1. Submit the final draft version of your Major Project via the assignment activity to your tutor. 
2. Submit extensive material that showcases your work within its context and audience.
3. Produce a short reflective commentary of your final steps of your promotional strategy that you will undertake for Project 10.

Use the ‘online text’ box to add a note with any feedback preferences and availability for short tutorial feedback with your tutor.

The feedback received from my tutor on my project 9 submission was positive. We began by discussing the see-saw which has taken up a lot of time and effort. It is important to recognise the time spent on this one aspect of my project but my tutor suggested I should always seek to prioritise and balance my time.

My choice of flush surface mounts and my description of the materials I plan to use was well received. The feedback was that my choice looked modern and professional and fitted well with the aesthetic of my project.

Our next discussion was on placement of each work within the sequence and narrative and my choice of titles.

1. My introductory work of the hospital corridor with the title “Hospital Time Passes Slowly” was well received and works well as first work. The title too seems to work and I have no particular desire to change this.

2&3 My next two works are of view from Rebecca’s hospital room and view from Rebecca’s perspective of her bedside table. These images work in my sequence but there was question over the titles, “My View From Daughter’s Hospital Room” and “My Daughter’s View”. I should pay heed to how I call my daughter, whether by name or as my daughter. A consistent approach is needed. Could I shorten titles for these works to “My View” and “Rebecca’s View”? I will have to think on this as I wonder whether these titles convey the sense of Rebecca’s limited view lying in hospital bed, in pain, her world shrinking and summarised by the few objects on that table next to her bed and my own view looking out the window with my back to Rebecca. Do simpler titles allow my audience to build their own sense of what these works mean?

4 My next work in the sequence shows Rebecca’s memory box with title, ““I have Never Taken the Lid Off Rebecca’s Memory Box” This seems to work in sequence along with the title.

5. My next work is titled “Precipice” and shows a cliff face in Ireland. This is a royalty free image I used so, to simplify permissions for my exhibition I plan to reshoot the photograph of the cliff face. I need high cliffs of a certain profile and I have researched potential sites in the far north of Scotland which I will try and visit. My tutor suggested that I don’t necessarily need the child on top of the cliff but this is up to my personal taste. I think the child gives this image a sense of pathos and a shock for the viewer, what Barthes describes as punctum so am tempted to keep this element. I will think more on this. Is the sheer cliff itself dangerous and daunting and the child is not necessary? The title is well considered.

6 & 7. At point 6 my tutor questioned what should come after “Precipice” My choice here was “Styx”, my image imagining the view looking beyond the coast of life. Firstly, we discussed whether this image is needed as does the photograph carry the same message as my see-saw installation? Secondly, my tutor questioned whether my video work of falling ash, “Scatter” might be a better and more natural fit at position number 6 between my conceptual works and works based on reality. I will think on my choice between the photograph or the video work here and whether one or the other or both are required.  As regards my video work, the contrast and hue need thought. A previous attempt at this idea was more clearly ash yet this new work has a very different feel and is less obvious and literal. The more abstract approach works well. However, at the same time, the ash is too pale and the colour changed so that ash is no longer grey but is white. My tutor suggested this looked like icing sugar to her. I will look at this and at the speed at which the video plays. As regards the display of this work in exhibition space, I had thought of a memory card and flat screen television. My tutor suggested that I also consider a projector. There is a practical element to the placement of this work in the exhibition space in that I need a power point for TV or projector. This might define where I must place this work. At the same time, I should be aware that the practicalities of the space should not dictate my narrative. Again, much to consider about “Styx” and about the video work “Scatter”

8. My image shows an old album image, edited in Photoshop and with bold red section added as a glitch during my editing process. I have titled this work “The Abruptness of Death” This work and its title work well.

9. My next image is of small child looking back at the viewer from the liminal space. My title for this work is “Are You Coming?” Maybe a shorter title would allow more space for my audience to form their own opinion and less space for me directing them. A title of “Soon” or “Go Before, “Follow” or maybe “Cortege” which implies a funeral procession or maybe “Death March”.

10. “The Significance of Death” is an image of a crowd all facing the same direction towards a common point. My tutor had doubts over the title for this work.  Maybe it needs simplified. So, if I think of my title I discussed for previous image then perhaps “Caravan” or “We Will Follow” although that would mean last work could not be titled as “Follow” I should think on this work as the final piece of my exhibition. Just as my first work introduced my project so this piece should close my exhibition. A better and more meaningful title is needed. I will think about this.

My introduction to my project was well received. I ended this with sentence, “My daughter Rebecca does not feature directly in this exhibition but her being runs like a thread through this project. This brings me neatly to the choice of title for my Major Project. “Art at the Edge of Death” was thought too literal. Maybe a title derived from the titles of my individual works would work well? I should think of a tight narrative related to my personal experiences. So “Like a Thread” or “Scatter”. “Dust” or “Disperse” or “Settle” or maybe “Fade” might work too.

The final part of project which I am working on is a zine newssheet which will be a physical artefact for visitors to take away from the exhibition. We didn’t discuss this on feedback call as I haven’t reached point where zine is ready enough to send to tutor. This newssheet gives me scope to reproduce works from exhibition and to add in additional words or thoughts. I even wondered about including images which didn’t make final exit for my major project but on reflection that feels wrong. I will send on a copy of this next month at project 10.

After discussing the content of my major project, we talked about what comes next. I mentioned the sense of let down at the end of each unit when am pulling together evidential work for learning outcomes. I have always found this dull after the interest and involvement of the meat of the course. My tutor agreed and suggested that the sense of let-down is perhaps because the course is already done and this last part is about crossing t’s and dotting I’s. An administrative task which must be completed.

What next after OCA study is complete? We discussed potential for further courses and perhaps Masters speaking of Fine Arts, Photography and the potential for Art Therapy. My tutor thought this last suggestion might be a very interesting fit and will draft an introduction should this be needed. Other things I am looking at are continues work on collaborative projects particularly following my residency. Further residencies and open calls. All are opportunities to continue my creative work and my research.

Document and reflect on this final stage of your ambitious project presentation.

My journey to create a body of work which I judged as being good enough has been more difficult than I imagined when I started this process back at the beginning of level 3. By good enough I don’t just mean as a body of work up to the standards of my degree and of getting a good mark. No, I mean in terms of a suitable memorial for my daughter. I have experienced the creative process as a struggle which might be likened as a tug-of-war between the logic of my expanding knowledge of my chosen subject area, the creative impulse to build something which speaks to my inner voice and yet at the same time which fits with my sense of the audience and which does not compromise my own understanding of loss as I struggled to make sense of the death of my daughter.

As part of my process, I wondered how many artists set upon a similar precipice trying to create a sense of balance. Using the experiences of other artists and even of peers involved in their own struggles has helped me. It doesn’t always make things easier but I have awareness that I am not alone and when I lie awake at night thinking. I have a realisation that others struggle with very similar questions as I do in my work. My creative work in level 3 involved a series of test pieces, an exploration of techniques, presentation and extensive use of feedback. In the comfortable environment of university life, I can make such explorations without fear of rejection and in the knowledge that I will be supported. As I move towards the end of my studies a harsher reality awaits me where feedback might not be as cosy. I experienced a taste of this during my residency in July. Interestingly, I have experienced some health scares since then, being tested for cancer and for breathing issues and with a flare-up of my diabetes which has impacted my eyesight.  I experienced a flash of fear with a visit to my doctor and wondered about my major project and how my daughter experienced her illness. Were there things which I hadn’t thought of and which I might have missed as I was too self-absorbed in my project? Such thoughts of a harsher reality in the real world after OCA are things many of us will have to find coping mechanisms and our own ways to deal with. There are thoughts of new threads and opportunities for new works, research and exploration. I also wonder what to do with the skills I have learned. Do I continue my studies perhaps investigating using my skills in different fields? I have wondered, for example, of learning about Art Therapy as a way to put my experiences to practical use. Do I continue my journey in art, creating new works and looking for opportunities for new residencies, competitions, sales and more?

My working title for my exhibition for some time has been “Epitaph” although as I write this I am leaning towards a different choice, “Art at the Edge of Death”.  Does one say any more than the next? Part of me would like to make no choice but it is an expectation that my exhibition will have a name.

My creative tests have slowly started to refine my choices and narrow my narrative and flow. Aside from the choice of artwork, of titles for my work and an introduction for the project, my recent choices have been over the size of my printed work, how this fits with gallery space and the mounting of my work. I have been working on a newspaper zine to accompany my exhibition. This gives me more space to place a selection of my work and some additional text.

I mentioned my journey above and can also reflect here on my experience of learning. The level 3 units allow lots of scope for the student to set their own direction without worrying too much about the structure of specific projects demanded by the course notes. The pinacle of this loose approach is in the 3.3 unit. However, having initially seen this as loose in terms of the bourdaries demanded by the course, I now realise that 3.3 was every bit as managed as earlier units but the difference was that in 3.3, the student sets the boundaries and direction for ourselves. In what might be thought as unstructured way of working in producing lots of test pieces for creative works and researching areas which did not always turn out to be useful for my major project, were in reality, part of the process intrying to find an end result ands a path to attain that end result. The help from my tutor in this has been invaluable.

I will end with two things which I won’t answer but will deliberately leave as questions.Firstly, am I the same person now than when I started my studies and when Rebecca was alive? And secondly, I wonder what Rebecca’s reaction might have been to all of this effort and struggle and doubt?

Develop your plans for the final steps in your promotional strategy for your final major project. Include written material such as an artist statement / project statement.

My promotion for my major project feels fairly straightforward and is based on what I have observed of other exhibitions and on what feels, to me, to be logical.  I will make use of the gallery in Leith who will publicise my exhibition through their website and on social media. Their posts provide a sense of a countdown to what is coming next in their gallery and continues as the exhibition is in progress. My own promotion starts with consideration of the context of my work and I have asked myself who might have a specific interest in a project which focuses on loss. With that in mind, I have sent a description of my work to staff I know at the hospice where Rebecca died and at the hospice which she raised funds for. I have decided that a promotional zine will include the charity logo and description. I have also sent details on my exhibition to my contacts at Pfizer who I worked with as part of a cancer Insights Panel, I will post updates on my personal website, via social media posts with images to highlight the gallery and my own work. To these basic steps, I will invite family, friends and fellow students to visit my exhibition. Thinking of those who don’t live nearby, I will make a video of my exhibition and will post a link to this video for those unable to attend in person.  I have also designed a poster to display in the gallery window. This forms the back page of the zine which I have designed to accompany my exhibited work.

I show images of a template of the zine. Am at an early stage of draft in using this medium.

Lastly, I want to make the wider OCA community aware of my work so will put up a forum post.  I have also joined Visual Arts Scotland group and will publicise my exhibition to that community. That group also acts as a showcase for Scottish graduates so will be a nice platform to celebrate my work with other Scottish graduates in the visual arts. A similar forum exists within the OCA and while these are not directly part of my promotion for my major project they show my next steps after my degree closes.

My Artist Statement

My inspiration stems from my struggle to understand and cope with loss following the death of my daughter. I use art to try and understand grief, how the photograph fits with the spaces close to death, to convey a sense of loss and to unravel memory close to the universal constant at the end of life.  I consider the photograph as a contrary and liminal object which is often used as a tool to try and freeze memory and fix our sense of loss but which, ultimately will fail in this purpose. I use my research and the creation of my art to surf the wave of our fear of death, to try and capture the sense between stillness and movement, truth and omission, rage and acceptance. In this, I am not always successful.  My work uses photography, video, found album images from the past and objects and installations I associate with loss.

My Project Statement

Art at the Edge of Death by Richard Dalgleish is a deeply personal and emotional exploration of the spaces between life and death. Inspired by my daughter’s eighteen-month journey through cancer to her death and by my own parallel journey as I watched her die and was compelled to embark on a period of learning and self-reflection in an attempt to comprehend loss.  The richness of my memory of my daughter, my engagement with her death and my gradual acceptance and understanding of grief means that my work is emotionally charged but with a palette which has relevance for the wider society. My daughter Rebecca does not feature directly in this exhibition but her being runs like a thread through this project.

Develop your final major project presentation with the context and audience for which it is intended.

Considering the context and audience for my work is a very interesting exercise. It forces me to ask who might be interested in my work and why. At the same time, I need to have a strong belief in my ideas and project delivery so that I am not swayed and my message isn’t corrupted by too much concern over who might be offended or upset with my work. While this submission at Project 9 is a final draft there are things I am still working on. The last few minor tweaks will not delay my exhibition. I suspect most projects which go to exhibition feature last-minute changes and fluctuations necessary to fit in with the practicalities of showing work. The particular items which I have been working on include reshooting a video of falling ash. My original piece used an old dust sheet as a backdrop. After feedback, I looked at using a black cloth but trying to isolate the ash. Often the backdrop seems to intrude and come to the fore so producing this work in a way which satisfies me has not been easy. Ultimately it is a choice between how aesthetically pleasing I want this idea to be and whether flaws in the delivery of this particular piece are acceptable to me. One question which still bothers to me is whether or not to include a photograph of Rebecca in my exhibition. I think at this stage of the final draft I can say that I have decided against this. The project IS about Rebecca but not obviously so. It doesn’t specifically need her image. In addition I would worry that project might lose the aspect of asking my audience to consider their own mortality and it would shift balance to being a retrospective of Rebecca’s life and death.

My current and new video selection can be seen at the following links:

Initial video of falling ash – https://youtu.be/SW8WO7f0Jzk

Latest version – https://youtu.be/qoIV9Q1k8qk

One piece of work which has taken up a huge amount of time has been the see-saw which I want to form a centre piece in my exhibition. This child’s plaything represents the balance between life and death. After many months of negotiation and prompting, I have received the pivot for my see-saw. This is a huge lump of over-engineered steel which weighs 37kg. I know this as I paid for postage although the pivot was gifted for free. The wooden scaffold board which will act as the top of the see-saw bolts to the pivot. The pivot needs some work before it is ready to exhibit. The base is not square so the pivot does not balance easily. I have drawn up a design for a socket and steel plate with the pivot will fit into. This means that the see-saw will be in 3 parts; the pivot, the socket and base and the wooden top. Splitting this into three parts which I assemble on site will make transporting it to the exhibition and carrying it up the stairs easier. I need to pass my design to a metal fabricator to complete this work. When the see-saw is ready I want to photograph it as this will feature in zine I am having printed for the exhibition.

I have been working on what size my prints should be and also how these should be mounted. Some images need to be larger to pick out fine detail such as the baby on top of the cliff while some can be smaller. As regards mounting, I will surface mount my images so no frame or border is required. This minimalist approach will permit my audience to focus on my work without distraction.  When I first thought about the material on which the photographs sit. I looked at aluminium, wood, MDF, Perspex, acrylic, foamboard, card, composite and clay. My experimentation has led me to the conclusion that I was adding needless choice and complexity which does not add to my project. My images will all use the same type of mount so as to build a sense that the works in my exhibition are part of a whole. I have taken some photographs of the gallery and digitally placed some of my work on the wall which starts to offer me a sense of how my work will look and feel at certain sizes. Along with my choice of the order of my creative work, the titles I will assign to each image and how the introductory text sits within my exhibition are things I have spent a lot of time on over the past few months.  I will forward a document with this detail to my tutor rather than post this in my blog.

A blog post detailing my exploration of materials and sizes of my work can be seen at the following link:

https://richarddalgleish.net/late-work-and-choices-for-exhibition/

One important aspect which I need to resolve is my image of a child on the cliff top. I used a found photograph of this which shows the Cliffs of Mohr in County Clare in Ireland. This was a royalty-free image that I edited to suit my needs. I might shoot my own photograph of a cliff instead of using a stock photo.

I have produced a short zine in the form of a tabloid news sheet as a record of the exhibition and as a concrete artefact which will exist long after the exhibition been taken down. This is shown below: