Final Evaluation

This project began with an exploration of the senses, particularly sound, and how emotions and memories can be translated into a visual language. At the start of the module, I was interested in the relationship between music, colour, movement and mark-making. I spent time listening to different pieces of music and responding instinctively through painting, allowing the sounds, rhythms and emotions to influence my choice of colours, shapes and gestures. Rather than trying to create recognisable images, I focused on capturing feelings and experiences.

Figure 1 Carmen McNally, Face to Face 001, 2025, Oil pastels

This was an exciting starting point because it allowed me to work freely and experiment without the pressure of producing a specific outcome.

During this stage of the project, I explored a wide range of materials and techniques. I worked with acrylic paint, oil pastels, inks, watercolour and mixed media processes. I experimented with different tools, methods of application and ways of creating marks. Some of the work was successful, while other pieces felt unresolved, but each experiment helped me understand how I naturally work as an artist. Looking back, this stage was important because it encouraged me to embrace process rather than focus solely on outcomes. It also helped me identify recurring themes within my practice, particularly memory, emotion and personal experience.

Figure 2 Carmen McNally, Wet Lights, 2025, Acrylic paint

As the project progressed, I became increasingly interested in artists who translate sensory experiences into visual forms. Researching artists connected to colour, abstraction and synaesthesia encouraged me to think more deeply about the connection between the senses. I was fascinated by the idea that some people can see colours when they hear music and found myself slightly envious of this ability.

Figure 3 Untitled Abstract Study I, mixed media on paper, 2025.

Although I do not experience synaesthesia myself, I was interested in finding my own way of visually responding to sound and emotion. This research informed many of my early paintings and encouraged me to experiment with colour relationships and expressive mark-making.

Figure 4 Untitled Abstract Study II, mixed media on perspex, 2025.

While the abstract work was an important part of my development, I gradually realised that I was searching for something more personal. Through reflection in my blog and sketchbooks, I noticed that many of my thoughts returned to my children, family memories and the emotional experiences connected to motherhood. Even when working abstractly, these themes seemed to appear naturally. This realisation marked an important turning point within the project because it shifted my focus away from sound alone and towards the role that memory plays in shaping identity and emotion.

Artist research played a significant role in the development of my ideas throughout the project. One artist who had a particularly strong influence during the early stages of the project was Chris Loud. I purchased his book 50 Abstract Warm-Up Paintings and spent a considerable amount of time watching his online demonstrations and tutorials. His approach to using prompts as a starting point for abstract work encouraged me to experiment more freely and focus on process rather than outcome. One piece that was directly influenced by his methods was an abstract painting of my daughter Eva.

 

Figure 5 Carmen McNally, Untitled (Eva), 2025, acrylic and mixed media, inspired by Chris Loud's prompt-based approach to abstraction.

Rather than painting her realistically, I simplified her body into a series of oval and organic shapes and restricted myself to a colour palette of orange, black and white. Working within these limitations encouraged me to focus on composition, shape and movement rather than detail. This exercise helped me realise that emotion and identity can be communicated without relying on realism. Looking back, Chris Loud's influence helped me gain confidence in abstraction and taught me to trust my instincts as a painter.

As the project developed, my artist research expanded beyond painting and abstraction towards artists working with memory, materiality and sculpture. Christian Boltanski's use of clothing immediately resonated with me because of the emotional weight that ordinary objects can carry. His work demonstrated how everyday materials can become powerful symbols of memory, loss and identity. Louise Bourgeois inspired me through her ability to transform deeply personal experiences into sculptural forms that communicate universal emotions. Sophie Ryder's use of found objects encouraged me to think about incorporating additional baby-related items into my own work. Xiao Qi's relief sculptures influenced my thinking about depth and layering, while Christie Lee Rogers inspired me through the flowing folds and movement within her photographs, which reminded me of the forms created by gathered fabric.

As my abstract paintings developed, I found myself becoming increasingly interested in creating three-dimensional forms. Although painting remained important, I wanted to create work that occupied physical space and encouraged viewers to move around it. This led me to consider ceramics as a possible direction. I have always been drawn to sculptural work that appears fragile and delicate. One artwork that has stayed with me for several years is a sphere constructed from mouse skulls that I saw at the Body Remade exhibition at Lakeside Arts in 2023. Although it was not part of my research for this project, I often found myself thinking about the tension and vulnerability within the piece. It appeared solid yet fragile at the same time, creating the impression that it could collapse if disturbed. This interest in delicacy, balance and structure influenced my desire to create sculptural forms, even though I ultimately moved away from ceramics and towards working with baby clothes. Looking back, this stage was important because it acted as a bridge between my abstract paintings and the sculptural work that became the focus of the project.

Figure 6 Carmen McNally, Untitled Bib, Early baby clothes experiment marking the transition from painting to sculpture (2026)

The defining moment of the project came unexpectedly. I woke up during the night with the idea of creating work using baby clothes. The idea felt immediate and completely right. My first response was to create Untitled Bib, a mixed-media piece that combined painting and baby clothes, allowing me to test how the materials could work together before moving towards fully sculptural forms.

It brought together many of the themes I had been exploring throughout the year, including memory, touch, childhood, identity, growth and motherhood. Baby clothes are highly emotional objects. They hold memories of particular moments, stages of development and experiences that can never be repeated. They are often kept long after they are needed because of the memories attached to them. Once I had this idea, the project suddenly became much more focused and purposeful. This breakthrough eventually led to the creation of two major works, Face to Face and Halo, both of which explore memory, childhood and motherhood through the use of baby clothes as both material and subject matter.

From that point onwards, my work centred around collecting, sorting and constructing sculptural forms from baby clothes. Some of the clothing belonged to my own children, while other items were donated by family, friends and members of the local community.

Figure 7 Carmen McNally, Face to Face, mixed media relief sculpture constructed from baby clothes and blankets, 2026

The process of gathering these materials became part of the work itself, as each donated item carried its own story and history. Using clothing rather than traditional art materials allowed me to create work that was both visually engaging and emotionally significant.

Experimenting with textiles presented a number of technical challenges. Unlike clay or wood, clothing is soft, flexible and difficult to control. I had to consider structure, balance, support and stability throughout the making process. One challenge occurred during the development of Halo when the piece needed additional reinforcement to support its size and weight. During this process, a large central section became detached and had to be reconstructed. Although this temporarily slowed progress, it encouraged me to reassess the structure of the work and develop stronger methods of support. Looking back, overcoming these challenges strengthened both the final piece and my confidence in working with large-scale textile relief.

Figure 8 Carmen McNally, Halo in progress, early painting stages, 2026

Primary and secondary research were both essential to the project. Primary research included my own experiences as a mother, observations of family life, collecting clothing, studio experimentation and visits to galleries and exhibitions. Secondary research included books, journals, online resources and artist research. Looking back, I feel that I used research effectively to support the development of my ideas. If I were to continue the project further, I would spend more time researching contemporary textile sculptors and installation artists working with memory and personal archives.

Reflection has been central to my working process throughout this module. Regular blog posts allowed me to document my progress, evaluate experiments and identify recurring themes. Reflecting on both successful and unsuccessful outcomes helped me make informed decisions about the direction of the work. Looking back through my blog, I can clearly see how my ideas evolved over time. Reflection allowed me to move away from ideas that felt less authentic and towards work that felt genuinely connected to my experiences and interests.

Feedback from tutors and peers also influenced the development of the project. Tutorials, group discussions and informal conversations encouraged me to think critically about my decisions and refine my ideas. Feedback often confirmed when I was moving in a strong direction and helped me identify areas that needed further development. I was able to respond positively to suggestions while still maintaining ownership of the project and confidence in my own decision-making.

Overall, I believe this project demonstrates a clear journey from abstract painting and sensory exploration to sculptural work centred around memory and motherhood.

Figure 9 Carmen McNally, Halo, near completion, mixed media relief sculpture constructed from baby clothes, blankets and found objects, 2026

The final outcomes, Face to Face and Halo, bring together many of the ideas that emerged throughout the year and represent the most personal work I have created during my degree. The strengths of the project lie in its authenticity, emotional connection and willingness to experiment with materials. While there are always areas that could be developed further, particularly in terms of scale and installation, I am proud of the risks I have taken and the way the project has evolved. Most importantly, the project has reinforced the value of trusting my instincts and following ideas that have genuine personal meaning. Through self-direction, experimentation, reflection and persistence, I have developed a body of work that feels both resolved and representative of my artistic practice.