Outdoor practice – 03/04/16


As my plan is to leave colourful objects outdoors, I decided to experiment with materials, to see how they are effected by the weather. I used a colourful plaster blob which I had from a previous experiment. I left it in my garden. My prediction is that  it may be harshly effected by the weather, as plaster is so porous – though I have left the piece out in a private area, so that I can re-visit it and see.

Though this was an experiment to see how the material is effected by the weather, I used the opportunity to see how the colours worked in contrast with the dull building materials – through the positioning of the items and the photography. This particular ‘blob’ wasn’t quite as vibrant, therefore if I create more I shall add more pigment into the mix.


I decided to place one of the colourful plaster ‘blobs’ on the side of a dull miscoloured wall, as a contrast. I wanted to put it in a place where people may pass on a stroll, and therefore more likely notice it – as the colours on this particular piece were not very vibrant.

As the colours were not vibrant enough, the pieces does not grab enough attention, and therefore is not quite successful of my aims within the project. I may experiment with making plaster mixes more vibrant, as an aim to engage with the audience.

I signed it with my Instagram @ name, in order to gather responses from people and try to create a body and community of work.



I also chose to paint with vibrant paints onto one of the stone benches along the canal in town. The bench looked dirty and as though it had been victim to vandalism, as there was soot forming on the rocks, as though there had been a fire set – as well as litter being left on the bench.

The bench looked very uninviting and harsh. Adding a small splash of colour to the bench made it seem more welcoming and quirky. I chose to only paint one rock, as I felt that it creates an enigma – with there only being a small tiny aspect decorated.

The contrast between the colours of the bench and the colours of my painting worked very well, and the colours attract the eyes of the viewer immediately. If I was to carry on with painting in the urban/outdoor environment, I may experiment with enlarging the scale of pieces.

I feel that in order to maintain a more interactive scope within my project, that it will be more effective to install sculptures which can be moved and manipulated.


Follow the critique, I chose to experiment with the pot dolls that I had been given. Pot dolls have an eery look about them, and are dressed in very vintage and dated outfits. Spray painting this one a flourescent pink colour allowed for me to create a juxtaposition.


My intention was to leave a note with the doll, instructing the finder to photograph it in other places, and document it’s journey – though I did not have time. Instead I wrote the @vividiurnabart – for people to be able search and find other pieces of my work.

This approach to street art is a much more interactive one. Creating a task/emotion for a member of public is far more exciting to me, as it will probably make quite an impact on their day. The process of tracking the movement of the doll via social media is interesting, and in future I will leave clearer notes with how I wish for the finder to respond to the piece.

Though this is the case I feel that it will be rare that a member of the public will comply with the instructions. It may also be the case that the finder does not understand or use social media, and will therefore not get back intouch with me to record a change. This is all part of the process. If I ‘plant’ a larger amount of dolls, I am more likely to track a movement/interaction.



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