’s the meaning of the key anyway? Tried to find anything interesting related to Nostalgic Realism but failed miserably. Generally speaking, my aim was still stuck in week 2 as “producing something relatively more elegant than general”.

Anthony Gormely’s exhibition was on this week. I went to the Royal Academy, thinking I might study in this institution, and was seduced to pay for an annual membership by my own imagination. What a stupid move, now I have to work really hard to enter this academy.

Luckily, I visited the exhibition on Tuesday. The gallery was almost empty, which allow me to occupy the space for sketching some scenes. Speaking of sketching, I didn’t notice the little baby outside the entrance because I was too busy checking out JMW Turner’s statue. Almost tripped by the sculpture. I could be the first one to own a piece of work of Anthony Gormely by paying for it forcibly after damaging the work.
The way of arranging the baby on the floor outside the building actually allow me to sense a humour of the artist himself (maybe the curators’). Especially under the chilling weather of England, the baby curls up in a pose that looks like he’s trying to resist the coldness. Comparing to Gormely’s usual powerful way of demonstrating work, this has been a charming surprise.


Anthony Gormly’s Angle of the North, which is designated to be mentioned in art history class constantly, and all other works I have seen in the exhibition, they all reveal an overwhelming vigour while showing the artist’s most usual exploration of the objects’ special relationship with audiences. Really, his method of using quality and size to overwhelm audience could be an essential reference for setting up and presenting my work.

Due to arrangements of different errands, I didn’t go back to Brighton on week 2. A fairly save for budget. So at the end of the week, I specifically looked into two institutions that I am interested in. Set one high goal for me. I wish my effort could earn me an entrance ticket to the Royal Watercolour Society or Royal Institute of Painters in Watercolour. I have been following some of their artists like David Parfitt, Deborah Walker, Geoffery Wynne, Naomi Tydeman and Peter Quinn (In alphabetic order). Their works regarding scenes in England or general practices have always been a very valuable way for me to learn techniques while providing a new perspective for examining my work.

Tests regarding drawing panels and quality of watercolour papers started on this week also. I went to several art supply shops and surprisingly found it seems the manufacture of Daler Rowney’s Aquafine has stopped; otherwise, it will be a descend of its reputation, which caused stores stopped importing. I paid five times more purchasing this brand from the Commonwealth and mailed to me when I was in China. I have to find an economical replacement that has a similar quality and smoothness.

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