Josefine K Process Portfolio July 2020

Textures are involved throughout this collage. This was done by allowing the glue to ‘roughen’ the surface of the paper, and by scrunching up the paper placed down.

Untitled; Kurt Schwitters; 1937-8

Centre of piece is more dense through the technique of overlapping.

Involvement of media; e.g. newspaper extracts.

Experimenting with First design collage, I found that the manipulation of paper was a fun and interesting way to create art that was inclusive to all styles. I felt that collage didn’t have a specific style to it, allowing me to let my creativity take full command of what I created. This freedom had an impact on me, and thus the technique of collage evolves within my portfolio.

Growth and evolution; of processes

Ripped up pieces of paper that have been glued down towards the centre, create a 3D feel to the piece through the translucent like layers which they create.

Neutral tones.

Splash of colour.

Freckled decomposition Fade/blend of paper.

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1. Wax print Here I engraved into the wax lines and shapes, using my previous collage as inspiration. Then, using a paintbrush, I covered the sheet with ink. I then dabbed away excess ink using a paper towel. What I like about this piece is the effect of the strong, more dense engravings, where the ink shows up the most. I think I should have dabbed away the ink in a smoother fashion to reduce the blotchiness of the outcome.

2. Ink drawing This piece was made by using a selection of thick and thin tipped ink pens. Where I wanted to emphasise darker regions, I used the thicker pens. Where I wanted to include finer detail, I used the thinner pens. This means that the result is composed of contrasting juxtapositions in both colour, as well as in the intensity of the mark making. I quite like the effect of having cross hatched the ‘purple paper,’ (from the original collage,) because it makes the shape stand out as a darker tone, just like the purple does amongst a generally neutral colour palette. I think that had I spent more time taking care not to rush some of the shapes’ outlines, it would have created a more definite piece.

3. Second ink drawing Here I attempted to combine ideas stemming from Cubism, with features of Pointillism. Using my collage as a source of inspiration for the body of the image, I created a rough outline on my piece of paper. I again used a selection of thin and thick tipped pens, to create a contrasting effect. Here, I must admit, I didn’t stick to the initial intentions of the piece in the making. I tried to use the techniques of Pointillism going from a darker and denser gradient of individual dots and, when wishing to represent lighter regions, moving to a lighter gradient. (Spacing out the dots.) Even though I do this, I turned to a more linear approach towards the end of the creation of this piece. I think it would have looked better as a whole, had I used a ruler to create the lines of the diamond shaped cross hatching. This would have created a stronger structure to the outcome of the sketch. Furthermore, I wish I had used the finer pens in a more generous fashion.

There is, as a result, a lack of detail to the image.

Theme of contrast; inspiration: Guernica, Pablo Picasso Within all my inverted photocopies/negatives, there is a running theme of contrast and angular use of line Thread that can be seen throughout each outcome created. This technique is commonly used within more modern works of art. An example of such an artist who mastered this technique was Pablo Picasso.

Netting Picasso manipulated and experimented with both colour and shape to bring the effect of contrast into life. He painted his most famous piece in black and white. Guernica denounces a bloody attack without Calico ever using the red of blood. This masterpiece, made in protest of the Spanish civil war, is a monochrome work of blacks, whites and shades of grey. Why did Picasso paint it like this? Guernica is in black and white because Picasso wants to represent more than just a work of art. He wants the onlooker to think about the meaning behind his work and let this guide his/her opinion of the piece as a whole. A picture in Photocopies/ scans of wax prints and ink sketches.

Pen Plastic colours, is to be looked at. Picasso, with Guernica, does not want us to passively look, but to take us into The evolution of an idea – (see previous slide as well) Fibers the reality of the horrors of WW2. Had he used colour, the image may have become less the meaning, All these pieces were developed from my original collage piece. than an aesthetic creation. Picasso helped develop the meaning of art into something that not only stands for the creation of a visual aesthetic but allows for the interpretation or the imagination to be allowed the Shapes; patterns; colours and even textures that can be identified freedom of exploration. This technique of stripping realism and color to the bare minimum, so that the in the original collage are reflected in the pieces that I made after.

Wool room to interpret is as great as possible, is what I find to be very effective in the creation of art works. As Take the wax print; to reflect the stark contrast of the white, seen in my minimalistic collage works and digital copies, I have attempted some of Picasso’s techniques triangular paper piece (in the centre of my collage,) I applied a lot The evolution of an idea into textile work. within my own art. The copy which I find to be the most successful, is the negative of the original. It is of pressure onto my wax engraving tool. This meant that when I Body of this piece was inspired by my first both the most visually inviting, as well as the most open piece for an onlooker’s perception to have scope later added the ink to the wax sheet, the deeper engravings collage; theme of evolution of an idea/process. for freedom. This is because, similar to Picasso’s Guernica, it is constructed by simplified structures, allowed for more ink to remain there and thus created more of a The focus is concentrated towards the centre of allowing the contrast in colour and composition to, instead of depict, invite an exploration of the artist's the collage- a reflection of growth inwardly. contrast to the shape and its surroundings. presentation.

Inverted photocopy; wax print

The choice of colour for this inverted photocopy was a mistake. Because white and orange are both lighter colours, they don’t pair well for strong contrast. The original white engravings in the wax have almost entirely been washed out by the pale orange.

Inverted photocopy; Negative Photocopy; original original

Negative photocopy; wax print

Growth and evolution

Warfare - chemicals Religion

Purposes – Greta Thunberg

Race heritage – discrimination; education; music; dance

The world

Family

DNA

Communication

Death

Consumerism – money; stock; inflation; fashion trends

Decomposing

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Birth

Human evolution Plastic surgery/ body modification

3. This image, paired with its partner (1,) shows the development of a person through age. Here, a young and proud looking girl radiates an aura of determination and confidence.

Phones and gadgets

Sciences

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Natural selection

Growth and evolution

Love

Hair and nails

Technology

Artificial

Migration/immigration Bacteria and disease

Internet

2. This image relates clearly to the theme of growth and evolution. The eye itself never grows throughout the lifetime of a human. What surrounds the eye though: hair and skin, changes with age. Hair becomes grey and often loses its healthy shine; the skin, on the other hand, becomes carved by creases and folds. Mark making has been used to convey these textures.

Medicines – microscopes etc.

Transport

TV and media

Development levels

Politics

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Social media

Traditions

Mutants

Bacteria and disease GMO’S

Plants and animals

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Puberty

Relationships

Miscarriage Humans Ageing process abortions 1) This image is a reflection of growth and evolution in several different ways. The idea of 2) An image of an apple. From seed shelter - somewhere to hide away from nature’s to plant, tree to fruit, the apple is an behaviour, has evolved to a great extent, over a exemplary image and symbol of long period of time. However, the concept of a change in growth. home as a place of protection through shelter Also, the apple is an important object to the world of science... had the has remained vital to human society. Looking apple tree not released an apple in back to the time of cavemen, people used front of Newton’s eyes, then the nature’s works for shelter from bad weather, predators and more. Nature was being used by concept of gravity may never have man to be protected from nature itself. Here we been discovered… the world of see manmade objects being used for protection, science may never have been able to showing the evolution of man’s relationship with have evolved as it has done today. nature. The umbrella is another symbol of the To get the desired 3D effect that an distancing of man from nature. I used a range of apple has in its natural curvature, I different media and drawing styles to create this used cross hatching of (curved) lines. piece: collage; stippling and pen illustration. I did This makes the illustration seem this to convey the range of materials that we use more realistic: the flexibility in the today to build our homes. I think this creative cross-hatching technique to add or approach is effective – it reflects the range of reduce depth creates a desired circular motion. materials shown.

All images shown are my own drawings

1. Here, the same character is shown as the one illustrated to the right. However, this depiction suggests a far more experienced and knowledgeable woman compared to the young girl that she once was. I think that my two images together show both a physical, as well an emotional progression, relating to the the idea of growth and evolution.

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Evolution of the fluctuation of honesty and openness of human society to their peers.

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4. This sketch portrays a man that is, to a large extent, disguised by an anorak and hat. This image contrasts with image 2. (In 2) the person seems aware of his surroundings, with a focus on the eye being wide open. Image 4 shows a man whose eyes are concealed, reflecting a sense of unawareness.

The two pieces together represent the contrast between the honest and the submissive. The use of thick strokes used in 4, enhances the representation of the ‘submissive’ through its lack of detail. The openness of of the eye depicted in image 2 is suggestive of honesty Wabi-Sabi: I would like to stress that all these images were done as quick-sketches and thus all reflect the theme of beauty in imperfection, a theme which will often appear within my artwork.

The evolution of art;

Growth and evolution

”Cezanne was my one and only master… He was a father of us all.” - Pablo Picasso Here I wanted to use the same

The birth of Cubism

Cubism was Paul Cezanne’s solution to move from a time of dissatisfaction in art. It was one of the first bold moves into an era which we now classify, in terms of art, as modern art. It was Paris where Cubism originated from. This new movement led to much more radical departures from the Western traditions of painting… yet it did not set out to abolish representation, only to reform it. In one of Cezanne’s letters to a young painter in learning, Cezanne had advised him to look at nature in terms of spheres, cones and cylinders. He presumably meant that he should keep these basic solid shapes in mind when organising his pictures. However, Pablo Picasso, after having discovered Cezanne through an exhibition in the dedication of his work after his death (1906,) decided to take his advice literally. And so, Picasso and his friends followed Cezanne’s example, and chose to build up their works as solidly as they could. Instead of copying, like the classical Renaissance style does, they wanted to construct. By the term construct, I mean that when an object came to Picasso or Paul Klee’s mind, only certain aspects of the object appeared clear and in focus. The rest of the object would seem insignificant, and it is exactly this thought process which allowed for Cubism to blossom into the quirky, and yet somehow, fascinating art style which it is known for today.

Picasso; Violin and Grapes

conceptual techniques that Cubist artists use in paintings, but in the form of a photomontage. I used several secondary sourced portraits. I used one of these as a base for me to work on. With the other images, I cut interesting features into triangular shapes. I then experimented with the positioning of of the different pieces, and stuck them down.

This original collage is by Pablo Picasso. What drew me to this painting was the way that the artist used line and colour to focus the viewer's attention towards the center of the portrait.

Within my interpretation of ‘Harlequin,’ I also focused movement inwards, towards the center of my piece. The density in detailing is therefore greater in relation to the facial characteristics, compared to the framing of her face. By using bright colours, separated by harsh, bold lines, I also achieved a collage feel to the construction of my illustration. This is effective in reflecting a sense of jigsaw continuity that, however, does not break an overall fluid motion within the result. On the contrary, it reflects the idea of belongingness to the inner and outer beauty that Picasso’s model radiates.

My interpretation of Cubism

The evolution of an interpretation

The move to analytical Cubism The main principles of analytical Cubism (1908-12) – This type of art is characterised by a fragmentary appearance of multiple viewpoints and overlapping planes. The use of a simplified palette of colours prohibits the viewer from becoming distracted from the structure of the form. Also, the image tends to move outwards (from the center) in its density. I.e. the center of the image is the focal point for an onlooker, as here is where the Cubist artist has concentrated most of his work.

Pablo Picasso; Violin and Grapes – analysis How did Picasso construct his idea of a violin? Picasso’s imagination portrays a very different version of the instrument than his eyes would have seen. Some features of the violin apparently seem to have had a greater impression on him than others, which seem somehow blurred out when looking at the image. Those features that stand out within his pattern of shapes could be seen as the ‘most important’ characteristics that define the violin. By only showing these few aspects that form this medley of an image, Picasso has somehow represented more of the ‘real’ violin than any single snapshot or meticulous painting could ever attempt to.

The scroll and one peg are seen from the side, as we imagine when we think of a violin. The sound-holes, on the other hand, are seen from a frontal perspective – they would not be visible from the sides. The curve of the rim is greatly exaggerated, as we are apt to over-estimate the steepness of such curves when thinking of the feeling it gives us to run our hand along the sides of such an instrument. The bow and the strings float somewhere in space; the strings even occur twice, once related to the front view, once towards the volute.

Despite this apparent fumble of disconnected forms, the picture does not look messy; it is well structured. The reason why, is because the artist constructed his picture out of more or less uniform parts, so that as a whole, the painting presents an appearance of consistency and rhythm comparable to other works of primitive art.

The only drawback to this method of building up the image of an object is that it can only be done with familiar forms, so that someone is able to interpret the object correctly. Hence why Cubist painters usually choose familiar motifs, such as the violin, where we can easily pick our way through the paintings and understand the relationships of the various shapes used.

Harlequin, 1918 Pablo Picasso

Glass inclusions Friends of the Earth – Dan Bowran The colors are of a cool and warm color palette, creating visual contrast.

The evolution of glass before and after the process of firing.

You can still make out the textures of the materials used Layering of glass allows for air to get trapped inside the glass.

Repeating circles of bubbles creates patterns.

Used clear glass, so that inclusions were made as visible as visible as possible.

Growth and evolution

What has inspired me from looking and researching the work of Here I experimented with Dan Bowran is the experimental way that he has approached Safety – When cutting glass, wear goggles; put a cloth many of his pieces. When creating my glass inclusions, I allowed down on work-surface so you can obtain any splinters/left making glass. I created a the fusion of the two glass pieces to control the arrangement collection of glass over glass pieces. inclusions. Process; with and construction of my work. When adding my materials Process – When cutting glass, 1. score with confidence inclusions, I was essentially between the inclusions, I tried to limit my research into their from the top to the bottom; 2. always use the Morton ‘trapping things inside of colour outcome. This meant that after the heating process, safety break when breaking glass; 3. use a good quality glass.’ Here, I took 2 sheets some materials, such as the leaves, disintegrated into nothing. cutter. of Float-glass. I arranged So the final result of some of my inclusions seem to lack spacial Note – When firing inclusions, things often come out very occupation, as a result of this experimental approach to my differently to how you expect them to. Bubbles and cracks various objects and can appear. It is wise to go in with a flexible approach and materials onto the slide of technique. Bowran specifically writes that he “ventured into embrace the risk for something turning out differently to one sheet of Float-glass. materials that are not traditionally compatible with glass.” I also the way which you may have expected it to. chose to broaden the selection of materials that I used within Once happy with my Fusion – There are two types of glass which we were given arrangements, I placed the my inclusions, other than glass itself. For example, I used a the option of using in class. For glass to fuse successfully, it second sheet of Float-glass recycled beer bottle lid, natural materials, (such as leaves,) and must have the same ‘co-efficient of expansion’- (COE.) coloured wire. Bowran stuck to the experimentation of on top. After this, my when fusing glass, as long as you know you are fusing two creations were ready to be unnatural minerals. I, on the other hand, experimented with layers from the same sheet, you know it will have the same everyday materials, that can be found easily. fired.

COE.

The process of glassmaking…

With all the glass works, the firing process has had a massive impact on how the end results turned out. For instance, colour is significantly subdued, making the once bright objects become dark and almost appear aged in appearance. Where I included natural objects within my inclusions, they have disappeared, presumably turning into ash/disintegrating into nothing.

Furthermore, the positioning of each of the objects is not constant; by this I mean that the firing process has altered where I originally arranged the objects.

All in all, I see the process of firing as something which has allowed for the natural (uncontrolled) evolution in the appearnce of the glass pieces.

1. Mesh material 2. Cut out screen 3. Feather 4. My hand

Here, I went over the slide with marker.

I took several portraits of my friend.

Since I only had a short time span in which I could take them, I took as many as I could with a wide range of approaches(in angle and perspective.)

This is my favourite slide. It reminds me of the work of my favourite (Cubist) artist, Picasso, due to its vibrant colours and geometric shapes. There are clear geometric shapes identifiable; the colour I dislike this projection, due to its lack in colour. I find the vibrant hue projections far more attractive, as they immediately catch my attention (like poster art.)

Growth and evolution This shows how I created several of my projections. I layered contrasting materials, finding mixing 3D shapes with 2D materials achieved an interesting aesthetic projected from the OHP.

(obtained from my coloured glass work,) draws the eye’s attention; the contrast created by my black pen, and complementaries blue/orange, make it bold and striking.

This is a projection of a slide I created, on its own. The top edge I created by cutting away the edge from an old film roll and sticking it on top of my green slide. Using permanent marker, I then created a gradient of dots from dark to light- this was inspired from the art style of pointillism.

Taken at a low angle – makes her adopt a powerful stance

Slide Film-

evolution of design(s) I held the orange filter folded up to create a shape that engaged uniquely with colour.

This image is cropped to reduce the occupation of the shadow that my hand created.

1. Green filter 2. Cut out screen 3. Mesh material 4. X2 Glass inclusion works Didn’t crop; I like how the mesh material moves from white to green, creating contrast Since this image was taken in a dark room for effective projection, the outer frame kept its Most of the objects used in the projections rectangular were white or painted white so that all colours shape. projected could be reflected.

The shadow that is created by the bottle creates an interesting juxtaposition of lighting and gives the image depth.

1. Here I captured a portrait of my brother. To achieve the soft lighting effect which bathes the lower half of his face, I placed a candle under his chin. By then switching off all the lights in the room and taking this picture in the evening, my camera only picked up the features of his face lit up by the candlelight. It means that there are only very few contrasts within the image and the red dye of the candle is reflected from his face as well. I also cropped the image afterwards to make my brother the focal point of the of the frame.

2. In this image, I wanted to portray the evolution of media. From newspaper, to camera, to being able to share news/images etc. Although this image consists only of black and white tones, it may have been more effective to have edited the image with a monochrome filter to further enhance the contrasts that make up the photo, reflecting more of a progression between the three objects. I arranged the objects so that the camera is in the background. The newspaper is in the foreground, with the camera lens pointing towards the newspaper. By positioning the camera so that the lens directs the viewer's eye towards the paper, I allow for movement within the image. This movement can be interpreted as a hierarchy of influence, with the newspaper, in my opinion, having allowed for the most progression and evolution of media. The format is, afterall, still being widely being used today.

3. This is an image I took of a flower from a bush in my garden. I took this image at around six o’clock in the evening. For this reason, I used a flash enhance the pigments in the photo. As a result, I got a highly pigmented image, where the primary colour blue highlights the pin and green of the flower. Unlike the portrait I took of my brother, this photograph shows stark contrast between the shapes and colours that compose it. The theme of growth and evolution is reflected simply through the contents of the image: the growth and development of a flower into blossom.

Here the source of light is DSC_7731.JPG 16.1 MP; 4928 × 3264 866.7 KB NIKON CORPORATION NIKON D7000 ƒ/51/6052 mm ISO800

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By taking the photo from an upwards angle, a stronger and more effective focus is created.

None of the plants’ other blossoms and greenery can be seen, making the contrast and thus the focus of the flower shown stronger.

Effective use of flash to enhance the pigments in the image DSCF3165.JPG 13 MP; 4416 × 2944 411.1 KB FUJIFILM X-T3 ƒ/2.81/85134.

4 mm ISO400

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5. Here, the focus is on the centre of the flower. By zooming in with with my lens, I managed to pick up a greater degree of detail in the flower’s structure, causing the leaves and the greenery in the background to go hazy.

the focal point of the image, as it is inclusive of the image outcome and the camera picks up the bright light that contrasts to the dark surroundings. Thus the subject in the background becomes out of focus and hazy. In the second image down, you can see how I began to experiment with differnt angles to achieve a more desirable effect with the lighting.

P H O T O G1 R A P H 4 Y

Growth and evolution By using only the lighting of the candle, I effectively managed to center the focus onto my subject’s face. His hair blends in with the background, framing his face.

6. Here I used the rule of three to focus the viewer onto the centre right of the frame. I did so as I wanted to pick up on the detail of the flower itself and to capture the golden light that it reflected from the sun.

The soft lighting enhances my brother’s youth, by cancelling out his facial contrasts.

Movement

Effective use of composition to represent meaning through movement

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When I am taking photos of human subjects, I often ask them to look directly into the camera, as if the lens were not a lens at all, but my eyes instead. This illusion of holding eye contact with me, makes my brother’s appearance seem more natural, rather than posed. Furthermore, it also makes the image more inclusive towards the observer; to every person that looks at the image, there is the illusion that my brother is holding eye contact with him/her.

DSCF2722.JPG 13 MP; 2944 × 4416 166.9 KB Direct eye contact FUJIFILM X-T3 with the camera ƒ/41/3055 mm lens; involvement of the subject with the ISO500 viewer

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Source of light = ceiling light

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I centralized the focus of the subject when I took the shot Used flash to enhance the focus of the subject and to create a contrast with the background

Contrast

4. I took this image ‘in the moment,’ which I feel helps me capture the mood of the atmosphere which I was in.

Because the image was taken quickly, with little thought, the image seems more natural. The dim lighting in the background puts my subject’s face in stark contrast to his surroundings. It gives the image a retro vibe. This image relates to Growth and evolution only from my own personal perspective. The subject in the photograph is my cousin and by growing up with him, I have, as he has me, seen him grow up and evolve to be the person he is and looks like today. Although the photograph itself doesn’t reflect necessarily reflect this, from my point of view it does, it having been his 21st birthday when I took the image.

Effective use of a wide angled lens to include the background, evoking an informal atmosphere to the overall photograph

These are my ideas and thoughts about my final art pieces. I have included a selection of artists that inspire me and influence my what my style of art is like. I have also noted down several (famous) photographs which I am particularly drawn to, as my preferred media is digital.

Photography is my preferred artistic media. Unlike with a paintbrush, when a camera is in my hands, I don’t feel limited by instinctive internal boundaries based on my artistic confidence. To me the camera represents an object of sentimentality, through its ability to capture moments and create memories. It also, in my opinion, is a tool for creativity.

From what I know, photography has struggled to face acceptance as a form of art for many years.

According to the guardian.com ‘at an early meeting of the Photographic Society of London, established in 1853, one of the members complained that the new technique was “too literal to compete with works of art” because it was unable to “elevate the imagination.” This idea has gradually seen a narrowing in popularity, as photography has become a more and more accepted form of art. Some, however, remain true to such former generalizations. Be it the credibility of a painter’s hand compared to the technicality of the camera, or the contrast in the time spent to achieve the desired outcome between a photographer and a painter, it is easy to see where their reasoning lies. However, for those whom photography is a way of expressing, rather than simply documenting, these opinions are hard to accept. This is because photographers who declare themselves as artists know that “the instrument is not the camera, but the photographer” him/herself; (quote by Eve Arnold.) By this, Arnold is highlighting that from the very angle that the image is taken, to the contents/subjects shown, the photographer must acknowledge and determine how such factors are played out in the outcome of the photograph. This requires just as much imagination as any other artist, if not more. To make a photograph stand out amongst others, the creativity, rather than the technicality, is vital for a a credible execution.

The usual eye contact between the actress and the camera has been replaced by Arnold for a hesitant looking and presumably There is a clear focus on the The shadow of the anxious expression, with Monroe holding eye contact with the actress, with Arnold capturing her ground instead. This subtle yet deciding factor of the overall equipment cleverly passes through Marylin to be in the centre of the frame; outcome of the image, enforces that Arnold wants to show Monroe’s body, which the centre focal point.

Monroe in the most raw and natural light possible. could be a reflection of The hands, apart from the the darker sides and the eyes, tells the most about behind the scenes of the what Monroe is feeling.

Image inspired by Arnold, taken by me film industry and its Arnold has, by including In this well-known picture, actress Marilyn Monroe is effect on Monroe. these details, essentially memorizing her lines on the set of the film The Misfits. revealed more to us about Monroe apparently found it very difficult to memorise By including the film Monroe than any magazine her lines and felt insecure about this. Because of the equipment, (presumably a shoot of her could ever have close bond Arnold gained from working with Marilyn microphone,) Arnold makes accomplished to. over several years, she was able to capture the fragility it clear what is intimidating and vulnerability behind her usually confident, and Arnold has used the rule of the actress, as well as instantly recognizable exterior. three to both focalise making what would have Arnold describes this fragility in her book, In Retrospect: Monroe as the subject, as been a surreal landscape, “My most poignant memory of Marilyn is of how well as enhance the understandable. In effect, distressed, troubled and still radiant she looked when I contrast between she normalises the situation arrived in Nevada to work on The Misfits.” Having read Monroe’s vulnerable state captured and make the the book, I was impressed at how earnestly Arnold took of mind and the vastness image seem natural, rather her relationship not just with Monroe, but with all the and the power of nature than staged. subjects she took photos of. that stands behind her.

"If a photographer cares about the people before the lens and is compassionate, much is given.”

- Eve Arnold I found out about Eve Arnold through a website: https://www.magnumphotos.com/photographer/eve-arnold/. Her ability to capture people in a way that appears both natural and candid, drew me to her work. The quote above I subconsciously found to be apparent in her work, without having read about her intentions beforehand. This acknowledgement of a relationship between the subject and the photographer was something that I was beginning to understand as a photographer in practice.

Her emphasis on it in her works and its effect became a focus for my first piece of art; ’The Growth and Evolution of Brotherhood.’

The growth and evolution of brotherhood

Growth and evolution

My intention/meaning behind my work This is a photograph of my two younger cousins. They are brothers. The younger of the two is the boy in the foreground of the image. His brother can just be seen peering at him from the left, background of the image.

This photograph reflects the relationship, as brothers, between the two boys.

Background image Selected invert to clear outside region of selection

Original image

Selected outside of portrait

Painted missing section in, (black), as when I copied and pasted this layer onto the background image the layers merged and there was no distinction between background and subject.

Smudged around outer edges of portrait

I decided to use photoshop to create this image. I did so, because I wanted to reflect how, for the older brother, his change/adaptions to the way he must now treat his younger brother feels forced onto him. The suddenness to the way his protective former instincts are being shut down, is hard for him to handle- (the relationship between the two of them being incredibly strong.) instead of just taking the image on its own, I chose to use photoshop to manipulate the structure and composition of features within the photo, linking to the idea of the manipulation of the older brother’s instincts. The hand holding the glass can be interpreted from two perspectives. Depending on what stands out most to the viewer, the hand could be the hand of the younger brother, pushing the glass against his own ear. The hand could also be seen as the the hand of the older of the two, carefully aiming the glass to cup directly around his brother’s ear. If one sees the image from the former perspective, the image reflects the idea of the younger beginning to steer away from family influence, the cup muting him to his surrounding family- (the older of the two here representing family as a whole.) If one sees it from the second perspective, the image reflects the idea of the older brother being forced to his protective brotherly instincts, allowing his brother to mature independently. His appearance in the background thus shows how he has not fully grown accustom to how quickly his younger brother has become independent of both himself and other family members. The older of the two has been edited to appear blurry. This was done to show how the younger brother is beginning to detach himself from his older brother. It was important, however, for me to include the appearance of the older brother within the image and not to fully ’blur him out.’ in doing so, I suggest that the relationship between the two brothers will forever remain, but that the strength of it will never compare to how it was throughout their youth. The permanence to their bond is depicted through the (grainy) black and white filter that I used. The filter conveys a classic style of photography, and thus a degree of timelessness through style; a reflection of the bond in brotherhood. In my opinion all my editing helps to achieve a reflection of the relationship between brothers, (and siblings in general,) and how individually they grow apart to a certain extent within the evolution of a lifetime.

The evolution of science and the moral dilemma Our art class visited the Wellcome Genome Campus to get a more scientific perspective on the theme of Growth and Evolution. There we learned about how the scientists at the site were researching to find out more about the human genome, (and the genomes of other species,) in the hope to make universal progress on diseases, such as malaria. A genome is an organism’s completes set of DNA, including all of its genes. Each genome contains all of the information needed to build and maintain that organism. In humans, a copy of the entire genome- more than 3 billion DNA base pairs- is contained in all cells that have a nucleus. In order to display and compose these genomes, with the vast amount of information that they hold, scientists have to use special computers (costing up to a million pounds.) these we were able to see during our visit. With the present state of our planet – over 7.53 billion in population size and a growing problem of climate change, affecting the spread of several fatal diseases – it is vital that such scientific research can be carried out. Otherwise our humans will not be able to continue to grow and evolve on a global scale. There are of course issues which prohibit this research, including a selection of ethical issues. For example, I learned that people, in some countries, are allowed to have the genome of their babies tested before they are given birth to. This is often done to check whether or not the child has inherited a genetic disease, causing him/her to be disabled. However, some parents decide to go through this progress to determine certain (unimportant) characteristics of their child(ren). These can then be changed via genetic alterations, according to the preferences of baby’s parents. This is ethically determined as wrong, and therefore, in the UK, one must have permission to have the genome of a foetus tested from a professional medical.

Images I took at the campus.

My experience at the PDBE Campus rekindled my interests in scientific research. I came back from the trip and went straight to my mum to ask more questions about the subject, as her job is in this very field. She described to me what her research was based on at the moment, and thus I have created a piece inspired by her work.

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This image reflects the pros and cons to scientific research. Within my model's eyes , as well as in the background of image two, I have used an image taken by mum- (a biologist)- of rats’ brain cells. These neurons come from a certain brain region called the Hippocampus; they are important for memory.

Therefore these cells are affected in Alzheimer’s disease, because Alzheimer’s is associated to memory loss.

The rats’ brain cells have been genetically modified to express an Alzheimer's protein called ‘amyloid beta.’

With the attachment to a fluorescent dye, they can be detected under specialized microscopes.

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As part of my mum’s profession she constantly faces the question whether or not it’s ethically right to carry out certain experiments in order to find a cure to a human disease. She must always judge and conclude if the procedures she takes when carrying out these experiments seem fair. In the case of my art piece, I am focusing on the question of morality in relation to animal testing. Should scientists be allowed permission to use animals, such as rats, to carry out research on? Is the cure to Alzheimer’s more important to the human society than the life of an animal? These questions can never truly be given a definite answer, through the endless pros and cons on either side of the argument.

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I've used symmetry to portray this balance between the pros and cons of animal testing; it depicts this idea of “on the one hand… yet on the other hand.”

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The centre of the image, where the two faces overlap, portrays how there Is never a definite answer as to how scientists should deal with ethical questions, and there is always a sacrifice that must be taken in the process.

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The slightly off-putting aesthetic to the image mixed with its somehow compelling beauty identifies that within scientific research there is scope to exploit the technical advances of what scientists have achieved throughout history and there is, of course, the beauty in expanding our knowledge as a human society.

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I copied and pasted the image of the rats’ neurons onto the layer with my model. I then reduced its opacity and erased away what was necessary. I tried to make the harshness between the two overlapping layers as little as possible, but I still ended up using a white frame to hide the extreme contrast.

Availability of products/resources

Photography- film; ink transforms The storing of information

Camera- iPhone Communication

Technology and transport Becoming a green planet

Style/ aesthetic

Sexuality

Communication

Child to adult

Integration

Humans

Belief

Makeup

Personality

Evolution

Health

Transformation through interpretation I deliberately chose to make features that were sharp and in focus in the photo, seem fuzzy to allow the room for interpretation to widen.

Here Shrimpton is making direct eye contact with the onlooker. She knows her own purpose, but this does not mean that she is blocking others from interpreting herself differently

Ability – practice makes perfect

The transformation of Jean Shrimpton through hair and makeup Passive and almost distant expression, which invites and through Avedon's manipulation interpretation of Shrimpton as a of the camera. The box like work of art. hairstyle, which cleverly reflects the framing of the image, seems to Richard Avedon suggest an artistic objectification of Jean Shrimpton Shrimpton’s face, neck and Vogue shoulders. Avedon, through the contrasting effect of the black and The ‘extreme’ white filter and the dull grey hairstyle frames backdrop used, combined with the Shrimpton’s face and also reflects decision to shoot the subject from a the framing of the side perspective, is highlighting image.

Shrimpton’s beauty through a manner of contrast and juxtaposition.

Transformations Greta; youth movement

Nature being taken Growth over by Seed to plant industry/humans

Climate change; climate crisis Going green

Nature

Effect on animals and country’s Politics

The planet

Temperature

Sea levels rising Globalisation/ modernisation Moon and stars

Global communications/relationships

Light Seasons

Untitled Pablo Picasso Source found on Pinterest

This monochrome Picasso piece reflects transformation through the intertwining of two bodies. Like jigsaw pieces, together the two faces make sense.

Scribbled cross hatching, enhancing the shape and intensity in colour of the hairstyle, whilst also determining a more care free aesthetic. The hairstyle has also lost its gloss through the use of a single coloured pen, reflecting a transformation that seems less forced, and more natural.

By shooting Shrimpton from the side, Avedon captures further contrast from the shadow which her striking jawline creates.

Avedon ensures that the image cannot be interpreted as a sexual objectification of Shrimpton’s body, by cropping the image where Shrimpton’s shoulder blades lie.

Yellow- colour of cowardice.

At first, my opinion on the works within the Whitechapel gallery were, to some Female mocking Cowardice of defining and degree, influenced by a biased pre-judgement. According to the leaflet the male? accepting identity through and the website of this gallery, the works shown in this exhibition sexuality?

“The intended to demonstrate ‘the death of painting’ within a digital era. Painting is Built on the years lie in suggestive of female body; Thus, the pieces shown became more a form of protest against wait for you” themes to do with female digital art, rather than art to be interpreted independently. gender and (c. 1935). (Portrait of dominance?

As a passionate photographer, I took this personally… sexuality Zoom in of a Nusch Eluard). Photograph, But photography as an art form is a controversial A transformation of painting; gelatin silver print on paper, subject. Social media has, unfortunately, in identity in terms of Transformation The spider 355 × 254 mm my opinion, and blatantly in other sexuality? Or of status seems to symbolise through artist’s opinions, had the most transformation in an end, presumably the symbolism and end of life judging from the Uncertainty- of influence in determining how terms of change within gender colour title of the piece. ‘The years lie in identity; faded digital art is interpreted equality? wait for you’ doesn’t sound complete, ending portrait somewhat on a cliff-hanger, to allow for the onlooker by the majority of today’s society.

Royal blue coloured dress and pillared collarsuggestive of high status Sickly green coloured clothing; no hat; no collar, allowing for the hand of the above person to easily wrap around his neck.

The lower man clearly represents the lower status people of society

to determine or interpret what Maar suggests through the This exhibition was made in protest of the Whitechapel leaflet image. The cobweb pattern comes to an end through the fade of digital art that is defined through the web into Eluard’s complexion. Thus the spider merely becomes an social media. The purpose of the insect, as stripped from its web, its power dies too, with the web as a symbol of exhibition, I believe, power and opportunity. With Eluard's face trapped within the web, Maar appears to was to redefine the idea of assert the inevitability of life through its ending. We humans are trapped in a cycle perfection, through of the inevitable, and we alone must ‘spin our own web’ to make the most of the both the expressioyears that we have.

Transformation of identity?

Transformation of the piece’s meaning through technical adaptation of the portrait

Mask- the transformation of To create this photomontage, Maar sandwiched the human being through together two negatives and printed them as one putting on a fake persona? A unified image. The woman is Maar’s friend Nusch mask of true identity?

Eluard (1906–1945). The second negative is an image of a spider’s web.

Done in 7 minutes without looking, (only

allowed to look at the original source Dora Maar (French, 1907-1997) and not at my own piece of paper.)

Mendiant aveugle (Blind Beggar) 1934 Vintage gelatin silver print Transformation of interpretation through 30 x 23.9 cm

a surrealist approach

Surrealism, in the opinion of its early theorists, Andre Breton and Paul Eluard, said that artists should “train one’s eyes by closing them” in order to shape their gaze and direct it towards the alternative reality associated with the unconscious mind. Maar was part of this art movement.

nist style and the distancing from digital media as an art style in Maar the art works shown. Having realised this and has included also appreciating the boldness of the ideas some sort of that these artists explore in their works, imperfection to the hand combined with their technical holding the mask, possibly suggesting the impurity of the act ability to captivate, I left of using a fake identity the gallery positively mesmerised.

Paint used to cancel out the background of the image, creating a surreal atmosphere, as well as enhancing Note on the focus on the subject portrayed

curation. With

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I took my camera along to these 2 exhibitions in hope to not only get some good first source images of the artworks displayed, but to try and capture the atmosphere of these exhibitions. The colour and the movement created by the people that are part of this photo reflect, in my opinion, the atmosphere of the Whitechapel gallery successfully.

The aesthetic of the image is also enhanced through the use of the rule of three, as displayed above.

In a short film, Michael Armitage explains how he works with Lubugo, an East African bark cloth traditionally used for making burial shrouds. This transformation of the use of a material from something that covers to preserve, to art, which, above all, uncovers to reveal opinions and interpretations, makes Armitage’s work incredibly interesting to analyse.

Evidently a ’non-digital,’ hand-made Transformation- gender the Dora Maar photomontage, suggesting themes relating to equality; female dominance? exhibition, some photos nature; the natural instincts to transform one’s This image of the ‘Blind Beggar’ was character according to circumstance?

Powerful stance and postureand photomontages which she This photo was taken on Maar’s trip to Barcelona in suggesting dominance. This can created were displayed singularly, taken as an Shampoo or Woman’s hair with 1933, a decision influenced by her also be interpreted in the way that advertisement with no other works in close proximity. fascination of the Second Spanish soap, Dora Maar, 1934 piece; ‘the she hands over her money.

This meant that the focus on that particular Republic. Maar supposedly felt drawn transformation Blurry/fuzzy face; unsure of piece was of greater intensity, compared to other of a woman to the concept of blindness, because of himself? Green tinge- jealous with this pieces which were displayed in a more informal and Having done this the paradox of capturing an image of of the confidence and the shampoo’ ‘blindly,’ the “care-free” style. Such images were usually smaller in size someone who cannot see. Maar has sureness of the other? features that created a photo that is both and were displayed together as a collective work. It created the make up my conceptual and aesthetic, by impression of a visual story, with the movement of turning the page interpretation combining elements that seek symbolic Hand becomes a reflected in the slight changes to the size or the framing of neighbouring have become part of the exaggerated in efficacy, in harmony with the interests images. This way of ordering Maar’s work meant that each display told its story in shampoo/hair. The size and intensity, of Surrealism: the subject’s open eyes, Expression of power and compared to the which preserve the gesture of seeing determination. With the shampoo- shampoo defines a way that both engaged and stimulated the mind, allowing for the pieces to reach who the model is? their greatest potential in effectiveness of conveying their message. original. model becomes empowered? but not the sense of sight itself.

Linderism; transformations Untitled, collage on card, 1976 Pink strips of paper encompass the nose, creating the illusion of a smaller nose

Linder’s sketches prior to the creation of one of her pieces:

Used ripped up coloured paper and black pen to enlarge the eyes and make them the focus of the piece

Having been inspired by Linder and Maar to create my own photomontage piece, I started to gather ideas to do with composition and aesthetic. I wanted to create pieces which highlighted the transformation of the natural world and how humans played a leading role in the development of this change. The photos used in these collages are my own.

Used black pen to outline the lips Used torn up, and the teeth, black paper to creating a shift in frame the the positioning of outside of the the mouth and face making the lips seem larger than The transformation of a face through makeup? reality ‘She-She,’ artist book for Ludus, The black and Pickpocket, cassette, 1981 white filter makes Photograph of Linder by Birrer the contrast between the two identities shown, seem stronger

Here the cut out photo reflects the title of the piece – ‘She-She,’ where Linder seems to be establishing a double identity. The cut out photo appears to be a representation of the feminine side of Linder. The short hair and strong facial features reflects the more masculine side to her.

The roses have been placed to cover the female‘s sex organ and her breasts

The brows and the hair of Linder are dark and intense in colour; these features seem emasculated through the harsh contrast that they bring against the skin and the background of the photo, and through the boldness in their shape

This inclusion of what appears to be an ‘old fashioned’ portrait of a woman brings in the theme of contrast to the photomontage; its inclusion expresses a clear transformation in terms of the considered ‘ideal female,’ which is also reflected in the contrast in the mediums used for each depiction

The holes in the clothing make it seem like Linder is playing a game of dress up, where her costume has become weathered over the years. She has control over her identity/ her persona, as she can change costume whenever she wishes to.

In the Linderism catalogue, Linder states that she wanted to use the rose flower to represent (female) sexual desire. This particular symbolism of the flower has often been used by other artists, such as Salvador Dali in ‘The Bleeding Roses’ (1930.) Maar, however, got the idea from Gertrude Stein’s 1913 poem, Sacred Emily.

I went to see the exhibition of Linder Sterling in the Kettle’s Yard Museum, Cambridge, having been encouraged by my art teacher to take a look at the way that Linder approaches collage and photomontage. The exhibition was displayed in a chronological order of her works. This decision to the curation not only showed the development of Linder’s style, but highlighted the transformation of the influence and the motivation behind her art work.

Linder’s work covers an expansive range of forms and mediums, including live performance. However, the works which had the most impact on me, and for which Linder is best known for, were her photomontages.

These prove to provide more than just an engaging aesthetic; they cut into the surface of images, revealing the unconscious guidelines of daily life. Her earlier works, which were made in 1970s Britain, “concern the hypersexualisation of consumer culture and the boredom of the nuclear family.” Later works become far more ambiguous in meaning, even though the source imagery used is similarpornography, fashion photography and lifestyle magazines.

Although Linder’s works vary in content, form and intention, the theme of transformation remains consistent. These transformations convert the unoriginal into the radical, the patriarchal into the feminist, and the normal into the unique.

What I like about Linder’s work is her feel for placement and composition. Each piece of paper, or photograph, which she stuck down, has obviously been meticulously planned out in terms of spacing and positioning, giving meaning and intention to the final outcome, as well as creating an aesthetically captivating piece. Furthermore, like the works of Dora Maar, the pieces sown in the Kettle’s Yard exhibition reflected Linder’s hunger to explore art in as many ways as possible. This suggests to me that both artist’s were keen to break free from the guidelines that one art form sets, something that interests me, as this concept is the catalyst to the development of new art styles.

The Transformation of the Natural World

The flower pressing process: I Inspiration for the inclusion of pressed flowers:

A common theme between all collage artists, be it Linder, Hannah Hoch or Dora didn’t realise the importance Other than Linder and Dora Maar, Maar:, they all wanted to develop the definition of art during their time. Hannah another artist whose work inspired of completely allowing the Hoch was a Dada artist, who therefore was part of a movement in art and me in the initial creation of my flowers to dry out, until too literature based on deliberate irrationality and negation of traditional artistic photomontages was Hannah Hoch. values. She is a prime example of an artist who’s work was fuelled on the concept late. This meant that half of What I like about Hoch’s style is the of development. Having recognised this comparability between all three artists, I the batch which I had way that she combined her delicate wanted to challenge myself to develop my collage designs so that my work too, pressed had to be thrown touch in the assembling of her pieces, could be reflective of development and transformation. I wanted to develop what out, as they became moldy with bold and punchy underlying I earlier believed photomontage encompassed. Thus, inspired by Stephen Gill, I due to the moisture and the messages. Her ability to create figures decided to include real life flowers within my designs. The inclusion of these lack of oxygen in the plastic that explore not only the political became crucial in order to highlight the concept of the transformation of the wallet which I was storing conditions of Germany at the time, natural world. The pressed flowers would represent the natural world, with the them in. Other than that, but issues on a global scale, is both digital flowers representing the effect of humans on the natural world. visually fascinating and clear in they turned out alright. I motive. This became a goal of mine in found that using books the creation of my own works. instead of a flower press was

These black and white portraits were taken in response to Eve Arnold’s work (see slide 8.) They proved to be fitting in the creation of my photomontages here.

Having taken several shots, I gathered a large range of differing expressions of my subject. This factor made it easier for me to split my initial design into 4 sectors.

DSCF3201.JPG 13 MP4416 × 29441 MB FUJIFILM X-T3 ƒ/2.81/34050 mmISO200

more efficient, due to the larger surface area that they provided. I used tracing paper between the pages to ensure that the books wouldn’t get damaged.

Here I continued to develop compositional ideas, which later helped me to finalise upon the designs of my final pieces.

http://www.stephengill.co.uk/portfolio/ portfolio/nggallery/album-1-2/hackneyflowers

Here I realised the importance of not overdoing the design, leading me to then split the design into smaller sections.

Initial design

I later found that the zoomed in images of my overall design were useful for me during the process of splitting the design into smaller sections

Here are three photographs out of the range of flower images that make up my photomontage.

Many of these were taken at Anglesey Abbey in Cambridge. However, the sunflower was a flower taken from my mum’s bouquet at home.

As this flower was already picked, I was able to get a range of shots with different perspectives and angles.

The Transformation of the Natural World https: //ww w.tate .org.u k/art/ artwo rks/ha milton -fourselfportra its-053-81ar001 41

To ensure that I didn’t ‘mess up’ the photo cut outs, I used a glass sheet (from a frame) to paint on. That way I could also see the collage pieces underneath.

This idea of painting over photographed portraits was inspired by works of Dora Maar and Richard Hamilton. Hamilton in his Four Self Portraits (1990) uses paint in an experimental fashion to create new perspectives to his face. By concealing certain facial features with wide brushed paint smears, his face becomes almost unrecogniseable. Certain features that were prominent beforehand become subdued by the paint, which in effect enhances other facial features instead. Maar, on the other hand, uses paint to cancel out the background of the photomontage, and bring the focus onto the woman’s face. As seen in the image above, I tried to take on Maar’s technique combined with an (attempted) realistic approach in the painting of the flowers. This did not turn out as I had hoped it to. I think a more experimental style to painting would work more effectively in terms of both my capablity in painting, as well as in terms of the aesthetic of photomontaging.

Design 1 I really like how this design came out. The geometric shapes bring a more modern effect. They contrast well with the pressed flowers.

Design 2; I like how I played with the foreground and background of the image in terms of the placement of the pressed flowers.

Above is one of Stephen Gill’s photographs from his collection titiled ’Hackney Wick.’ This image helped me to construct my own design. Like Gill, I put my flower design in the foreground of my construction. I also included a similarly washed out photograph of city buildings as the background piece of my design.

Too much?

Makes outcome seem overcrowded, especially when I then edited over it in procreate.

Stephen Gill. Gill is a British experimental, conceptual and documentary photographer. He mainly draws inspiration from his immediate surroundings of inner city life, with an attempt to make work that reflects, responds and describes the times we live in. Like Gill, I too was inspired to create artworks in response to present day themes/issues. However, what drew me to his work was his fascination of experimental art. Gill’s study on ‘Hackney Flowers’ is where I drew my inspiration from in the inclusion of a vast range of mediums. Specifically, Gill inspired me to combine photography with real life, with the inclusion of pressed flowers. Additionally, Gill’s numerous studies on city life (e.g. Hackney Wick) helped me to develop my own aesthetic in the inclusion of city-life-stills within my piece.

His candid (film) shots, show how urban landscapes join with the rural. Be it because of this candid aesthetic, or simply because of a new perspective that photographs bring, Gill manages to show how Created layers over the initial layers to bring texture to the flower the shocking effects of human life on nature has become a normality to the human eye. Thus, these Reduced rather simplistic shots of urban life, become so opacity of much more through the relisation of what humans the perceive as the norm. background Wrong colours – to be able to red was too strong 5 rub out 10 and took away from the overall design.

Rubbed out Colouring and background 1 illustrating layer where process collage is Used varying brush types to break from uniformity in the illustration of the flowers.

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Used rubber and blur tool to give the flowers depth Here I began to play with the positioning of my illustrated works. I removed the green stems, as they isolated the illustrations from the collage design.

11 Blurred out edges

Layers I decided to opt for a more subtle colour palette.

This helped bring fluidity to the final design.

Design 3; One of my favourite designs.

Possibly because of its simplicity in construction.

Background image used. (My own.)

Chosen for its bold sense of movement and its geometric aesthetic. By including this image, I want to highlight why nature has transformed: due to man’s keen desire to industrilise the planet.

DSCF2622.JPG 13 MP4416 × 2944670.9 KB FUJIFILM X-T3 Design 4; ƒ/221/1518 mmISO400 I like this deign because of its contrast Procreate (digital design in terms of colour.

However, I noticed in app) constructing this My process: design that I had Here I included more digital accidently cut half of versions of the flowers, my subject’s shoulder representing the effect of off. This was later fixed by cropping the human development and industrialisation on the natural image.

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12 Played around with opacity level to reduce contrast In order to erase where necessary, I reduce the opacity level of the flower design

13 Cropped design

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The Transformation of the Natural World

One pressed flower in the corner representing the decaying natural world

This is the final outcome of my design. My goal with this piece was to highlight how nature has been transformed by man. I think that aesthetically, my piece is interesting and pleasing to the eye. However, the meaning is slightly ambiguous without a heading or title to the piece. The urban backdrop was put there to symbolise human priorities: development and industrialisation- the reason for the transformation of the natural world.

The flowers have been located to surround the brain (or where the brain should be located.) I purposefully made sure that the flowers wouldn’t appear to be rising from the brain, as this would imply that they were the priority of the human mind. Half of the man’s head has been ripped off to reflect the ’brainlessness’ and selfish priorities of human society. Finally, the building was flipped upside down, so that just visible at the centre-top of the piece, one can make out the dim outline of a building. This was done to reinforce the human priority of developing industries over maintining nature’s wonders. Thus, I intend to make a point on how human’s have, through selfish intentions, destroyed vast areas of wildlife.

These pieces are further developments of my collage designs through Procreate. I was inspired by the work of Sigmar Polke in the creation of these. Polke’s work uses a combination of different mediums and a manipulation of these through layering to create pieces that are both eye catching and evocative at the same time. Like Polke, I wanted the different layers of the piece to be almost obvious to the eye. Furthermore, like Polke, I paired figuritive images (the photographs and the pressed flowers) with the abstract. I did this with of the intention to invent, rather than create. My doodling was not done with an underlying purpose. It was done to encourage subjective interpretations of onlookers in response to my works.

Having gone over the subject’s smile in procreate, I have highlighted this (almost) hidden facial feature. The smile make the man almost look evil, with the flower covering details, such as smile lines, which would suggest otherwise Effective composition: the pressed flowers, representing the natural world, attempt to cover the vision of the man.

However the man’s gaze seems to penetrate through, reflecting man’s ignorance of the natural world.

• https://www.google.co.uk/search?q=Harlequin,+1918+Pablo+Picasso&safe=strict&rlz=1C5CHFA_enGB879&source=lnms&tbm=isch&sa=X&ved=2ahUKEwiEusTno7D mAhUtThUIHYf_CYQQ_AUoAXoECAsQAw&biw=1200&bih=926#imgrc=74vDKCFFqTWl0M: Harlequin Picasso • https://www.google.co.uk/search?q=violin+and+grapes&safe=strict&rlz=1C5CHFA_enGB879&source=ln ms&tbm=isch&sa=X&ved=2ahUKEwjAkvKKorDmAhVCTBUIHXm4AYkQ_AUoAXoECBIQAw&biw=1200&bih =926&dpr=2#imgrc=Kustr364pzvfxM: Violin and Grapes • The history of art – Gombrich