OCA drawing 1.1

Reviewing your own work can be very difficult, how can you look objectively at your work, when all you can remember is how much you struggled to produce it? How can you gain a different perspective? 

In 1985, Edward de Bono published his Six Thinking Hats theory, developed to aid thinking and reflection. De Bono’s idea is that the thinker can imaginatively, or metaphorically, put on one of six coloured hats and in doing so embody a specific attitude of critical thinking. De Bono defines the hats and suggests that each has a specific function and particular thinking trait.
Review your own timeline and define your journey so far using the thinking hat analogy.

WHITE HAT (Neutral & Objective)
Each given project has a balance of technical requirements and creative thinking.  I have aimed to for fill the technical outcomes of each exercise in order to improve my skills, especially in areas I don’t feel comfortable.  And also find my voice within each piece and make it my own.
That prevented the exercises becoming too prescriptive.
When I felt lost I used artists research to find connections that could motivate me.

RED HAT (Emotions)
The greatest sense of achievement has come from fully immersing myself in the process of each exercise.  And that has also been the most draining aspect too.
It is an endurance test going so deeply into the ideas, but this is also necessary to evolve.  I have discovered that each piece, wether small or large, should make you feel very different at the end, than when you first began.  Something shifts on your trajectory.

BLACK HAT (Caution & Weakness)
Time management is the weakest link.  I believe that in order to create something of substance, if only by my own standards, ideas need time to germinate, peak, rest, and then reach final manifestation.  It is difficult to predict.  It is linked to ‘frustration’ which is an essential part of the creative process.  No matter how much preparation takes place, at some point the work shape shifts and a wrestle commences as to which ideas and techniques are going to emerge and thrive.
I used to see this as the idea failing, and would usually abandon the work at this stage, but now I recognise it as the point the work breaks through and comes to life.

YELLOW HAT (Positivity & Optimism)
I was surprised how much inspiration I obtained from conceptual art.  I had become quite fixed in the art I liked and and looked at.  Being encouraged to use alternative materials and analyse the ideas behind such work really extended my use of materials and gave me confidence to explore ideas I never felt I could bring to fruition.

Activation.  That has become a positive catalyst to generate work.  Some work can feel dormant until placed with other pieces and then they activate each other.  Creating new opportunities, for those actual pieces or further work.

GREEN HAT (Creativity & Growth)
My love for paint has deepened.  And that is still the area that I become submerged in.
Each alternative evolution had added confidence or agency to my painting.  And that is the area that I instantly gravitate to pursuing more and more.  I see a lot of wakened potential in the use of mark making and drawn line in my painting now.  Which before I only expressed in one way.  And now I have discovered mixed mediums and techniques that deviate from the traditional way of painting, it has channeled new outcomes to my paintings.
I would like to work on bringing in more drawing into my paintings, in final pieces and studies, whether in a studio setting or on location.

BLUE HAT (Control & Organisation)
I have too many ideas, and that is paralysing.  I find it hard to focus and commit to one way of working. 
I think I might benefit from creating a longterm aim to settle into an intention and see how connected I can become to that body of work.
I hope that when reviewing this exercise I can see 1 – 3 clear possibilities.

DRAWING HAT
Drawing has been the undercurrent to every exercise I have undertaken.  Before the course I had a secure method of working.  But I had plateaued and painted with fear.  Afraid of mistakes and frustrations.
The course has proven to me that the longevity is in not focusing on singular aspects going well, but experimenting and meeting the ideas and myself where they are in that present moment.  That there is a natural ebb and flow to the energy created.

Drawing has existed in my work as the essence of each idea, the bones of them.  Amy Sillman expressed a phrase that has stayed with me throughout the course, that paintings are a construction site.  
Drawing to me is the construction, mentally and practically that builds the art and allows what ever medium you are working in to thrive and and flourish.

KEY PHRASES FROM THE OUTCOME
Feel different at the end of a piece.  Something has shifted.
Time management.
Germinate / Peak / Rest / Manifest.
Frustration phase.  The wrestle.  Have to immerse here.
Activate.  Some pieces activate others.
Exploration.  Art / Artists / Ideas.
Marking making.  Introducing line work.
Mixed mediums / Alternative ways of using materials.
Collaging for future work.
Working in the studio / Working on location.
Longterm intensions.
Meet the work where it is.
Ebb & Flow.

After reviewing my timeline I have revealed 5 ways of working that I am drawn to, and also connect to each other. Strategically they have different time and resource requirements. But this is what allows them to function collectively and help to maintain a rhythm of productivity.

ACADEMIC DRAWING
Meditative, but requires isolation from other projects in order to maintain a focus on working representationally. This is beneficial as it improves skill set and observation, that enhances future work.
It has easy time management as it can be worked on spontaneously.
Easy resources low impact environmentally.

ABSTRACT LANDSCAPE
(Artist examples: Vanni & Allison James)
Isolated time, but manageable.  Encourages creating studies in mixed media and collage as a warm up and resource provider for large scale work. It’s more challenging when working this way large scale, which is more interesting and dynamic personally.
it’s a peaceful process with a natural evolution, and resources are affordable and easily sourced locally.
Low environmental impact if palettes and brushes cleaned in a container and the water is strained before disposing of to remove paint particles.
(Large plastic wash tub, cheese cloth strainer)

ABSTRACT (TERRY EKASALA)
Identified time commitment needed to maintain the flow of work and interaction between the pieces. Each piece is a spontaneous one off. Varied scale and range from studies to final pieces. Varied subjects from abstract to representational. Interesting to work from observation in the studio or on location, with a variety of subjects from life or landscape etc.  
Same resource and environmental note as above.

ALTERNATIVE MATERIALS
After studying the chosen artists in P2 (Achaintre, Takesada, etc) I have found that I am continuously drawn to the addition of alternative materials to further enhance a piece. This surprises me as I habitually pull away from conceptual art. But using alternative materials can help me to further explore the elements of a subject. And feedback from the forums has resulted in elevated engagement between the subject and audience. Again something I previously shied away from. I am now more confident to narrow the distance I put between myself and the viewer of my work.

This is an undertaking that requires a long time frame to produce and source. And it works as an extension to the above ideas, which act as a foundation or activation into this type of work.
Environmentally it is similar to the above painting projects, and is also dependant on what outside sources I chose.

PAINT POURING (EMMA LINDSTROM & NOEL SKRZYPCZAK)
This technique needs a solid time commitment and studio space. It is also high budget. It requires a lot of planning for colour reference and sourcing. Need to be able to work on pieces in a reliable sessions as working wet in wet. And then allow for drying time.
Environmentally there is more waste from the protective sheets and paper towels, and the paint can be stored and reused, or deposed of in a container at the waste sorting depot.

INTENTION
My personal long term plan is to take a sabbatical and focus on academic drawing. To remove the pressure for a time and let all the experience of the course settle.
Then I will return to painting with the abstract landscape. Beginning with a series of studies and 2 – 4 final paintings.
Next I will use a more structured routine to work on a series of abstract (Ekasala) going deeper into observation and creativity. Expressing a lot more drawn line and structure within the work.
Paint pouring is an important pursuit, but will have to wait until I have access to a suitable space to work in and a budget.

List of images

Cover Image Flockhart, K. (2025) Voice Final Piece. [Mixed media] In possession of: The author: Volleges.

Fig.1 Flockhart, K. Foals Study (2025) [Pencil sketch on paper, photo edited with Hipstamatic] In possession of: The author: Volleges.

Fig.2 Flockhart, K. (2025) Life Study. [Charcoal on paper] In possession of: The author: Volleges.

Fig.3 Flockhart, K (2024)  All 3 Objects 2. [Acrylic and paper collage] In possession of: The author: Volleges.

Fig.4 Vanni, (2021) Oriental Magic. [Acrylic on canvas] At:https://greenhouseinteriors.com.au/collections/vanni-art/bfcm24?page=2&srsltid=AfmBOooqA0iA57W17S6Y85ajEU2FMVumxIvUCn7acUhLFMEl-yOMwoRC (Accessed 01.07.2025).

Fig.5 Ekasala, T. Work On Paper. At:https://www.terryekasala.com/work(Accessed 01.07.2025).

Fig.6 Flockhart, K. (2024) Hijack. [Mixed media, photo edited with Hipstamatic] In possession of: The author: Volleges.

Fig.7 Bley, R. (2019) Untitled. [Acrylic on canvas] At:https://ragnabley.com (Accessed 10.08.2025).

Fig.8 Skrzypczak, N. Talking To The Birds. [Polymer Paint on canvas] At:https://www.nskzak.com/work-1#/talking-to-the-birds/ (Accessed 01.07.2025).

Fig.9 Skrzypczak, N. Mountain Painting No.2. [Polymer Paint on canvas] At:https://www.nskzak.com/work-1#/talking-to-the-birds/ (Accessed 01.07.2025).

Fig.10 Lindstrom, E. Plexi Art. [Mixed media] At:https://www.emmalindstrom.com/plexi-work (Accessed 01.07.2025).