BISP IB Visual Arts Exhibition 2023

IB Visual Arts Exhibition 2023

CONTENTS

4

Alicia Clayton

8

Aneeta Mettapanyalert

11

Anittar Zentner-Phimnon

14

Ekaterina Sheshegova

17

Evie-Louise Goddings

19

Isabelle Stephens

21

Laxshana Parthiban

25

Pathanat Sombatpiya

28

Prai Budhraja

31

Thea Mahboob

35

Vihana Shresta

38

Yu t a K i t a k a d o

41

Kitipong Ngowsiri

ALICIA CL AYTON I B Ye a r 1 3 V i s u a l A r t s E x h i b i t i o n Over the years, Thailand has evolved to become a popular, sought after travel destination in the heart of Southeast Asia. Thanks to its breathtaking landscapes, rich culture, delicious food, and warm hospitality it attracts a diverse range of visitors such as tourists, backpackers and journalists. Thailand’s charm and allure are irresistible, and it’s no wonder that many traveler’s return to the country, time and again. Despite this, most visitors only experience a small part of what the country has to offer.

However, Thailand has a complex and multi-layered culture that can only be truly appreciated by those who are willing to look beyond the surface. For many, the red light districts are the epicenter of Thailand’s urban culture, with filled with bars, clubs, and provocative shows. Unfortunately, the sex industry is pervasive in these districts, and the struggles of the sex workers who work there often go unnoticed. While the bright neon lights and towering stilettos may be eye-catching, few people see the hardships and dangers that lie beneath the surface.

The reality is that sex workers who populate these districts face unimaginable challenges and hardships on a daily basis, as they strive to earn a living for themselves and their families. Despite the sacrifices they make and the risks they take to survive in an industry that is fraught with danger and exploitation, the sex industry remains a subject of taboo and disgrace in Thailand. Religious values in the country are at odds with such practices, leading to negative societal stereotypes and prejudices towards sex workers. One of the most distinctive aspects of Thai culture is its spirituality. Buddhism is the dominant religion in the country, and its influence is visible everywhere you go. From the numerous temples and shrines scattered throughout the country to the daily rituals practiced by locals, Buddhism is an integral part of daily life in Thailand. Visitors can learn about the teachings of Buddha by visiting temples, attending meditation retreats, and talking to monks.

My artwork aims to convey the arduous struggles faced by sex workers in Thailand, who are forced to compromise their physical and emotional well-being, dignity, and social standing in order to provide for themselves and their families. Through my creative efforts, I hope to challenge these societal stereotypes and prejudices, and promote an open and honest dialogue that fosters greater understanding and empathy towards sex workers.

While my artwork may initially appear unclear to those unfamiliar with the cultural complexities of Thailand, my intention is to awaken a deeper level of comprehension and compassion among my audience.

I aspire to elevate the voices of those who are silenced, and to reveal the humanity that exists within us all. By bringing to light the harsh realities of the sex industry, I hope to inspire meaningful changes in public policy and attitudes, and to empower sex workers to be recognized and valued members of society.

In conclusion, Thailand is a country that offers much more than what meets the eye. I hope to inspire others to look beyond the surface and discover the many layers of Thailand’s rich and diverse culture, and to develop a greater appreciation and empathy for those who are too often overlooked and marginalised.

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THE REALITY OF BUDDHA

CO N F I N E D BY S E X I S M

M ez zo tint 4 2 x 8 4 c m, N ovem b er 2 022

Photography 42 x 59.4 cm, Februar y 2023

OPPRESSION

A N O N YM O U S

Ac r y l ic Pa int a nd Lin o c ut 6 0 x 5 0 c m, N ovem b er 2 022

Paper M ache and Wax 100 x 100 cm, November 2022

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OBJECTIFIED

T H E B R O K E N F R AG M E N T S O F T H A I L A N D

Pho to gra p hy 4 2 x 5 9 . 4 cm , Au g u st 2 0 22

Cerami cs 40 x 20 x 10cm, J anuar y 2023

SOLD

F R AG I L E

Pa int ing 60 x 99 cm, M a rc h 2 0 2 3

Plaster 50 x 30cm, M arch 2023

ANEETA METTAPANYALERT I B Ye a r 1 3 V i s u a l A r t s E x h i b i t i o n Living in Phuket for 16 years of my life, I have grown an appreciation for its natural commodities. I was living in an oblivion that all was well in the world of nature in Phuket, unlike the rest of the world where we see the planet enduring an abundant amount of negative human activities.

However, the sudden wave of COVID-19 opened my eyes to the state of beaches, hills and forests of Phuket before the pandemic. Hearing news from different sources entailing how the condition of these places were improving during this time made me realise how we treated Phuket before. How it tolerated so much (“Beaches”).

From this awareness, IB art presented as an opportunity to communicate the journey of my realisation and hopefully urge the viewers to gain similar awareness of this dire situation to see that we are living under the spell of blissful but dangerous ignorance. Using various techniques and materials such as woodcut printing, acrylic painting, etching, oil painting, mezzotint, digital animation and plaster, allowed me to add meaning to specific pieces. For instance, in “Technology Taints”, using acrylic paint for pixels, and “Uncontrollable Entanglement”, using animation for growth, there’s a notable contrast in the use of technology to show how I transformed its role in tainting the flower to benefit the message of nature’s overwhelming sense of power.

The exhibition of my work will be displayed in a thoughtful order. The order, as the other years of my school walk through the corridor into my exhibition, starts from human activities and how that has affected aspects of nature to passive and aggressive ways nature has made a comeback. “Crushed” and “Technology Taints” first illuminates the viewer about the human inflictions, which leads up to “Embers” and “Consequences”. This is the development of the consequences of such acts. However, with this downfall comes strength through “Overgrown”, “Uncontrollable Entanglement” and “To This Reality”. Through these links, the viewers can voyage across the advancing stages of nature retaliation.

In the end I want to create a reminder of how strong nature is and that we should be working alongside it, and not against it; to establish a sense of fear and stimulate viewers to reflect on what they have done and what they can do. Creating these works allowed me to move away from just making attractive artworks to producing meaningful and impactful pieces that would have the purpose to influence the viewers on the topic of being on nature’s side.

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T E C H N O LO G Y TA I N T S

TO T H I S R E A L I T Y

Ac r y l ic o n Ca nva s, 80 x 100 cm, Au g u st 2 0 22

D i gi tal Ani mati on 179 x 170 cm, Februar y 2023

OVERGROWN

CRUSHED

M ez zo t int 8 x 8 cm, O c to ber 2 0 22

Wood cut 42 x 59.4 cm, Februar y 2022

EMBERS

CO N S E Q U E N C E S

Etc hing in B l a c k I n k o n Pa per 42 x 59.4 cm, J u ne 2 0 22

M ul tim edi a (O i l on Canvas, Acr yli c on Wood ) 90 x 120 cm, November 2021

U N CO N T R O L L A B L E E N TA N G L E M E N T M u l tim ed ia An im atio n 76 x 76 x 3 cm, S eptem b er 2022

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ANITTAR ZENTNER-PHIMNON I B Ye a r 1 3 V i s u a l A r t s E x h i b i t i o n I grew up as a “third culture kid”, who was born in one country but grew up in another. Growing up I never really felt like I fit in because I looked different and I desperately tried to fit into society.

As I got older I started to notice how it never bothered anyone that I was different but they accepted me for who I am. I finally felt like one of the people, but my family was afraid of me forgetting about my roots and where I came from. I always knew that I would have to leave my new home one day because my parents always wanted to move to Thailand and I was always afraid of losing all of my friends and never being able to go back. In 2021 my parents proposed to me the idea of finishing school in Thailand, here at BISP. At first I tried to negotiate with them to let me go to a different country, somewhere western where I would get accepted as someone who is a third culture kid because I never felt like I fit in the asian society and culture. I felt I would be judged for being different from their norms and culture.

I had to decide whether to stay a bit longer in Germany and then attend school after the summer break, or start school right after the spring break so I could finish school earlier. It was a tough decision whether to follow my heart, or my head’s decision. The earlier I finished the sooner I could return, making it easier to say goodbye to my friends and home, knowing I could return. My fear was to lose everything that I already had and build for myself in the past years.

I made new friends here and my past experience is a big influence in my pieces. I really tried to reflect on all my feelings and personal influences in them. I am targeting an audience from every age group and think everyone can relate to my pieces because once in their lives they have made, or will have to make the decision to follow their heart, or be rational. I want people to reflect on both first before they make a big decision and we can clearly see that influence in my first art piece.

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M E M E N TO M O R I

L O S ING A P IE CE OF YOUR H E ART

Etch i ng Pr int o n Pa per a n d Waterco l o r 54 x 39 cm, M ay 2 0 2 2

S pray Pai nt and Acr yli c on Canvas 100 x 150 cm, Februar y 2023

THE UNSOWN WOUND

B AT T L E B E T W E E N YO U R H E A D

Plas te r, Fa b r ic a nd S pray Pa int o n Pl a s ter 45 x 30 cm, S ep tem b er 2 022

A N D YO U R H E A R T Paper, Yar n and Tulle Fabr i c 150 x 80 cm, O c tober 2022

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P O U R YO U R H E A R T O U T

A LO N E LY H E A R T

C l ay 17 x 20 cm, Feb r u a r y 2023

M ez zoti nt 8 x 8 cm, O c tober 2022

H E A D I N T H E C LO U D S Em bro id er y a nd Wate rco l o ur o n Fa br ic 14 x 14 cm, Au g u st 2 022

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EKATERINA SHESHEGOVA I B Ye a r 1 3 V i s u a l A r t s E x h i b i t i o n Imperfection is a common trait shared by everyone. Throughout our lives, we all face challenges related to our imperfections, whether we hide them or suffer from them. This topic has always fascinated me, and I wanted to explore how people deal with their imperfections and whether there are any positive aspects of having them.

Forming connections with others can be difficult since we all have different imperfections and perceived “good” or “bad” sides. My goal is to raise awareness of mental health, pressure, thoughts, and emotions that people endure during difficult times with my collection of work.

The artwork is a combination of various media, including woodcut, sculpture, watercolour, etching, acrylic paint, digital, mezzotint, and printing, and is aimed at teenagers in school to help them understand and empathize with people with certain difficulties.

Most of my works revolve around imperfections and the challenges of overcoming everyday life problems. Each piece has a hidden meaning, starting with “Emotions” as a link to all the other pieces.

The idea is to emphasize that emotions can be challenging to deal with and cope with. All pieces are linked to emotions in some way, with “Fragmented” being the final piece that shows how difficult emotions can affect a person’s mental and physical health. It highlights the importance of controlling our emotions and being stable, even though it is not always easy.

Throughout my IB course, I have been inspired by real-life situations, and I am interested in how we can minimize stress and help people cope with it. In addition to our imperfections, I wanted to include all the problems that our emotions can lead to and the reasons contributing to unhealthy reactions. This concept is represented in my artwork “Stereotypes,” which depicts the challenges individuals face when challenging societal norms and the pressure to conform to them.

“Everywhere” is a piece that emphasizes the depth of our emotions and the reality that we are all imperfect and capable of making mistakes. The distorted effect adds to this narrative, emphasizing the challenges and imperfections that are prevalent in today’s world.

“Blindfolded” is placed near “Everywhere” and depicts a girl’s eyes as the ever-present gaze of society, while her tears represent the emotional toll of trying to hide from the truth. Despite her attempts to shield herself, the girl is aware of the challenges she faces, as evidenced by her falling tears. The blindfold and smiling expression reflect the facade of confidence and positivity that many people put up, even as they struggle with their inner turmoil.

The acrylic works “Don’t Cry,” “Protect,” and “A Helping Hand” are grouped together to highlight the idea that we need support and cannot deal with emotions alone. This idea is also present in “Alone,” which shows the potential impact on mental health if we do not seek help. Finally, “It’s Okay Not to Be Okay” reminds us that we cannot blame ourselves for being human and having limits. This exhibition has not only helped me express my ideas visually but has also allowed me to grow as an artist.

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A HELPING HAND

I T ’S O K AY, N OT TO B E O K AY

Digita l Ar t 63.5 x 87.3 cm, Feb r u a r y 2 0 2 3

L i nocut and Bi ro 29.7 x 42 cm, Februar y 2023

I A M F I N E , O K AY ?

DON’T CRY

Digita l Anim at i o n 87.3 x 63.5 cm, M a rc h 2 0 2 3

Acr yli c 200 x 123cm, S eptember 2022

A LO N E

EVERY WHERE

M ez zo t int 1 0 x 1 0 c m, N ovem b er 2022

Watercolour Collage 29.7 x 42 cm, Februar y 2022

E M OT I O N S

BLINDFOLDED

Wo o d c ut 42 x 59.4 cm, Febr u a r y 2022

Etchi ng 29.7 x 42 cm, November 2022

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P R OT E C T Ac r y l ic 200 x 100 c m , N ovem ber 2022

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F R AG M E N T E D

S T E R E OT Y P E S

Waterco l our Co l l a ge 2 9 . 7 x 42 c m , Feb r u ar y 2023

Cerami cs 40 x 12cm and 30 x 12cm, 40 x 90cm, Februar y 2023

EVIE-LOUISE GODDINGS Art Department Intern I am an English graphic designer with a passion for illustration. I have always had a fascination with art and design, and I love being able to bring ideas to life through visual storytelling.

I have been studying graphic design for over nine years, graduating from the University of Kent with a first class honors in 2021. Here I gained skills in typography, layout, and branding. However, it is illustration that I enjoy the most. I have always loved the creativity surrounding art and have really enjoyed working at BISP this past year. Being able to share my knowledge and see the artistic growth of the students has been rewarding. It is great to see them enjoy the process of creating and exploring their ideas.

The first piece I have decided to include is a book cover design for the musical ‘Dear Evan Hansen’. A musical about social anxiety and fitting in, I have depicted the main character standing out within a crowd that ignores him.

My second piece is a hyper-realistic drawing that I created, using an ipad.

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D E A R E VA N H A N S E N Digita l Draw in g 42 x 42 c m , M ay 2022

G R AC I E Digita l Draw in g 42 x 59.4 c m , Ja n ua r y 2022

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ISABELLE STEPHENS Art/Drama Department Intern I have recently graduated from the University of Brighton with a degree in English Literature and am currently working as an Art/Drama intern at BISP. Within this exhibition, I have chosen to showcase three of my paintings, each of which serves as an ekphrastic response to Allen Ginsberg’s iconic beatnik poem, Howl 1956. The three pieces, entitled Scream 1, Scream 2, and Scream 3, seek to capture the emotional intensity and raw honesty of the first three parts of Ginsberg’s poem.

In a letter to Richard Eberhart, Ginsberg describes Howl as follows: Howl is an “affirmation” of individual experience of God, sex, drugs, absurdity etc. Part I deals sympathetically with individual cases. Part Il describes and rejects the Moloch of society which confounds and suppresses individual experience and forces the individual to consider himself mad if he does not reject his own deepest senses. Part Ill is an expression of sympathy and identification with [Carl Solomon] who is in the madhouse--saying that his madness basically is rebellion against Moloch and I am with him, and extending my hand in union. This is an affirmative act of mercy and compassion, which are the basic emotions of the poem. The criticism of society is that “Society” is merciless. The alternative is private, individual acts of mercy. The poem is one such. It is therefore clearly and consciously built on a liberation of basic human virtues.

My trilogy of paintings explore the relationship between visual and literary mediums and attempt to convey the same sense of liberation and compassion that Ginsberg’s Howl embodies - one of pain, angst and the inherent struggle of the human condition. My style draws inspiration from the work of my favourite artist, Jean-Michel Basquiat, a Neo-Expressionist artist known for his use of bold colours and aggressive, frenzied brushstrokes. My painting style combines a variety of brightly coloured mediums, including spray paint, acrylic paint, and thick oil pastels, to create a sense of disorder.

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SCREAM 1

SCREAM 2

Ac r y l ic, Oil Pa stel a n d S pray Pa int o n Ca nva s 6 0 x 6 0 c m , D ece m ber 2022

Acr yli c, O i l Pastel and Spray Pai nt on Canvas, 60 x 60cm, J anuar y 2023

SCREAM 3 Ac r y l ic, O il Pa s tel a nd S pray Pa int o n Ca nva s 6 0 x 6 0 c m , J a n ua r y 2023

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L AXSHANA PARTHIBAN I B Ye a r 1 3 V i s u a l A r t s E x h i b i t i o n As a child growing up in a traditional and conservative family, I was taught to view my religion as a responsibility rather than a personal choice. My family’s cultural beliefs were often imposed upon me without any explanation of my ethnic heritage, which left me feeling confined and disconnected from my own cultural roots. However, everything changed when I moved to Phuket from Singapore and began to explore the island’s diverse culture and religion.

It was through this experience that I began to understand how the prevalent Buddhist practices in Thailand are deeply influenced by Hinduism. As I observed the locals practicing their religion in their own distinct ways, I realised that there was so much more to my own religion than I had previously understood.

This newfound awareness prompted me to delve deeper into my own religious beliefs and explore the rich history and symbolism behind them. As I studied and reflected on my cultural heritage, I began to appreciate the unique perspective that my upbringing had provided me, and I came to see my religion as a source of strength and personal identity rather than a mere responsibility.

Overall, my move to Phuket opened up a whole new world of possibilities and allowed me to connect with my own cultural roots in a profound and meaningful way. I am grateful for the experiences that I have had and the insights that I have gained, and I look forward to continuing to explore and celebrate the rich diversity of culture and religion that surrounds us all.

My artworks are based on my personal conception of my culture. The Majority of my artworks are based on the Hindu goddess Kali derived from the Sanskrit word “Kala,” meaning time, doomsday, or black. Kali’s origins can be traced back to the deities worshipped by various regional and mountain cultures in South Asia, which were gradually assimilated into the Sanskritic traditions. Kali’s first significant appearance in Sanskrit culture can be found in the Devi Mahatmya, a text from the 6th century CE that praises the goddess. Kali is often depicted in art and stories as embodying sexuality, violence, and death, while paradoxically being associated with motherly love in some later traditions.

In my family, there is a prevalent stigma surrounding the Hindu goddess Kali. She is often seen as too angry, or fierce to be worshipped or revered, which only piqued my interest in learning more about her. I personally view Kali as a mother goddess and believe that her beauty is often misunderstood. I hope to change people’s perceptions of her and encourage them to see her in a different light. My range of works are the view of my culture and religion in a unique perspective and expression of my emotions in the view of the goddess.

Throughout my IB diploma, I have been inspired by multiple real-life experiences that influence my art pieces, at first glance my two large acrylic painting pieces are of my mother, goddess, Kali and Durga, my main two focuses. The goddess Durga In Hinduism is a prominent manifestation of the Goddess, also referred to as Devi and Shakti. Her name, derived from Sanskrit, means “the Inaccessible”. The creation of her was significant to me because she has provided me with support during challenging periods in my life, and I derive solace from her presence.

I have adorned my pieces with grand and majestic gold frames that feature intricate designs, reflecting the cultural context of my theme. The placement of my works follows the order of my emotions throughout the school year, showcasing each cultural milestone and the corresponding feelings that I have experienced. To honor the gods and goddesses in my culture, my artworks are positioned facing the northeast, which is believed to be the zone of Shiva, our greatest deity. This direction is referred to as the Ishanya Zone and is known to bring divine energy, positivity, luck, good health, peace, and a fulfilling atmosphere to the family. I have placed my artworks in this direction as a mark of respect to the deities.

The distinctive perception embodied in my artworks is intended to create symbolism that prompts questioning of cultures and situations that are often overlooked or dismissed due to their explicit context. On a global scale, my works explore themes such as feminism, cultural appropriation, and abuse, which are issues that today’s youth should be engaged in and discussing. My audience for these works is primarily the local people in Phuket, Thailand, who tend to be more conservative in their views on such topics. My art presents a challenge to the prevailing perceptions of Hinduism, and while some may view it as disrespectful or taken out of context, I believe that I have respected my cultural and religious background by offering a unique perspective.

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A R E YO U C A L M ?

நான்கு டன் காளி

Wo o dc u t 29.7 x 42 cm, N ovem b er 2 021

Etchi ng 29.7 x 42 cm, M arch 2023

A R E YO U P R O U D ?

சிவப்பு பால்

Pho to gra phy a nd Tex til es 42 x 59.4 cm, D ecem ber 2 022

Cerami cs 11 x 16 cm, Februar y 2023

நடனம்

M OT H E R I N M OT H E R

M ez zo t int 8 x 8 cm, N ovem b er 2 022

Photography 29.7 x 42 cm, M arch 2023

பெண்மை

CO N V E R S I O N A L

Cera m ic s 2 0 x 1 5 x 1 0 cm , M a rc h 2 0 2 2

R hi nestones and Acr yli c 100 x 80 cm, M arch 2023

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அம்​்மமா R h in es to n e a n d Ac r y l ic 100 x 80 c m , M a rc h 2022

என்னை மும்மடங்கு Lin o c ut 59.4 x 126 c m , D ecem ber 2022

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PATHANAT SOMBATPIYA I B Ye a r 1 3 V i s u a l A r t s E x h i b i t i o n The definition of “art” varies greatly among individuals and cultures worldwide. For instance, in Thai culture, art holds significant value as a means of religious expression. Thai art is rooted in religious beliefs and often serves to propagate religious stories and ideals, such as the Jataka tales, the history of Buddha, or Brahmanic idols. These works often embody moral values, such as dharma and goodwill, and evoke contemplation in those who experience them.

For centuries, Thai culture and tradition have been held in high esteem, expressed through a diverse range of artistic styles that vary with each historical era. As a Thai-born individual, I am inspired to create my own artwork influenced by the renowned Thai artist, Thawan Duchanee.

Thai culture has a rich heritage of art, and I am proud to contribute to its continuation.

The word art itself can have different meanings for each individual and to people from many different parts of the world. For example, the perspective of Thai people on art is unique and distinct from those of other countries. The significance of art in Thai culture stems from its religious origins and its role in conveying religious teachings and beliefs.

When people view or experience Thai art, they are able to reflect on the dharma or moral messages inherent in the work.

The majority of my collection is the art of printing on paper. My goal was to use this technique to not only accurately reproduce the lines in the original photos, but also to pay homage to the rich cultural heritage of Thailand. In traditional Thai cultural practices, creating a finished piece of work involves multiple stages, each requiring a significant investment of time and effort. This is a nod to the rich cultural traditions that are so important to my heritage. The act of printing on paper not only allows me to bring these traditions to life but also to infuse my work with a sense of authenticity and history. The final result is a collection of pieces that are not just visually cohesive but are also saturated with the essence of Thai culture and the time-honoured traditions that inform it.

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O N T H E WAY H O M E

T H E D O O R O F H E AV E N

B a l tik a nd M ixed m edia 59 x 84 cm, N ovem b er 2 022

Cerami c 19 x 17 x 8.5 cm, August 2022

SIN CITY

S T R A I G H T TO H E AV E N

Wo o dc u t 29.7 x 42 cm, M a rc h 2 0 2 2

L i nocut and Pr i nt 29.7 x 42 cm, O c tober 2022

P R OT E C T I O N

T H E G O L D E N S WA N

B a l t ik 5 9 . 4 x 8 4 .1 c m , M a rc h 2022

M ez zoti nt/ Copper Plate 14.8 x 21 cm, O c tober 2022

JOURNAL 247

GOLDEN RADIO

Etc hing 2 9 . 7 c m x 42 c m , N ovem b er 2022

Potter y and G old Leaf 30 x 15 cm, M arch 2023

J A R O F LU C K

T H E B E AU T Y O F M A D N E S S

Po tter y 20 x 15 cm, J a nu a r y 2023

Wood Cut and M i xed M ed i a 50 x 50 cm, O c tober 2022

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PRAI BUDHRAJA I B Ye a r 1 3 V i s u a l A r t s E x h i b i t i o n Emotions play a significant role in shaping our lives and the way we perceive the world around us. Whether it be happiness, sadness, anger, fear, or any other emotion, each one serves a purpose in helping us navigate through life’s challenges. However, it is not always easy to manage our emotions, especially when they are intense or overwhelming.

Nevertheless, it is crucial to remember that emotions are a normal part of being human and it is perfectly okay to experience them. In fact, it is healthy to express and release our emotions, as bottling them up can lead to negative physical and mental health consequences. Understanding and accepting our emotions can help us develop a better sense of self-awareness and emotional regulation. It can also enhance our relationships with others as we learn to communicate our feelings in a clear and constructive manner. Thus, embracing our emotions and allowing ourselves to feel them, no matter how uncomfortable they may be, is a vital aspect of personal growth and well-being.

Ever since I was young, I struggled with expressing myself and my emotions.

Growing up, I was taught to keep my negative feelings to myself and not burden others with them. However, I found solace in art, which became my outlet for expressing the emotions I found difficult to articulate. Through my art, I discovered a way to process and understand my emotions, which has helped me to accept and embrace them. The art pieces I have created for this exhibition are a reflection of the emotions I experienced throughout my two years in this course. My aim was to not only accept my own emotions but to create works that others could relate to emotionally as well. Art has the power to create powerful emotional responses and by sharing my own experiences, I hope to connect with others who may be going through similar struggles.

Many pieces in this exhibition are connected and are derived from similar themes and concepts. “Perceive Me” and “All Eyes on Me” both capture the discomfort of being watched by others. “Perceive Me” embodies the loss of control over one’s image, and “All Eyes on Me” showcases the manipulative duality of presenting a false self. The striking contrast in colour and detail between the two pieces highlights the duality of being perceived, reflecting the different facets of this theme. While “Perceive Me” has more detail and is painted in a more surrealist style, “All Eyes on Me” is less detailed and is monotone.

As a human being affected by the COVID-19 pandemic, I felt a range of emotions including fear, boredom, and isolation. These emotions were shared by others around the world and inspired me to create two pieces of art, “New Normal” and “Quarantine”, to shed light on the human experience during this unprecedented time. “New Normal” represents the fear and anxiety people felt as they struggled to adjust to a changed world, while “Quarantine” depicts the boredom and monotony of being confined to our homes. Through my art, I wanted to express these emotions and show that others were not alone in feeling this way, bringing comfort and solace to those who felt similarly.

In addition to taking inspiration from real life situations, I also took inspiration from fictional characters that I relate to in some way. The piece “Make me beautiful in your photos” is derived from Junji Ito’s “Tomie.” Specifically the chapter “Photo” where Tomie gets her picture taken without knowing that those pictures will reveal her true monstrous self. When Tomie saw the photos for the first time she expressed extreme anger as she, just like most people, doesn’t want others to see that ugly side of themselves. Another piece in the exhibition that is inspired by a different Junji Ito manga is the piece “Spiralling out of control.” This piece draws inspiration from the manga “Uzumaki,” in which the characters become hypnotised by spirals and begin to act in irrational and dangerous ways. This is similar to people with body or facial dysmorphia who become fixated on their appearance, and highlights the dangerous consequences of becoming consumed by one’s appearance and self-image.

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Q UA R A N T I N E

M A K E M E B E AU T I F U L I N YO U R P H OTO S

C l ay 2 0 . 5 x 2 0 . 5 , 1 5 x 1 5 , 1 2 .5x12.5c m , Feb r u a r y 2 0 23

O i l on Canvas 100 x 80 cm, Februar y 2022

D I S TO R T E D R E F L E C T I O N

DIVIDED SELF

M ez zo tint 8 x 8 cm, O c to b er 2 0 22

Poter y 18.5 x 11 cm, J anuar y 2023

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ANNIE

ALL EYES ON ME

NEW NORMAL

O i l o n Ca nva s 42 x 29 cm, M ay 2 0 2 2

Lin o c ut 52 x 40 c m , O c to ber 2022

D i gi tal Pai nti ng 35 x 35 cm, S eptember 2022

PERCEIVE ME

S P I R A L L I N G O U T O F CO N T R O L

Oil o n Ca nva s 1 0 0 x 1 0 0 c m , O c to ber 2021

Potter y 15 x 16 cm, D ecember 2021

THEA MAHBOOB I B Ye a r 1 3 V i s u a l A r t s E x h i b i t i o n My work is based around the theme of “Human Condition”. From emotions such as grief and love to social issues such as body image and domestic abuse, my pieces aim to indicate real life situations that my diverse range of audience are able to relate to and understand.

The variety of different media is used to represent how different people’s lives and personal experiences can be, yet going through such circumstances might bring people together, which is why the artworks are displayed all together over one area.

Starting with “nice to meet you”, my first piece revolves around the idea of deceptive people that may seem welcoming from the outside but soon enough, you are able to see their dark inside because it can never stay hidden.

Then comes the piece that is associated with my identity: “bonds”. The piece, inspired by Frida Kahlo’s “The Two Fridas”, shows the struggle of two hearts and how they try to keep up with maintaining their bonds with each other.

My “dear” series is next, which features relationships of love and the intensity of emotions. “dear brother,” is inspired by my mother’s love for her late sibling, a long lasting relationship transcending time and death, which she has kept locked up within her heart. “dear lover,” however displays the dissipating romantic love between partners over the years. The two pieces contrast each other, showing extremes of how strongly emotions are felt or how easily they may fade away. “union” is the only photography piece in my work and it is placed to show how the real-time emotions of happiness, love and joy are felt and expressed by people at significant moments of life. It aims to capture a journey through an image and takes the audience along the journey, helping them envision the beginnings of a new relationship. “in your hold” however, fools the audience at first glance, concealing its real meaning - domestic abuse. It is a common societal issue in my country and through making this piece, I want to reflect how easily it is disguised by abusers, expressing it as “love” in their relationships - which is why it is even more important for us to support the victims, showing them that they are not alone and helping them step out of these toxic relationships.

Towards the end of my collection, I have placed my series of artworks regarding body image issues. “all taped up” is an ode to how plus size girls often feel they take up too much space. It shows what would happen if those girls gave into their intrusive thoughts, but an easy fix like taping up your body doesn’t solve your problems or make your insecurities go away. “before and after ‘’ is where I become vulnerable through my art. It shows two versions of me - one from before and one after suffering from an eating disorder.

Through it, it also shows how whole - or broken I felt in each of the respective states of my body. I made this piece in hopes of showing others like me who are struggling with similar issues that they are not alone and their struggles with their body, like mine, are valid.

My next piece is an interactive installation piece. “the me i want” urges the audience to see the effects of trying to restrict your body to be your perfect self - and how that is not ideal. So, the audience is instructed to take a look at themselves in the mirror behind the sculpture and use it to make the perfect body they want for themselves, in the hopes that they realise that their perfect self is simply the very version of them that exists in front of them.

The display ends with “look at her now” and being the last piece, it shows the after effects of what happens when someone changes their body to fit others expectations - they get everyone’s praises and pretty words - but at what cost?

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N I C E TO M E E T YO U

I N YO U R H O L D

C l ay 2 8 x 2 4 x 22c m , D ecem b er 2021

Pr i ntmak i ng ( Wood cut) 29.7 x 42 cm, Februar y 2022

D E A R B R OT H E R

LO O K AT H E R N O W

Co l l a g e, Fo u nd Vinta ge I m a ges 1 1 x 1 9 .7 c m , Au g u st 2022

Cerami c 45 x 60 x 10 cm, J anuar y 2023

UNION

T H E M E I WA N T

Pho to graphy 42 x 59.4 cm, N ovem b er 2018

Concrete, Corset/Clothi ng, M i r ror, M od elli ng Clay 45 x 30 x 30 cm, August 2022

BEFORE AND AFTER

D E A R LO V E R

Cera m ic 13 x 5 x 2 cm, J a nu a r y 2022

Co llage, Found Vi ntage I mages 21 x 29.7 cm, 21 x 21 cm, 21 x 29.7 cm, J anuar y 2023

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A L L TA P E D U P Pr intm a k in g (Pen Etc h in g o n Pl a sti c) 21 x 29.7 c m , 21 x 29.7 c m , 21 x 21 cm, O c to ber 2022

BONDS Pa intin g a n d Th rea d 42 x 59.4 c m , Ja n ua r y 2023

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VIHANA SHRESTA I B Ye a r 1 3 V i s u a l A r t s E x h i b i t i o n In recent years, social media has played a significant role in spreading awareness about mental health issues. It has provided a platform for people to share their experiences, connect with others who are going through similar struggles, and access resources for support. Social media can also contribute to the pressure people feel to present themselves in a certain way to society and the public. Social media platforms are often used to showcase the best version of oneself, highlighting accomplishments and positive experiences while hiding any negative emotions or struggles. This pressure can lead to feelings of inadequacy and anxiety, especially for young people who are still trying to figure out who they are and where they fit in.

Underneath the carefully curated images and positive posts, many people are struggling with difficult emotions and thoughts that they keep hidden from the public eye. They may feel isolated and alone, believing that they are the only ones going through these struggles. Social media can exacerbate these feelings by creating an unrealistic expectation of what life should look like, leading people to compare themselves to others and feel like they are falling short. All my work is inspired by this idea, being a teenager we sometimes feel left out and hide our true selves and portray ourselves as different people on the outside.

My work ‘Mittsu no kao’ is called 3 faces in Japanese. It portrays how one can be viewed in different ways which is shown through the angles.

‘Internal perception’ shows how fragile one’s feelings can be which is shown through the crumpling of the paper. ‘Space in between’ and ‘Hollowing’ portrays how one’s true self is being lost shown through the gaps in the artwork. ‘Reciprocation’ shows different facial expressions of one who is trying to portray themselves in a different way and truly themselves. ‘Bareface’ portrays one’s mental state in an unfamiliar environment.

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R E C I P R O C AT I O N

INTERNAL PERCEPTION

Pho to gra ph Co l l a ge 42 x 59.4 cm, J a nu a r y 2 0 23

Etchi ng 21 x 29.7 cm, August 2022

H O L LO W I N G

S PAC E I N - B E T W E E N

Etc hing 42 x 59.4 cm, S ep tem b er 2 022

D i gi tal Ar t wor k 29.7 x 42 cm, S eptember 2022

MITTSU NO KA

B A R E FAC E

Waterco l o u r a nd Etc h in g 2 9 . 7 x 4 2 c m, M ay 2 0 2 2

Acr yli c 100 x 100 cm, J anuar y 2023

WORN OUT Ac r y l ic a nd O il Pa int 90 x 90 cm, Febr u a r y 2 0 23

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YUTA KITAKADO I B Ye a r 1 3 V i s u a l A r t s E x h i b i t i o n Conflicts are a serious problem all over the world in this age. When the Ukraine war started, the feeling grew stronger. ​​These had a strong impact on me. I have always had an interest in world affairs and would regularly check news websites. These experiences were enough to focus my ideas when I started Art. I wanted to convey the horrors of war by using ‘Conflict’ as my theme.

The artist who has influenced me the most is Käthe Kollwitz. Her work mainly relates to war, so it was in line with my theme. I was intrigued by the techniques she used and her influence on history. She used a technique called woodcutting extensively. The technique was excellent for creating a tragic effect because the only colours used were black and white. I have created several pieces using this technique of hers.

She was a woman who lived through the period from the First World War to the Second World War. However, her work that I have referred to was mainly related to the First World War. This is because she lost her son in the First World War. I want to exhibit my work in a way that conveys not only the horrors of war, but also the stories created by that war. I would like to display my work, for example the ‘Map of Ukraine’, in the corridor. There are many people in this school who are connected to the war in Ukraine, so I hope that by displaying this work, they will become a little more aware of this. I think that by making the recent war into a work of art, it creates an effect that is easier for the audience to visualise in their minds.

There is a different story behind all my work. Instead of asserting this storyline directly, I give the audience room to think by displaying parts of it. These stories are consistently about war, and I think the message I can give to the audience is different because of the tragic war that is now unfolding in Ukraine. I believe that it is not enough to simply shout against war to enable humanity to live in peace. However, we believe that by building up from small, steady efforts, we will one day see the fruits of our labour.

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TERROR

G R AV E

Wo o d c u t 2 1 x 2 9 . 7 c m, Febr u a r y 2 0 22

Wood cut 42 x 59.4cm, O c tober 2021

MOONLIGHT

GRENADE

Cera m ic a nd G l a ze 21 x 19 cm, D ecem ber 2 021

Cerami c and Glaze 19 x 9 cm, Februar y 2023

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MAP OF UKRAINE

R E V O LU T I O N

Cera m ic a nd G l a ze 10 x 19 cm, Febr u a r y 2 0 23

L i nocut 42 x 59.4cm, November 2022

T H E P R I C E O F WA R

ON THE EDGE

Etc hing 42 x 59.4cm, Au g u st 2 0 2 2

D i gi tal Wor k 42 x 59.4cm, M arch 2022

KITIPONG NGOWSIRI Special Guest Artist I was born and raised in Bangkok and holds an MFA in Printmaking from Silpakorn University, received a scholarship to study at Tama Art University Japan. Since Graduating BFA in Printmaking From Chiang Mai University, and has been making and living in Phuket Art Village the Name is The love Art Studio are predominantly Thai and regularly come together for exhibition , printmaking workshops and music events.

The love Art Studio, as it is hand-built constructed from colourful recycled wood sourced from broken boats. The wood was collected over a period of three years and the eye-catching structure continues to evolve. ’Although the timber has changed from a ship in to a home studio, the soul of the ship remains. It has just changed from one state to another. I see beauty in the scars that remain from the wreck,which has come from the vast ocean and has gone through the weathering of time. The Love Art Studio is like bringing together a jigsaw puzzle using own techniques, a work of art in itself that humans can use on a daily basis ‘ My work tells the story of the events shaping our sensory experience and the importance of time,’ I urge the viewer to think and feel the shapes of the composition,as well as focus on the beauty of imperfection. recognize the value of life and think that are makes us more human’ A Matter of Waiting Time No.1 and No.2 is a representation of past imagery created from life’s stories. Which those feelings were conveyed as a picture of my beloved bicycle It was a vehicle that I used as a childhood to reflect emotions and feelings. Combined with the story The origin of each bike Trace of being used Abandonment That has passed its own precious time The nature of the placement of objects in the image. Represents the dark parts that are lost in the shadows And the bright part is caused by the light shining on the object Those shadows reflect the moments of hope and happiness.

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A M AT T E R O F WA I T I N G T I M E N O, 1

A M AT T E R O F WA I T I N G T I M E N O, 2

M ez zo tint 52 x 78 cm

M ez zoti nt 35 x 40 cm

SOM SOM

T H E TOY

M ez zo tint 10 x 10 cm

M ez zoti nt 5 x 5 cm

M I N D C AT M ez zo tint 10 x 10 cm

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