Studio Practice 2B: Audiences & Contexts 10/11 Independent Practice 2B: Implementation 10/11
The Girls: Group Portrait Ruth Page, Jade Sibley, Jessica Opoku-Amoah.
As a group, none of us felt comfortable with having our photograph taken, we wanted to eliminate the awkwardness of being photographed so that we could enjoy the brief set by The Girls. We created a â€˜photo boothâ€™ style set up, using a red curtain, camera, tripod and remote release. We spent a period of time taking numerous photographs every few seconds, each of us enjoyed the experience and became more comfortable with being in front of the camera as the brief went on. After we finished taking the photographs we decided to individually choose which four photographs we each wanted for our photo booth style portraits, so that each print was personalised for each person making them keepsakes that we could put on our walls etc.
Aphorism: Sibley&Page The Greatest gift you can give another is the purity of your attention http://vimeo.com/24183323 Ruth Page and myself wanted to do an aphorism together as we both wanted to communicate something less literal than our larger group was comfortable with. We decided to do both so as to get the experience of working in a larger group where you have to encompass more peoples ideas and points of view as well as doing our own so that we had the freedom to communicate how we wanted to. We decided on â€œthe greatest gift you can give someone is the purity of your attentionâ€? and composed a video of fast-paced clips to serve as an information overload to communicate the distractions in life.
Aphorism: The road to hell is paved with good intentions Stephanie Bottez, Danielle Collenette, Page, Jade Sibley, Richard de Cazalet, Mitchell.
http://vimeo.com/20339402 As a group we worked together to create a stop motion film in response to the aphorism ‘The road to hell is paved with good intentions’. I hadn’t worked in a group of the size it was before this brief, it was a good experience to gain knowledge of how work should be delegated to each individual so that the overall result is a success. The filming itself was a new experience for me as I hadn’t worked with stop motion at this scale previously, we was given feedback that we should have taken it further, unfortunately we all got rid of the props used straight after we finished filming, I think if we went back to it we could have made the film better. This taught me to never see something as being finished and to get rid of items that you may need to use again.
Badges workshop: Mark Pawson My series of badges shows fragments of life. Each badge shows a different theme or transition whilst we grow, revealing moments of isolation, venerability, aggression, love, pleasure and friendship.
Manifesto: Meaning Is A Practice Sibley&Page Ruth Page and myself decided to create a manifesto based on our shared views and thoughts when it comes to working. We looked back at my old independent practice portfolio for inspiration as we felt a lot of the points I covered in that were relevant to how we both work. We took some of the points I made within my own portfolio, re-worded them and added to them so that they would suit both of us. -Meaning is a Practice Everything in reality has a direct or indirect effect on members of society, which can be questioned and challenged. There is no definitive answer, only opinion and discussion. Output is defined by a lack of control over meaning. Opinions and debates develop and evolve through research, immersion and investigation. Indulgence is part of reality, not reality itself. Tools and skills should aid process not be process. We placed this on the wall, directly, using a pen because we wanted to challenge various arguments on where we can put our work within university, we also felt having it permanently somewhere would allow for people to add to it, deface it or do as they wish to it. This meant that the manifesto would never be finished. I photographed the manifesto after it had been up on the wall for a long period of time, to see what changes had been made to it, if any. Our manifesto is based on having a lack of control over a meaning, working with no definitive answer, I wanted to see how people had worked around the manifesto, if it did have an direct or indirect effect on people, if it subconsciously determined how others create and place work on the same wall. Even though the manifesto had been painted over with white paint, students still placed their work around the manifesto rather than over the top of it. Having the manifesto directly on the wall allowed for it to be seen by a wider audience, rather than limiting it to just our class. This meant we could have open discussions and feedback about the manifesto over a longer period of time.
Household - The Social Kit Project: Jade Sibley, Ruth Page, Claire Garnham, Jo Bird, Jessica Opoku-Amoah. Task - Engage a group of people to eat together. One of the aims within the social kit project was to know who you are communicating to and what that target audience will respond to. We had to look at social aspects, simplicity, instructions and for it to have a core message. We sent out a text to people in our phone contacts, our target audience were mainly going to be people of the same age group and interests, we decided to send a text rather than communicating in other ways as it is a piece of 2d virtual information, which people of the same age group of us generally will respond to, this answered the social aspect and the simplicity side. The instructions were simple, to meet at nandos at a certain time and place, we photographed the outcome.
3D Typography: Martin Oâ€™ Neil: One Mans Trash - Sibley&Page http://vimeo.com/22775249 Myself and Ruth Page missed the workshop set by Martin previously inside university, we both wanted to work on the brief so decided to set it again for ourselves to work on. We collected various objects around the area in which we both live. Using the found objects we created the installation piece within the same environment so that people could see, reflect and hopefully interact with it. Unfortunately we had complaints from the locals so we had to take the piece down after just one day, because of this we had not received the interaction we had hoped for, however in the time the installation was up, some letters and objects were moved around or knocked over.
Making Do Translation: Sibley&Page http://vimeo.com/24220691 We used making do as a chance to explore unknown territory. Ruth Page and myself have a strong focus on meaning before process but for this brief we decided to see what would happen if we refused that as making do is a publication very much about process. We made a list of all the different things we could do to pages within the book and worked on them together before laying all the pages out looking at them and decided which were most successful. By doing this we translated the publication into a process journal and communicated making doâ€™s values literally through its publication. The full book can be viewed at the link above, we wanted to show the book this way, via a film, after being shown by Alan Dye a book he made whilst in art school, he showed us the pages of the book in a film, for us this was an interesting way to see each page of a book rather than a few images which is what we would usually have done.
PaperCo: Sibley&Page When approaching the brief (1b) we decided to start with researching the information we had been given. We felt it was important to have a comprehensive overview of the subjects so that we could pull out the facts and information we found interesting and engaging. Research of direct mail in general lead us to discover what makes a piece feel special in order to form a keepsake. We found a statistic on the Royal Mail website about how people’s mood increased by 29% when subjected to tactile objects, this developed the layout and format of the book making it an interactive experience that would be memorable and therefore make PaperCo memorable. The interactive, tactile nature of the book makes the direct mail a keepsake. We designed one plain book and one with coloured pages (featured) using two colours that PaperCo stocked in their ‘Fizz Paper’ range. We did this to show that the book could be made using many different paper stocks that PaperCo supply, showcasing their range of paper. The ‘envelope’, which is the book cover tears off to create a personalised cover, this eliminates the need for throwaway packaging while making the recipient feel special and important. Designers are collectors and from our personal experience and speaking to fellow designers, if something is interesting in layout and construction it is likely to be kept as a reference. Being in a book format also makes it harder to discard, as books are associated with worth and containing interesting or important information.
Exhibitions Brief I created an exhibition style booklet featuring images I took whilst visiting the exhibitions and providing the images with relevant text, the exhibition booklet can be seen here: http://issuu.com/jadesibley/docs/exhibitions After visiting the four exhibitions the one thing that I remembered the most was how much more interested I was with the work I was viewing if an exhibition catalogue was supplied. In two cases, the first case within the Saatchi Museum the exhibition catalogue was really informative yet it had just the right amount of text to leave you to come to your own conclusions. However inside the ICA exhibition, no catalogue was provided, this left the work without any contextualisation which I found really frustrating, I couldnâ€™t make any connection to the work or have an opinion as I had no idea why it was made or what it was about/for which is something I find important to know. This made me realise how important it is to have a concept and meaning behind my own work, and to learn to always communicate the meaning in a way that still leaves for opinions.
Origins: Documentary Photography/Photographic Typologies For the origins brief I was first unsure of what I would want to research further into as I had never really felt as though I had a particular favoured medium in working, however after going to the Tate Modern to see the Photographic Typologies exhibition I started to remember all the projects I have worked on and directed myself that had been based on photography, and that in fact documentary photography is my preferred art form compared to others. With this all in mind I went back to past photography projects I worked on, I realised I quite enjoy photography of the ordinary, the normal and the mundane. I am interested in culture beyond monuments, places that are unexpected, unpredictable and interesting, I decided to look around when I was going about my daily business. And, taking action to do something outside of the routine. I found myself often commenting on the amount of crows around Sainsburys car park in Epsom, it was something that I had always noticed but never thought about taking photographs of. I decided this would be my subject, for my repeated exploration of an idea. I used a film camera as this is a medium I have wanted to get into recently, I will continue this project over time, collecting images every time I go to Sainsburys, which eventually will form a book.
The Shoot Experience: Becks Art Crawl Sibley&Page - Idea Generation Gallery ‘Equipped with just a camera, their imagination and feet to endlessly walk the streets of London, participants were challenged to create their own Art Label, and then judged at the end of the day’- DAZED digital. Ruth Page and myself signed up to the Becks Art Crawl, this was the first real brief outside of university either of us has worked on before. The brief was to capture one image for a becks art label, and to photograph the mural off Great Eastern Street by the art collective End of the Line. The only rules were one image per brief, and no editing allowed to the images you take, which was something me and Ruth were excited but also nervous about, that we had to shortlist just two images out of hundreds and that we wouldn’t be able to edit them before submitting. We both really enjoyed the fast pace of the day, having only a few hours to get round a large part of London, looking around constantly at possible photo opportunity’s. We went inside a small craft shop just off Brick Lane and bought a postcard that we thought we would use for our Becks Art Label submission, whilst inside the craft shop I spotted three cats, I photographed them for my own personal use, however we both felt that the photograph I took of the cat lying next to a cardboard cut out of a rabbit was a good image to submit for the art label, we captioned it, ‘Cat & Rabbit - Anything is possible’ which was a witty take on the idea that after drinking a fair amount of becks beer that anything could happen. For our second brief to capture an image of the End of the Line artists painting a mural we wanted to steer away from the obvious shot, Ruth took a few photos of me taking photographs of the artists, we both decided this was more of an creative take on the brief and felt it may be far different to the other submissions. We returned to the Idea Generation Gallery where all work was printed and put on the walls for judging, it was a good experience for us to see how exhibitions on small scales are curated in terms of people working together and the simplicity in the hang. We both learnt a lot during the day, testing our ideas out quickly and having to learn to edit down from a large amount of images to just two. Also how to start up conversations with other creatives who we haven’t met before, this was something neither of us has ever really had the chance to do previously, so it was a good learning experience. Having our image exhibited at The Idea Generation Gallery is the most professional form of externalising either of us have had the chance to do, it made us realise the importance of getting your work out there, as we made quite a few connections during the day which led to us being interviewed by the founder of The Shoot Experience for a internship. We didn’t win the challenge however after our interview with the founder of the Shoot Experience on a separate occasion he told us that our submission was his favourite. All the images taken on the day including ours are permanently on the shoot experience website which can be seen here: http://bit.ly/eDX84r
Design Investigation: Sibley&Page http://vimeo.com/24175244 Researched areas: Art direction/directors, Creative directors, Account handlers and Exhibiton Curating. Ruth Page and myself felt that design investigation would be the first opportunity we both have had to research into what we want to do once we have left university, especially when this means us working together. We have previously worked on briefs together and felt as though we work far better as a collaboration than by ourselves, this was our chance to take it seriously and see if we could work together in the future in a professional way. I told Sallyanne that we are both thinkers and researchers, she suggested to look into art direction or creative direction. We both researched these areas and the sub areas and throughout went on studio visits whilst taking on briefs set outside of university that would help us investigate our practice such as the Becks Art Crawl. In terms of presenting the information we found we decided to screen flow our research process as researching is key to both our practices, we also found out that research and an understanding of subjects is one of the main tools when taking on the role of creative/art director or account handler so we felt this would be a creative way to show the information. During design investigation we went for a drink with Neil Drabble, we asked him for general advice on exhibition curating, as it was an area we both have always been interested in but never had the confidence or guidance to look further into it, he inspired us to go out and do it, he gave us good advice on how to set up a show, costs, spaces and why we should just try and see if it works. After hearing this advice from Neil and researching into exhibition spaces we finally found the confidence to set up an exhibition, we used The Lab as a brief for ourselves, so that we could contextualise what we weâ€™re about to do.
Camberwell Peek show, private view Ruth Page and myself attended the Camberwell Peek Show private viewing after being invited by Mark. We both wanted to attend to help us gain ideas and knowledge about exhibitions as we were still continuing our design investigation even though the deadline had passed. It was also a good chance for us to make connections and invite Neil Drabble personally to our own exhibition as he curated the Camberwell show. I really enjoyed the overall look of the exhibition, the main thing I took from the show was the difference in work, and that includes the fixings and frames, I liked that each piece was framed differently, if framed at all. It gave a nice experimental, free feel to the show, which made me feel as though I wasnâ€™t looking at the finished pieces, which is something I liked.
Teresa Manero: TORTILLA ‘Tortilla de Patata’ invites the audience to participate in an exploration of traditions, customs and the sharing of personal experiences that involve an investment of time and effort. Using a traditional Spanish recipe, the project explores some of the ways in which life is changing due to technological advances and industrialisation. An artist at the Camberwell show approached Ruth Page and myself with a recipe card that had an address and instructions on, asking us if we would participate in her art project. We were to follow the recipe on the card, and cook a Spanish tortilla, posting the return section back to the artist (with the tortilla picture attached), which meant ‘the visitors add to the success of the work and extend themselves into a continuing discussion.’ This was a good opportunity for us to work on a brief outside of university, for another artist, which helped us to understand a different way of working, the above image is our attempt at making an tortilla.
THE LAB: The Rag Factory Sibley&Page Ruth Page and myself decided after working through design investigation and talking with Neil Drabble that we didnâ€™t want design investigation to just be a five minute presentation, that we wanted to actually produce something from it. We used The Lab as a brief for ourselves, to then set a brief for others that would allow us to get an idea of what being a director and curator would be like on a small scale. We decided to do this on our own, almost like a self-set independent practice brief. After researching various gallery spaces, empty shops and alternative spaces that hold exhibitions only one was in our price range, The Rag Factory just of Brick Lane. We phoned the owner and asked if we could come down and see the space before we booked it, at first it was really daunting, because the space was so big and we was worried if we would even be able to pull this exhibition off on our own. However we decided to embrace these uncertainties and test our idea, as we both knew we would work as hard as we could to make the show a success. We booked the space and the dates, we decided to do this before seeing if students were interested because we felt as though having the space booked and ready may motivate the students more to want to submit if they see the space they could be exhibiting their work
THE LAB: The Rag Factory Sibley&Page Myself and Ruth set a brief for the students, we set it in a way that they would be familiar with, so we laid it out much like the ones we receive at university, it being laid out like this also made the information easier to read and made it look more important than a student set brief. We needed the brief to be easily accessible for students and ourselves, and we needed to be able to edit it at anytime as we had learnt from Neil Drabble that changes are constantly happening when curating an exhibition. We uploaded the brief to Google docs, which can be seen here: http://bit.ly/gkgdkn
THE LAB: The Rag Factory Sibley&Page To get the brief out to as many UCA students as possible we used social networking as a tool to do so.
Twitter We both used our twitter accounts to directly send a link to all the UCA students we both had in our twitter contacts, this way it would quickly be sent out to numerous people at one time, we also know that people often check their twitters and get notifications via their phones so that the information would be read quickly, as we didnâ€™t have much time to get the brief out before the submission deadline.
Facebook Understanding that twitter would only allow for us to send 140 characters worth of information we knew we needed to find something that we would be able to communicate important information from, to many people at one time, somewhere that we could get a discussion going on. We created an Sibley&Page Facebook account and made a sub group for the exhibition, this way we were able to post up information, the brief, changes to the brief, allow for questions and answers all in one space, we also knew more people use Facebook than Twitter so we would be able to get the brief to more people if we created an Facebook account.
GDNM Blog We wanted to get the brief to everyone, and not miss out people who donâ€™t use social networking. We asked Mark if he could post up a bit on the Rag Factory for us on the GD years 1-3 blogs, so that we could get submissions from each year group if they wanted to submit. From this we received a submission from a third year. Overall Facebook was the platform that we used the most, in which more people responded to what we were communicating.
THE LAB: The Rag Factory: Promotion Sibley&Page Using our Sibley&Page Facebook account we sent out an open call for help with posters and invites. Russell Beswick volunteered to take on the role. We asked him to create something that was simple, that didn’t have any strong apparent style, as we wasn’t sure as of yet what work was going in to the show so we didn’t want to send out posters that were heavily styled to one type of theme which then wouldn’t relate to the work inside the exhibition. We sent the invites out via email as we had limited time, and gave out leaflets that had maps printed on the back. We gave a few posters and leaflets out to various students, to get people around London to hear about the exhibition. However we received a fine for fly posting. Although this at first made us want to give up as we had already paid out a lot for the exhibition, we decided to look at it as a learning experience. We learnt from this that we should think of alternative ways to promote future exhibitions, which may even be more successful than if we were to just put up posters and hand out leaflets.
E M E K A M
K N I H T UCA GRAPHIC DESIGN STUDENT EXHIBITION THE RAG FACTORY 16 HENEAGE STREET, E1 5LJ May 17th Public View 11am - 6pm Private View 7pm - 10pm
THE LAB: The Rag Factory: Submission day Sibley&Page For the submission day we allowed submissions via our personal email email@example.com and for students to bring in their work to us in room 201. We took photographs of work that wasnâ€™t in digital form and took down emails and numbers of the people who brought in their work physically. We wanted it to be a relaxed atmosphere as students had been telling us they were nervous to bring in their work in case they had to talk about it in front of everyone, we did one to ones to make sure that the students felt confident and comfortable when discussing their work. Overall the submission day was probably the most stressful, as we thought we might have received more submissions than we did. We were disappointed that only around 40 students were excited by the idea of having their work exhibited in a gallery, however the submissions we did recieve made Ruth Page and myself excited for the show, as we wanted to showcase the work we had been given.
THE LAB: The Rag Factory: Submission Selections Sibley&Page After we received our submissions we were a bit confused as to how we wanted the show to look, as our initial idea was to have it like a Salon style show, with work covering all the walls, however we didnâ€™t receive enough submissions for us to do this. We decided to go the opposite way and only have a select few pieces of work in the show, creating work based around white space, pieces of work that would work well together in a large gallery space.
THE LAB: The Rag Factory: Putting up the show Sibley&Page On the set up day we gathered the chosen submissions and took them up to the gallery, we then spent a few hours deciding where we think the work should go, trying to create a theme as we were having only a select few pieces of work. We wanted the hang to be quite experimental and different, having some work placed in quite an alternative hang. We asked a few students if they would like to help us on the day of the set up, we understood that myself and Ruth wouldnâ€™t be able to direct where we wanted the work to go and hang each piece up on our own, our main role was to direct and curate, with help from Claire Garnham, Jack Young, Russell Beswick, Tim Harris, Jessica Opoku-Amoah, Jus Devon Moore, Tom Hagarty and Oli Whybra we fixed the work to the walls, creating our show. During the day myself and Ruth realised we had taken on quite a bit of work to finish in time for the public viewing, so we delegated the photo wall section to Tom Hagarty and Jack Young to complete for us. More images from the set up day on the next portfolio spread.
THE LAB: The Rag Factory: Public view We handed out exhibition leaflets around Epsom and various areas in London / other art based universities. Whilst at The Rag Factory we asked the owner if he had any suggestions as to whom we could go and personally give exhibition leaflets too around the Brick Lane area. He suggested various design agencies that were based near to the gallery, we went out and gave them the exhibition details and leaflets and asked them to come to the viewing. The public view wasnâ€™t as much as a success as the private, we had a few guests during the day however not as many as we had hoped. We have learnt for the future that we need to have more help in terms of promotion, to get a small team together to help us make the most of all the contacts we have, and think of a way to get the public to the show.
THE LAB: The Rag Factory: Scopophilia - Jade Sibley Images pulled from cameras and webcams.
Having a selection of the images I have been collecting since last semester on exhibition at The Rag Factory was a good opportunity for me to get critical feedback on the idea, and where and how I could take it further. I had a really positive reaction from the viewers of my work. I was interviewed by Mellisa with Neil Drabble, in which I spoke about my work, the idea behind it and why I was so fascinated with the project. He gave some good comments on the work that would help me to take it further, he suggested that I continue to collect these images, then eventually have an exhibition of all the photographs as he feels that every image needs to be seen to truly understand the project and the reason behind it. This was good feedback for me as I had started to loose interest in the project as I felt that it wouldnâ€™t appeal to anyone else other than myself, however throughout the exhibition I kept an eye on my work to see what reactions it would get if any, a number of guests approached me asking various questions about my project, commenting on how interesting it is and that I should continue with it. This helps me to see that my work can appeal to a wider audience and to have more confidence in the project itself, which motivates me to keep on collecting the images. I also learnt that how my work would best be externalised as previously I was unsure what the best route would be to showcase the images.
THE LAB: The Rag Factory: http://bit.ly/kk7qaP Kashif Nasir photographed the private show for us throughout the night. An edited edition of the photographs can be seen in a slideshow at the link above. Ruth Page and myself had our cameras for the night however became too busy with showing guests around the exhibition that we took few photographs ourselves. We both realised the importance of photographers at shows and to document every part of an exhibition, this is why it was good for us to have someone who wanted to help and document the show for us, it was a good way for us to make connections with people who we would like to help out with future shows.
THE LAB: The Rag Factory: http://vimeo.com/24002161 We wanted to have video footage and photographs of the setting up of the show, and the private viewing. We were recommended to ask Vince Lee if he would like to come along for both days to document what was happening. The film was a nice way for us to look back on the show and see it in a different way, after having getting lost in the complications and work of putting on a show I think we both missed or had forgotten the good moments that happened throughout, and also the whole process, seeing what the gallery space looked like whilst we was putting up the work to how it looked at the private show surprised both of us, it was interesting to see the work we had all put in eventually coming together to form the show.
Bibliography Studio Visits: Kemistry NB Studios The Shoot Experience
PaperCo Research Books: Gestalten: Fully Booked: Cover Art And Design For Books
Exhibitions and interviews: Camberwell Peek Show: Private View: http://bit.ly/iQzsrE
Gestalten: Boxed And Labelled: New Approaches To Packaging Designs
ICA: Bloomberg New Contemporaries: http://www.ica.org.uk/microsite/bnc2010/
Gestalten: Tangible: High Touch Visuals
Nettie Horn Gallery: From Here to Eternity: Oliver Pietsch: http://www.nettiehorn.com/
Natalie Avella: Paper Engineering: 3D Design Techniques For 2D Materials
Neil Drabble: Interview/general talk on exhibitions
Pie Books: New encyclopaedia of paper folding designs
Saatchi Gallery: NEWSPEAK: BRITISH ART NOW: http://www.saatchi-gallery.co.uk/ Tate Modern: Photography: New Documentary Forms, The Unilever Series: Ai Weiwei, Photographic Typologies, Energy and Process and States Of Flux: http://www.tate.org.uk/modern/ The Shoot Experience: Interview with founder Brett Jefferson Stott The Black Box Event in London: http://bit.ly/jCuJb5 Origins Brief Research: Webistes: Alec Soth: http://bit.ly/iBrxbg Nan Goldin: http://bit.ly/iggf0A Nigel Shafran: http://www.nigelshafran.com/ Paul Graham: http://www.paulgrahamarchive.com/possibility. html#a Photography: new documentary forms: http://bit.ly/gM6pMn Stephen Gill: http://www.stephengill.co.uk/portfolio/news Something That Iâ€™ll Never Really See: Online Exhibition: http://bit.ly/iWrbB0 Victoria Sira: http://www.victorsira.com/VictorSira/Home.html Books: Guy Debord (1994). The society of the spectacle Stuart Hall (1997). Representation: cultural representations and signifying practices Maria Alexandra Vettese & Stephanie Congdon Barnes: A year of mornings, 3191 miles apart. Visits: Camberwell Peek Show: Private View: http://bit.ly/iQzsrE
Scott Witham: Touch This: Graphic Design That Feels Good Websites: The Direct Marketing Association: http://www.dma.org.uk/information/env-pas.asp Carbon Counted: http://bit.ly/iEnXiC Carbon Impacts of paper manufacture literature review: http://slidesha.re/4wDy6X Two Sides: http://www.twosides.info/ European Enviromental Agency: http://www.eea.europa.eu/themes Mail Media Center: http://www.mmc.co.uk/Search-Results/?category=49 WRAP: http://bit.ly/km9EHU Lovely As A Tree: http://www.lovelyasatree.com/printspec.htm
Evaluation During the course of the semester I feel as though I understand myself better as an creative, I have more of a focused sense of direction in terms of where I would like to see myself going after I finish university, and now I am more aware of how I get myself into those positions I want to be working in. PaperCo is an experience that I found really rewarding, at first I had little confidence that I could work to a brief set by a client, and produce anything they would like, to a high standard, however after completing the brief and pitching to PaperCo I gained a lot of confidence in myself and realised that the fact I enjoy researching so much is actually very helpful even in terms of working creatively on briefs, that meaning and concept are incredibly important and that you need to know what the client wants you to communicate for it to be liked. With this confidence I signed Ruth Page and myself up to another external brief which meant our work would be exhibited in front of other professionals, I know that last semester I would never have had the confidence to do this, especially when the work was being judged on the day. Design Investigation really helped me to interrogate what I want to do when I leave university, as before this I was never really sure, I didnâ€™t have a preferred style of working or a favoured medium, each semester I said I would try and find my own style because I knew it was important to understand who you are when you leave university so that you get clients who want you for your work and are confident in you, however I continued to struggle with finding this style throughout the semester, and began to feel frustrated again that I couldnâ€™t find something that I genuinely enjoyed doing or felt as though I would wish to do everyday as a job. I only found out what I am passionate in doing when starting design investigation with Ruth Page, we decided to work together as we have taken the decision on that we work better together than alone, and that we want to peruse this throughout third year and hopefully be ready to work together on a permanent basis after university is over. After speaking with Sallyanne about how we were unsure of what to investigate I told her that I felt as though we were thinkers and researchers and often had good ideas for briefs however cant produce the work we want to the standards we aim for. She suggested we looked into art directors and creative directors, whilst researching these areas it was obvious straight away to both Ruth and myself that these types of roles in a company are the ones we feel we would best be suited to. We started to sway away from creative and art directors and found ourselves looking into exhibition curators after having a long discussion with Neil Drabble about it. Using this research we organised and curated a show at The Rag Factory on our own, independently. At first the idea was really daunting and we were worried that if the show was a disaster that we wouldnâ€™t be able to come back from it, however we both supported each other and gave each other the confidence needed to put on a show. Having this experience confirmed for me that this is the direction I wish to take from now, I understand that wanting to work as a creative/ art director or exhibition curator takes a lot of experience, and that often you need to work your way up for a long time, I plan to use the third year to continue with curating exhibitions and setting briefs with Ruth Page so that we get more experience and more knowledge in working within these roles.