Week 9 reflection.

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De Ferrier, Migrant journeys. 2020 Unique state shoji gami. 60′ x 11″

My list of influential artists is growing rapidly. Julie Mehretu has always facinated me, her scale is immense, and her context is similar to mine in her depiction of race riots, and the challenges that people of colour have to deal with every day. The sewing work of Joanna Choumali, Jessica Rankin, and Idris Khan has definitely inspired me in exploring different ways to record journeys. These artists all deal with the subject of home, a revelation for me.

Recently I have revisited old loves, in Cy Twombly, Guillermo Kuitca, John Milton Cage and Frank Gohlke all of whom have made work that is visually similar to mine. Franz Kline and abstract expressionism, how dramatic his paintings, how thoughtfully created. Brice Marden, and his deep connection with the landscape and light.  Interestingly enough this research has brought with it a deeper connection, and understanding of what I’m actually attempting to do and say with my own work.

I have always wrestled with the ‘why’ part of my practice, why this color, shape, line, why rusty buildings, why dereliction, why traces left by humans?  Why brick walls, why migrants? It’s about me, a migrant with a deep connection, and empathy for other migrants. I know some of the experiences , I know the brick walls, the closed doors, I also know that often we are not, and never will be accepted for who we are unless we change. Where do we actually belong when we move so much?

I have received encouraging feedback for tutors and peers, but I do feel lacking in something. I cannot quite reach a concise way of articulating my ideas. This definitely needs work, but I do feel that this recent research has helped enormously.

This module has challenged all of us. I have absolutely loved it, the failures,  pushing  boundaries, I have learned so much about tools, mediums and my approach. I have been reckless, and fearless in my approach, and it has been very rewarding. Growing in this way can only bring good, my motivation is strong, and I aim to continue to experiment with scale, supports and methodologies.


The moment of transferral, Brice Marden.

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          Brice Marden, Grid 11. 1971

Brice Marden is like most photographers concerned with light, however he does not try to replicate the wonderful afternoon light in his paintings, he wants to understand what is going on. He wants to understand how he can make abstract paintings take the viewer to even a tiny moment of paradise. He wants to create a moment of transferral.

“The hand touches more delicately in drawing, there is less between the hand and the image than in any other media. Drawing is fine and concise, drawing is graceful. Think of them as spaces. These are my drawings.” This text was written by Marden describing his work. The same text could also describe mine. The idea that the camera leaves me too far away, and a bit disconnected was definitely something that I wanted to address. Covid 19 pushed me to find an alternate way of making work, I felt more connected with migrant journeys when making my long print.

De Ferrier, Migrant Journeys. 2020                   De Ferrier, Details. 2020

I am really intrigued by Mardens’ approach, and I plan to think a little bit about how this way of connection, and connecting could be a part of my work.



‘Brice Marden. Grid II. 1971 | MoMA’. 2020. The Museum of Modern Art [online]. Available at: https://www.moma.org/collection/works/86763 [accessed 30 Jul 2020].

‘Brice Marden: Abstract Painting Can Take You to Paradise – YouTube’. 2020. [online]. Available at: https://www.youtube.com/watch?v=9ebExAsHZMg [accessed 20 Jul 2020].

‘Brice Marden: It Reminds Me of Something, and I Don’t Know What It Is., 980 Madison Avenue, New York, November 9–December 21, 2019’. 2019. Gagosian[online]. Available at: https://gagosian.com/exhibitions/2019/brice-marden-it-reminds-me-of-something-and-i-dont-know-what-it-is/ [accessed 30 Jul 2020].

‘Artist Talk: Brice Marden in Conversation with Menil Drawing Institute Curator Kelly Montana – YouTube’. 2020. [online]. Available at: https://www.youtube.com/watch?v=J_VWWgV3lSU [accessed 31 Jul 2020].

Landings 2020.

The past week has been busy with my backyard exhibition. I really enjoy these times normally, and have been very fortunate to have had the chance to show work before. My past experience, however could never have prepared me for this week. Trying times were had during installation, we are in hurricane season, three storms were due to hit the coast on Landings 2020 open day. The rain was torrential, the road disappeared, there were treacherous thunderstorms. We had to wait for a break in the weather. The work was installed, and dissasembled four times before the opening at 1pm my time.

We got a break, the sun came out just in time. I had a socially distanced show, and no one was aware of any of the set up drama that had happened before opening. There have been similar storms all week, so the pattern of hanging and taking down will continue.

Lessons learned is a long list, but the stand out points are:

1. Check the weather, although to be fair it can, and did, change on a dime.

2. Really think twice about the practicalities of installing large works in bad weather.

3. Remember that the Texan sun is hot enough to melt frames.


De Ferrier, Landings backyard exhibition. 2020

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De Ferrier, Sixty foot long Shoji Gami unique state. 2020IMG_6101.jpeg

De Ferrier, Cyanotype migrant journeys. 2020

Photography in print.

Daido Moriyama is a prolific photographer, he has from the beginning of his career been engaged with photobooks. When someone works in this way photobooks are a great choice for the dissemination of their work.

In an interview with Moriyama he said that he didn’t want to have a show of photographs. Instead he borrowed a Canon copy machine, and made copies of his images, which he then stapled together. The quality was poor, the toning inconsistent, and parts of the images were missing. This image degradation was immediately interesting to Moriyama, he felt that this was an appropriate treatment for his publication Another Country : New York.

I have enjoyed making the zine, Ruscha accordion book, pamphlet and book dummies for this module. I am aiming to continue to explore these avenues in the upcoming modules.

De Ferrier, Accordion book. 2020

Link to zine.



Link to pamphlet.



Rice paper rough dummy trial for sixty foot print.



‘Authentication Required’. 2020. [online]. Available at: https://users.talis.com/3/auth/login?nc=1596133339&original_provider=falmouth&redirectUri=https%3A%2F%2Fcontent.talisaspire.com%2Ffalmouth%2Fbundles%2F5915d34c540a2610c4421884&state=0cea6092a9fe755a9a3ecae28e0560c65f230fdaf3b022.85762987&app=TADC&xid=5f230fdb4ebd1 [accessed 30 Jul 2020].

Week 8 reflection.

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De Ferrier, Papaya. 2020 Cyanotype.

The beauty of workshops is to inspire, teach and learn from each other.  To experiment, share information, ideas and to gather as a community.  This is so well explained in the paper ‘Visualizing’community’ : an experiment in participatory photography among Kurdish diasporic workers in London. The Kurdish community were having problems at work, and a work shop in photography study was held to  help create a group identity, social belonging, and community support.   To create a community to help “In explaining issues, such as identity and community, which can often be difficult to  verbalize or articulate.”  In this group the participants were asked to learn that it was important to ‘lose control’ and allow them to be able to ‘speak’ for themselves using the lens of their cameras.

I have been a life long migrant, and this short paper was enlightening. Migration can be traumatic on many levels. It’s possible that this paper could be a pivotal moment for me. I have struggled personally to network, engage and settle after every move to another country.  I think this is why I feel so connected to other migrants.

My idea would to be to engage with other migrants in my area, to create a small community with neighbors, and friends so we can discuss issues that we may find difficult, while learning a new technique. Many visitors to my backyard exhibition expressed an interest in a workshop to learn how to create cyanotypes. What was really interesting was that the plants they wished to print were herbs particular to different cultures, and different cuisines.

The idea for this workshop will be on hold for the present time, due to rising Covid cases in Houston Harris county.

HOLGATE, Jane, Janroj KELES and Leena KUMARAPPAN. 2012. ‘Visualizing “Community”: An Experiment in Participatory Photography among Kurdish Diasporic Workers in London’. Sociological Review 60(2), 312–32.



Franz Kline.

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Franz Kline, Painting Number 2. 1954

Franz Klines’ abstract expressionist work on the surface looks like it could have been completed in around thirty minutes. The surface appears to be black and white,  however on closer inspection we can see that there are many many different shades, both warmer and cooler tones of each. As a lead up to these huge pieces Kline would make many sketches. These works are very carefully planned, and very skillfully painted.

Kline was also known for using household paints on his supports. I understand this approach, household paint is quite inexpensive so that’s helpful especially when dealing with large scale work. The application options are wider, and the ability to use different tools for the application of paint is greater, leading to many different ways of mark making.

This module was wonderfully experimental. My aim is to continue pushing boundaries, continue experimenting, and continue to explore new ways of making work.

‘Franz Kline. Painting Number 2. 1954 | MoMA’. 2020. The Museum of Modern Art[online]. Available at: https://www.moma.org/collection/works/79234 [accessed 22 Jul 2020].

‘Franz Kline – In Action – YouTube’. 2020. [online]. Available at: https://www.youtube.com/watch?v=R4FofJ0FiEs [accessed 22 Jul 2020].

Week 7 reflection.

The last forum was very helpful. I had been struggling to collate the images that I had collected. First problem was my printer gave up, so my idea of having loads of images failed. Posting this on the forum led to a few new ideas from peers. The work below is conceptually connnected, however visually quite different. A few fellow students suggested separating them in chapters, or arranging them by texture and lines within the images.

I think that my focus has been on the exhibition in my backyard for Landings, it was easy for me to see how these images would look in an exhibition setting, in my head it was easy to group them. This was complicated though due the large canvas, seven foot cyanotype, sixty foot long print, my focus was with them, and how to navigate their installation. IMG_6043

De Ferrier, book layout small selection. 2020


De Ferrier, Migrant traces. 2020 Acrylic on canvas.


De Ferrier, Migrant journeys. 2020 Cyanotype with bookmaking thread.

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De Ferrier, Journeys. 2020 Unique state on rice paper.

I would like to look at using a baren tool, this is a Japanese printing tool that is normally used with relief wood cuts. As we go forward I feel that my experimentation will only grow.

I have really enjoyed this module and way of working, pushing the boundaries of a medium has just been so rewarding. I do aim to continue this way of working and have really immersed myself in the huge failures, it has been a real challenge, but a very worthwhile one.

John Milton Cage.

River rocks and smoke, stunning work from John M. Cage. This work made on a massive scale with soot from a fire, and watercolors is housed in the Menil Collection here in Houston. First of all, the scale takes this to a new level visually. I have been so fortunate  to be able to view this many times, and each time is special. I connect with this work on many levels, however feel that this is Cage engaging all of his talents in this particular piece.  Screen Shot 2020-07-20 at 2.46.33 PM



Exhibition pamphlet.

This week I have been busy trying to get my backyard ready for next weeks exhibition. Time has been spent organizing images, printing photographs and buying frames. I wanted to have a small publication to introduce my work, that could also be given out over the week. The best option was a pamphlet, I felt that it would give the right about of information, would be a nice to take away as a reminder, and a good way to spread the word.

The current Covid 19 situation in Texas, especially Harris County where we live, is really not good, cases are rising rapidly, and there may be a total lockdown. This along with hurricane season really leaves me with a situation of ‘wait and see’, I have no other option. In order to mitigate this I have tried to be prepared for all scenarios.




In beauty it is finished, Cy Twombly.

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Cy Twombly, sketches for Treatise on the veil. 1970.

Cy Twomblys’ drawings are a huge influence on my work. Houston has a gallery dedicated to his work, and the Menil collection houses one of his larger pieces. Typically his work is WOP, or works on paper, he uses crayon pencils and paint to create what he feels, his emotional state, and aims to create that feeling in the viewer.

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Cy Twombly, In beauty it is finished. 2018

Twomblys’ work Treatise on the Veil is awesome in size, using crayon, different colours of supports and household paint. Cy takes us on an emotional journey. The size of the works change the way that you draw and paint, and this really invites you to lose yourself in his work. It is interesting to note that his sketch book contains drawings that he did in the dark, without being able to see. This is something that I will definitely try, I feel that this could help in depicting my migrant journeys.

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De Ferrier, Journeys. 2020 Unique state print on rice paper. Details, 11in x 60ft.

‘Cy Twombly: In Beauty It Is Finished’. 2018. Gagosian Quarterly [online]. Available at: https://gagosian.com/quarterly/2018/03/28/cy-twombly-beauty-it-finished/ [accessed 15 Jul 2020].


‘Cy Twombly, Treatise on the Veil, 1970’. 2020. The Menil Collection [online]. Available at: https://www.menil.org/bookstore/products/cy-twombly-treatise-on-the-veil-1970 [accessed 15 Jul 2020].