Portfolio Guidelines

3D Work

Pre-selection guidance…

These notes are about helping you to prepare and present your Portfolio.    

Volunteers on the LAS selection committee treat all applications respectfully, each one is thoroughly reviewed and discussed. The process is about assessing and locating sound professional qualities. The guidelines clearly state these qualities.

The selection committee look to see if the work is technically assured, demonstrates confidence in the way the chosen medium has been used and if the work offers distinctiveness and originality.

Below are three aspects of preparing your LAS membership application portfolio…

1/Presentation.    4-6 pieces of finished work.

Two pieces should be framed or presented as you would for an exhibition.

It is important that you demonstrate your own powers of selection.  The application portfolio may show several items, but the ones that you have chosen to reflect exhibition quality are key.    You are making an important distinction.     What did you choose?

The supporting work is useful, it provides insight, in terms of ideas management and artistic development.   It also shows how you filter your interests, sources of inspiration and methods.

The thought and attention you have given to the mode of display and finish counts too.   The portfolio represents your creative agenda, where you are now, but also your potential.    How do you feel about the finish of your work?

2/Language

Work that is technically assured and demonstrates confidence in the way the chosen medium has been used.    How long have you been using your current visual language – is it something recent or more established?

It can take some time to ‘marry’ your intentions with your medium.   Your command of your chosen language is key.     How confident do you feel about your skills?    What stage are you at with the aforementioned, in terms of resolution?

Do you experiment enough and then take time to evaluate and refine before more work?

Do you make samples and try different approaches – then make really informed choices?   The random can be useful, but at some point you still have to think about it and what might happen next.     Some of this work shouldn’t necessarily be ‘in’ your application although many applicants include some of it, but it can certainly inform your major pieces.     

3/Subject matter and content

The work offers distinctiveness and originality.    What is your artwork about?

Is your chosen imagery/form revealing what your work is about – what is it communicating?

Sometimes there can be gap here.    It is a challenge which is central to good quality art practice.    Are you doing your aims/ideas justice?

How well do you understand your motivation and sense of identity and agency as an artist? Have a think…

Now, explore the following..

What does calling yourself an artist mean to you?

What does further development mean to you?

How do you usually improve your practice and solve a problem?  Are there problems?    How do you gauge successful resolution – when is something finished for you?

How much time are you spending on your work and on the different stages it involves?

If you are self taught how are you managing this learning process?

If you have been formally taught, what was most useful to take forward, in terms of artistic progress?    What did you learn about your creative self?

Final thoughts...

Look at your work as though it isn’t yours.   It’s challenging – creative practice is very personal.    Artists frequently use instinctive and intuitive impulses in their endeavours.

But, trying to be really objective about something that is very subjective can also, on occasion be incredibly useful too.

Seek feedback where you can from others – artists, viewers, friends, individuals that show and sell art.     Visit exhibitions and read/view artists interviews – a contextual file or notebook can be handy.

Most of all, be yourself.    Let it show in your work.

Unsuccessful applications –

post submission advice…

The committee keenly understands how difficult and disappointing it can be for an individual to be told that they cannot be accepted, at present, for the society.

Applications involve hard work, commitment and courage. LAS value these attributes in artists.

However, often, when work isn’t ready quite yet for membership it is because it requires more time and more critical reflection. If you focus on these two central aspects you can fully develop your work for future submission.

These notes are about helping you seek professional perspective in relation to this decision.

Volunteers on the LAS committee treat all applications respectfully, each one is thoroughly reviewed and discussed. The process is about assessing and locating sound professional qualities.

The guidelines clearly state these qualities.   The selection committee look to see if the work is technically assured, demonstrates confidence in the way the chosen medium has been used and if the work offers distinctiveness and originality.

Whilst it is not practically possible to give individual feedback the committee understands that individuals sometimes may value some support with a way forward.

These notes are just that. They offer suggestions for areas of personal consideration and analysis that can be used in conjunction with our guidelines alongside the work in question. The aim is to help by prompting useful, creative, ‘food for thought’. Making a submission and showing work indicates ambition – you expose your art to others, but also to yourself in a formal context.

As independent artists it is crucial that we continue to hone perceptive critical skills. Developing a growing sense of perspective is an ongoing professional concern. What works, what doesn’t, where do I go from here? These are constant questions that we ask ourselves. Fully hatched artists coherently express their interests through well considered ideas, content and language.

One useful exercise to try initially, is re-assembling your LAS submission and evaluating yourself.  Really take your work in, scrutinize it and be very honest – perhaps record your thoughts.   Revisit the requirements.

The quotes below are taken from the LAS guidelines for membership application and are followed by some suggestions for self-reflection….

1/Presentation…
4-6 pieces of finished work
Two pieces should be framed or presented as you would for exhibition.

It is important that you demonstrate your own powers of selection. The application portfolio may show several items, but the ones that you have chosen, which you feel reflect exhibition quality are key. You are making an important distinction. What did you choose and why?

The supporting work is useful, it provides insight, in terms of ideas management and artistic development. It also shows how you filter your interests, sources of inspiration and methods.

The thought and attention you have given to the mode of display and finish counts too. The portfolio represents your creative agenda, where you are now, but also your potential.  How do you feel about the finish of your work?

2/Language…
Work that is technically assured and demonstrates confidence in the way the chosen medium has been used.

How long have you been using your current visual language – is it something recent or more established?

It can take some time to ‘marry’ your intentions with your medium. Your command of your chosen language is key. How confident do you feel about your skills?  What stage are you at with the aforementioned, in terms of resolution?   Do you experiment enough and then take time to evaluate and refine before more work?   Do you make samples and try different approaches – then make really informed choices?

The random can be useful, but at some point you still have to think about it and what might happen next.

Some of this work shouldn’t necessarily be ‘in’ your application, although many applicants do include some of it.  But it can certainly inform your major pieces. 

3/Subject matter and content…
The work offers distinctiveness and originality
What is your artwork about?

Is your chosen imagery/form truly revealing what your interests are – what is being
communicated? Sometimes there can be gap here. It is a challenge which is central to
good quality art practice. Are you doing your aims/ideas justice?
How well do you understand your motivation and sense of identity and agency as an
artist? Have a think…

Now, explore the following..
What does calling yourself an artist mean to you?
What does further development mean to you?
How do you usually improve your practice and solve a problem. Are there problems?
How do you gauge successful resolution – when is something finished for you?
How much time are you spending on your work and on the different stages it involves?
If you are self taught how are you managing this learning process?
If you have been formally taught, what was most useful from it to take forward, in terms of
artistic progress. What did you learn about your creative self?

Final thoughts…
Look at your work as though it isn’t yours. It’s challenging – creative practice is very
personal. Artists frequently use instinctive and intuitive impulses in their endeavours.
But, trying to be really objective about something that is very subjective can also, on
occasion be incredibly useful too.

Seek feedback where you can from others – artists, viewers, friends, individuals that show
and sell art. Visit exhibitions and read/view artists interviews – a contextual file or notebook
can be handy.

Be yourself. Good luck with any future opportunities! Never give up!