Feedback from Lucy Day

Simply explain what it is I do. I am a colourist – I told her I don’t care what medium I use, as long as it is about colour. It is about finding the right medium to portray those colours at that time.

My work comes across as considered and thoughtful.

If I am nervous: have a single line at the back of your mind to say what your work is about. An ice breaker. Make your one-line open so you can get into the next conversation.

The hanging of the paintings are not doing them any favours. Photograph them on a plain white background. Lose the hooks. Put d rings on the back to take it away from the dado rail and photoshop out the background/wires. The wall’s texture interferes with the pieces.

Whilst I am NOT going to plaster my wall, I can take the paintings away from the dado rail and can photoshop out the texture. It was invaluable to know that the photographs were letting the work down and what I can do to rectify it.

Neither of us are convinced by the framing of the smaller works – too tight with the frames and they need to be just on white. Lucy felt they were strong enough on their own and didn’t need framing. She Loves Me, She Loves Me Not needs to be implicit about the choice of positioning – about why it is necessary for the curators choice or audience interaction (this work is about me loving the colours of one and hating the other – but I don’t want to specify which and want the audience/curator to decide which they hate/love). My blurb under the picture did not make my intent clear enough.

Put the canvas boards on spacer batons to push them away from the wall so they don’t feel as insignificant as I feel they would ON the wall. This seems the perfect solution to them.

Trust my instincts and judgement – particularly about spacing.

Befriend local artists. Peer critique is the most useful there is.


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