Rachel Adams Fine Art Ma, Tapestry 3rd year

I think that this is why my work is often confused and full of contradictions. But, I see this as one of its main strengths as well as a weakness. For example, I like the idea of creating large, physical, imposing, formal works, but when you look closer they are created with felt pen or throw away pieces of paper, giving the works a trusting, and childlike nature. This can make my drawings and sculptures appear unsophisticated, purposeless and understated, but these attributes are assets that I think make my work most effective, rather than unsuccessful. These qualities and those of quietness and emptiness, I find very intriguing and would like to be the main focus of my work. I not only think that these are interesting attributes in a finished piece but also find them in the method I use to create work. In making pieces with repetitive, meaningless tasks such as drawing huge numbers of coloured spots, I slip into that state where I’m not aware of what I’m doing. I would like to create the same feeling when you look at my work producing a distance and closeness between the viewer and the work. In addition to this, I find myself drawn to objects and symbols that are overlooked, boring or everyday. By transforming them I try to shift the focus back onto these mundane objects so that you reconsider their positive qualities. That’s how I’d like people to look at my work or that I made something insignificant into something important, something small into something big.

Recently I have come to a stage in the development of my work where the visual basis is strong but it is incomplete in terms of a strong conceptual foundation. I have a strong understanding of theoretical works due to my degree, half in art history, where I concentrate on contemporary art. Within this I have explored some ideas and identified problems in present art trends, however I have problems transferring these concepts into my visual language. The theoretical and discussion opportunities that this project offers I think would be perfect to accelerate this aspect of my work and as a result strengthen it. I have worked collaboratively on a number of occasions with students from my Fine Art course (painters and sculptures) and from the Tapestry department creating general thematic exhibitions but more importantly site specific installations and group performances. These experiences made me eager to collaborate as often as possible, not only because they were enjoyable, but because they allow you to create more exciting art works and have often influenced my individual work other directions than I would have expected. I think this project would be a great opportunity for me, not only to create links with other artists but to force my own theoretical thinking for my art historical studies and most importantly increase my knowledge and understanding of my own work through working with others.

Polystyrene cups, acrylic paint 120cm approx

Cursors, foam board and acrylic

Five Flexi, Flexi lamp sculpture

Knitted text, dimensions variable

Cursors, pen drawing, 40cmx 40cm

Slump, double duvet and pink paint

Cursors, foamboard and acrylic paint, 100cmx100cm

Detail of paper sculpture

Diagramatic Installation, detail view, collaborative work

YES, foam board and acrylic paint, 150cmx80cm