My portfolio is an ever changing curated space of places, spaces, ideas and reflections on life, travels & ideas.
I have been obsessed by the light, reflections, the sky and shadows for as long as I can remember.
When I visited the Cerro Pedernal in New Mexico and I saw Georgia's sky I fell in love all over. Seeing the sky through the eyes of another is a wonder.
Georgia O'Keefe saw the sky for what it was, beauty, ever changing and a reminder that we are small and insignificant in comparison.
My arts based research informs my practice? This concept of journey and story has nagged at me through my research, and Connelly and Clandinin (1990) have helped me to place my story, “the study of narrative, therefore is the study of new ways humans experience the world” (p.2). The developing story and narrative of this study like Alice’s journey in Wonderland is serendipitous. I too, just as Alice pondered the purpose of a book without pictures, have asked myself about the validity of a thesis with artworks and have found the work of Shaun McNiff (1998), Patricia Leavy (2009), Rita Irwin (2004) Graeme Sullivan (2006), Adele Flood (2003, 2009, 2010), Tom Barone and Elliot Eisner (2012) and Joan Vinall-Cox (2013) to be incredibly insightful and supportive of my selected methodologies in this search. With these seminal thinkers and a tradition of diverse studies before me, I continue to fall further down the hole.
My current research question is based on my research while still on the outside of the hole in the feet firmly on the ground in the field: Is it possible (and useful) to determine the characteristics of the digital identity of a visual artist that is present in a constructed digital portfolio? In doing so, how might secondary visual art students benefit from structured, curricular support for the building of artist identity through digital portfolios? Does this change the way you read this portfolio? |