First Draft: Reflecting on Progress and Project Development
Reaching the halfway point of this project has provided an opportunity to reflect not only on the work produced so far, but also on the direction in which the project is evolving. Looking back at my original project plan, I can see that many of the core themes remain present, although the project itself has developed in ways that I could not have anticipated at the outset. Rather than following a strictly linear path, the work has expanded through observation, reflection, travel, research and unexpected discoveries. In many ways, this process has reinforced my belief that creative practice is not simply about executing a predetermined idea, but about remaining open to where the work itself wants to lead.
The central narrative continues to revolve around The Bird Who Came From Afar. Initially, I saw this figure primarily as a symbolic traveller moving between different places, cultures and experiences. As the project has progressed, however, the bird has become something more complex. It is no longer simply a character within a story, but a vehicle through which I can explore ideas of migration, belonging, memory, language, identity and connection. The project has become less concerned with autobiography and more interested in how personal experiences can resonate with wider audiences and broader human concerns.
Research has played a significant role in shaping this development. Through the Stage Three resources, I have become increasingly aware of the different ways artists approach their practice. What interested me most was not necessarily the finished work presented by (the OCA suggested) practitioners such as Bee Willey, Amy Tidmarsh and Les Monaghan, but the methodologies underpinning their creative processes. Watching them discuss how ideas emerge, how projects become messy and uncertain, and how reflection itself becomes part of the making process, encouraged me to think more deeply about my own approach. I began to recognise that many of the uncertainties I experience are not obstacles but an essential part of creative development.
One of the most significant discoveries has been the growing importance of observation. Increasingly, ideas emerge not through deliberate planning but through encounters with places, conversations and images. Recent journeys through Scotland have provided valuable material for this process. Visits to Holy Island, St Abbs, Eyemouth and Bamburgh generated photographs that have become important points of reflection. Rather than serving as simple records of locations, these images have become prompts for thought, allowing me to explore relationships between landscape, symbolism and personal interpretation.
Food for thought: re-emerging ideas and how to make the most from them.
A eureka moment occurred during a visit to Holy Island, where I encountered a wooden bird-like structure mounted on a pole. Although simple in appearance, the image remained with me long after I had left. The structure appeared simultaneously free and constrained. The pole that allowed it to rise above the landscape was also the element that fixed it in place. I became interested in the contradictions contained within the image and the different meanings viewers might bring to it. This led me to reflect on the role of interpretation within my work. Increasingly, I have realised that my aim is not to impose a single meaning upon an image but to create opportunities for connection. Different people respond differently to the same photograph, and this diversity of response has become an important aspect of the project.
Another significant development emerged through reflecting on a memory involving my son when he was very young. Looking at a manta ray swimming through water, he remarked that it appeared to be flying. This simple observation unexpectedly connected with many of the themes already present within the project. Birds and fish inhabit different environments, yet both move through their worlds in remarkably similar ways. One travels through air while the other travels through water. This idea opened new possibilities for thinking about migration, movement and cultural experience. It also suggested parallels between different societies and ways of living, where separate worlds can coexist while remaining partially unknown to one another.
These reflections have encouraged me to think beyond individual photographs and texts towards a broader visual narrative. I have begun collecting imagery not simply because it is aesthetically appealing, but because it contributes to a growing network of ideas. The project is gradually moving towards a form of visual poetry in which image, text, symbolism and personal reflection operate together. At this stage, the emphasis remains on gathering material, developing connections and identifying recurring themes rather than producing finished outcomes.
In relation to my original schedule, I believe I remain broadly on track. While some ideas have developed differently than initially anticipated, the overall project aims remain consistent. The research phase has proved more extensive than expected, but this has been beneficial rather than problematic. The additional research has deepened my understanding of narrative, audience engagement and artistic methodology, providing a stronger foundation for the practical work that will follow.
Looking ahead, I anticipate refining the relationship between image and text while continuing to develop the narrative framework surrounding The Bird Who Came From Afar. I also intend to experiment further with moving image, sound and visual sequencing, drawing on recommendations discussed during tutorials. The project is still evolving, and I am conscious that new experiences may continue to influence its direction. Rather than viewing this as a lack of certainty, I increasingly see it as one of the strengths of the project.
At the midpoint of the unit, I feel more confident about the underlying purpose of the work than I did at the beginning. While the final outcome remains open, I have gained a clearer understanding of what I want the project to achieve. More than anything, I want to create work that encourages reflection and connection. If the photographs, texts and visual narratives invite viewers to pause, think and bring their own experiences into dialogue with the work, then the project will have fulfilled its most important aim.
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