THINK Global School 2017 IB Art Exhibition Booklet

THINK Global School Proudly Presents Visual Arts Exhibition 2017

IB DIPLOMA

VRTS A

ISUAL

GRADUATE EXHIBITION

MOROCCO

1 - 3 March 2017 Centre Culturel de l’Adgal Rue Al Amir Abdelkader Rabat Exhibition Opening 7pm, 2 March 2017

OUR STUDENTS

Ayesha Kazim

Galek Yangzom

Gillian Aftanas

[ Higher Level ]

[ Higher Level ]

[ Higher Level ]

Lisa Grages

Maria Riofrio

[ Higher Level ]

[ Higher Level ]

FOREWORD For the third straight year, I am proud to present to you my graduating students' IB Visual Arts Exhibition. This year’s stunning collection of works were curated by my five brilliant Class of 2017 students, and I want to congratulate, Galek, Ayesha, Lisa, Maria and Gillian on their dedication and accomplishments over the past two years. This exhibition is their final assessment, marking the end of their two-year International Baccalaureate Visual Arts journey, and we are proud to be doing it in our current home of Rabat, Morocco.

THINK Global School is the world’s first traveling high school, and each trimester is spent living, learning, and creating art in a different country. This year’s exhibition certainly echoes our school motto of “Don’t teach me what to think, teach me how to think.” Each student’s showcase offers a unique reflection of their

Chung Man Chan IB Visual Arts Teacher

life as a travelling teenager, where thoughts and inspirations are often subtly gathered in the most unusual of places. Searching London and Florence exposed us to many genius masterpieces, yet at the same time challenged us to ponder the crucial question of “What is art?”. While Stockholm and San Francisco informed our perspectives on gender, Bosnia and Herzegovina taught us to connect to the 2

THE EXHIBITION OPENING

Visual Arts TeacherChung Man with her graduating class

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Photo credits: Jen Buchanan

Photo credits: Jen Buchanan

Visual Arts Teacher Chung Man with her graduating class Head of School Jamie, IB Co-ordinator Adnan, with Visual Arts Teacher Chung Man

Photo credits: Jen Buchanan

Alexa and Shamsia

Jenny, Jen and Helen Ayesha, Natalie and Oskar discussing art

Corinna and Alicia

Tashi and Sam

Pauli and Tola

Exhibiting artists Galek and Ayesha reflecting on their IB art journey Photo credits: Jen Buchanan

Jarret viewing a video installation

Mayoya explaining her work to Pablo

Jamie and Karen with exhibiting artist Lisa Photo credits: Jen Buchanan

Photos clockwise: Linguistics students from Mohammed V University with Chung Man; Michael viewing sketchbooks; Jonah viewing artwork, Corinna standing with a portrait of her being the model.

Photo credits: Jen Buchanan

Wajahat and Chung Man Photo credits: Jen Buchanan

Photo credits: Jen Buchanan

Russell viewing digital sketchbooks samples

Exhibiting artists Ayesha, and Gillian viewing works with Natalie

Wajahat congratulating Chung Man

Jenny and Helen enjoying the exhibition

Natalie, Galek and Oskar in conversation Photo credits: Jen Buchanan

Adnan with exhibiting artist Mayoya

Chis photo-documenting the event

Sally viewing exhibits

Victor and Elliot in the exhibition hall Photo credits: Jen Buchanan

Kaymin and Tola enjoying the exhibition

Shamsia view digital sketchbook samples

Photo credits: Jen Buchanan

Breanna with exhibiting artist Mayoya

CLASS IN ACTION

Ayesha and Mayoya working together to secure an artwork 14

Chung Man coordinating the exhibition

Gillian compiling works

Ayesha measuring works

Mayoya compiling her drawings

Galek setting up her video installations

Galek leveling her art pieces using the Compass app on her iPhone

Lisa displays a sample of her digital portfolio

Galek is happy that her works are completed

AYESHA My body of work explores the theme of identity through three lenses: physical attributes, morals & values, and inner character.

When establishing each area of focus, I decided to explored features of the human body so as to depict the development of an individual in relation to defining characteristics. I utilized mediums ranging from photography, sculpture, painting, and digital design to explore the construction and deconstruction of hands and faces in different forms. My photography experience prior to IB Visual Arts became the basis for most of my work in this collection. Â The viewer enters the exhibition to a question: Who are you?

This wire outline hangs adjacent to a group of printed images that showcase the words: FIGHTER, BELIEVER, and LOVER in

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Blank State, Acrylic on Watercolor Paper, 49 cm x 70 cm , Jan 2016

Negative, Digital photography printed on gloss paper, 42.0cm x 59.4cm , December 2015

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Uncut, Digital photography, 90 cm x 150 cm, April 2016

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Windowpane, Digital Photography printed on gloss paper, 42.0 x 59.4cm, April 2016

Face-to-Face, Stop Motion Animation , 7.25 seconds, February 2017

Creator, Destroyer, Preserver, Healer. ; Masking Tape, wire, acrylic paint, string, February

Catalyst; Apple iPads, digital drawings ; 83 cm x 48 cm , March 2017

Circuit I; Linoleum Tiles; 30 cm x 22 cm , February 2017

Circuit I; Water-Soluble Lino Printing Ink on Cartridge Paper ; 32.5 cm x 22.5 cm , February

Who Are You?, Wire, Digital Photography printed on Glossy Paper, 50 cm x 225 cm February 2017

Who Are You? (Detail), Wire, Digital Photography printed on Glossy Paper, 50 cm x 225 cm February 2017

DESCRIPTOR B: CRITICAL INVESTIGATION

https://www.theguardian.com/artanddesign/2014/ dec/23/henri-cartier-bresson-the-decisive-momentreissued-photography

My focus for this artwork will explore the idea of the Decisive Moment in relation to establishing relationships between individuals. My inspiration was drawn from photographer, Henri Cartier-Bresson, who cultivated the Decisive Moment and developed it into the notion in which an artist captures a moment with calculated coincidence. Within my artwork, I plan to focus on one aspect of The Creation of Adam, examining the moment in which God and Adam’s hands meet . All of my artworks up until this point have focused on identity, so my aim with this piece is to explore physical identity in an unconventional way by combining religious allusions and contemporary qualities of the modernist movement.

Tillers of the Soil, Sybil Andrews, 1934

Sybil Andrews was an English printmaker known for her modernist linocut work. Andrews artistic education during the 1920s at The Grosvenor School of Modern Art and Heatherley's School of Fine Art in London propelled her into the world of lino when she was given the opportunity to attend British artist, Claude Flight’s, lino cutting classes. Andrews grew up within the chaos of World War II, which, in conjunction with her work as a welder for the British power company, inspired her to create linocuts revolving around topics including industrialization. As with Andrews’ militaristic background, I was prompted to use my environment to cultivate the meaning behind my lino artwork. I decided that this work would be an appropriation of the Creation of Adam by Michelangelo so as to explore my religious identity, or lack thereof, within the modernizing, secular 21st century. http://www.uffizi.org/

Michaelmas, Sybil Andrews, 1935

My artwork will be a contemporary appropriation of The Creation of Adam and therefore would require me to include mannerist aspects such as compositional tension and instability. I found it interesting that within many mannerist works.

Penitent Magdalene, El Greco, 1585-90

The Creation of Adam was a fresco created by Michelangelo, illustrating the Biblical narrative in which God breathed life into Adam. Created in 1512, Michelangelo applied the characteristics of the Italian High Renaissance, using linear perspective and vanishing points to establish harmony within this humanistic piece.

In Sybil Andrews’ 1934 artwork, Tillers of the Soil, she uses coloured ink and paper to depict a group of horses trekking over a furrow as they perform the necessary task of ploughing the land. While the content of this artwork may seem mundane at first, its context within World War II highlights the significance of horsepower even as technology began to consume the 20th century. Drawing inspiration from Andrews,’ my plan for my lino artwork is to adapt The Creation of Adam by focusing solely on the hands of both individuals in order to establish common ground with my audience amidst the work’s greater religious significance.

During our third and final trimester of 11th grade, our IB art class visited the Uffizi Gallery in Florence, Italy. After exploring the Hall: Michelangelo and the Florentines, I was inspired by the Mannerist style cultivated by Leonardo, Raphael, and Michelangelo which utilized bright colors and forced, unnatural positions for subjects within their artwork. This inspired me to think about using a range of colors within my work to establish the overall mood and atmosphere of the piece.

Lino cutting as an artform was invented by a group of expressionist German artists known as Die Brucke in 1905. The printmaking technique of lino drew inspiration from primitivism, a movement which saw 20th century artists creating artwork which borrowed from non-Western of prehistoric principles. Primitivism has been crucial to the development of modern art, as it has become the stepping stone for artists to move from classical techniques into more abstract and conceptual styles. This particular artwork that I plan to create has a strong connection to Primitivism, being that I plan to combine a well-known religious painting with modern day features that utilize bold colours and strong contrasts.

The Creation of Adam, Michelangelo, 1508-1512 http://www.funkyimage.com/blog/ linocut-tshirt-printing

For my appropriation of this work, I plan to utilize the humanistic qualities of the original work so as to establish an authentic relationship between the audience and artwork. Similarly to Sybil Andrews, I aim to take a more modernist approach to the primarily religious context of The Creation of Adam, so as to signify the transition away from religion in the 21st century. I xxxiii will do this by implementing wide range of bold colors and turning the linocut, itself rather than the print, into the artwork so as to redefine the medium.

DESCRIPTOR C: COMMUNICATION OF IDEAS AND INTENTIONS My plan for my linocut artwork is to appropriate Michelangelo’s painting The Creation of Adam. The aspect of this religious painting that I have decided to focus on is the moment in which the hands touch.

In reference to the biblical significance of this artwork, this is the moment in which God breathes life into Adam . My artwork will continue on with my theme of identity, however the focus will be on how physical attributes can either prevent or invite individuals from forming bonds with other people.

This work will essentially be two artworks, connected by the placement of the hands. On the left-hand side, the audience will view a hand reaching for something on the right side, which will depict the a hand facing to the left in the adjacent lino tile. The left hand will be smooth with a simple outline and a blue color palette, while the right hand will have jagged edges and intentionally wide cuts set in a red color palette.

When researching I looked at various sketches of The Creation of Adam in order to find one would to easily replicate the hands within the painting as simply as possible.

http://www.italianrenaissance.org/michelangelo-

A trial print of a smalls c a l e version of my first attempt at creating a linocut

In order to gauge the scale that I want this artwork to be, I experimented with different sized linos. I tried I plan to use the contrasting colors I tried experimenting with a mix of red and making the hands touch on one piece of lino but found that the artwork would better highlight the of red and blue not only because blue, but did not like the message it gave off as the combination of two colors disconnect between the two individuals if created on two separate pieces. they are complementary, but also portrayed a sense of patriotism because they will help the viewer establish the personality of each hand’s subject. Cool blue tones usually represent tranquility and peace while intense red blends may represent anger or ferocity. In alignment with The Creation of Adam, I want to symbolize God breathing life into Adam by Pictures taken of my trial depicting a scene in which the left linocuts hand has transmitted its intense energy to the right hand, thus Through the use of different carving When experimenting, I found that the v- explaining the powerful red color. techniques, especially those involving the Ushaped tools were better for defined shaped gouge tool, I plan to create deep, In regards to the curatorial aspect, I want this work to be edges while the U-shaped tool produced a defined cuts within the lino to provide the viewed at eye level because I think this will be the best softer, curved endpoint viewer with ample detail of the hand of each placement to captivate the audience. Placing the work at this subject within the piece.

IDEA 1

IDEA 2

height will also allow the audience to take in all of its detail and thus make the connection I attempt to convey in regards to the transmittance of emotions from one tile to the next. At first, this work should be viewed at least 2 metres away. As this is only a section of The Creation of Adam, in order to gauge its cultural significance as a biblical reference the audience must use their prior knowledge to fill in the external aspects of the painting missing in this appropriated piece.

For this artwork my main aim is to create a series of drawings which represent two contrasting messages: Pay it Forward and Tragedy of the Commons. These statements are two sayings common in everyday society. Pay it Forward refers to performing acts of kindness to individuals, or in other words treating people nicely without expecting anything in return. On the contrary, the Tragedy of the Commons refers to the societal tendency to destroy “common” places or items due to the fact that it is a common good and that no wants to take ownership over but everyone wants to use. I felt that a drawing would be the best medium to portray these two strongly juxtaposed ideas, as it would act as the simplistic backdrop for the audiences to contemplate the greater significance of the artwork

In terms of colors, I plan to use darker tones in order to convey the somber nature of this piece. Most of the work I have created so far possess blues, so I think an opaque blue will be the most suitable for the background to keep in like with my body of works. In addition, this will also be beneficial as blue is a complimentary color of red and will thus, highly contrast the blood flowing from the hand.

This artwork relates back to my theme of identity, focusing on the realm of one’s morals & values. By introducing the idea that the way in which an individual interacts with their environment and other people-whether that be through paying favors forward or contributing to the tragedy of the common good-we can begin to learn more about one’s beliefs and values. This piece is a small window into the deeper stages of one’s identity and compels the viewer to question their own standings on whether they have a strong belief system or hold faith in their morals. The simplicity of this work as a digital drawing, will allow for a greater audience interpretation. While some people may initially see a weak hand reaching out for help, others may gain a completely different insight, viewing it as a hand tainting all that is good in the world.

DESCRIPTOR C: COMMUNICATION OF IDEAS AND INTENTIONS I plan to have four separate drawings which will showcase the transition from the first saying to the next. I want to make the hand look like it’s open, as if to pass on a message, or pay something forward, however once the hand is open blood will spill downwards out of the frame, to showcase a drastic image of the Tragedy of the Commons

Here, I experimented with shading

When planning out this work, I began by sketching out drawings of hands in different sizes, styles and mediums. I found that it was easier to draw details within their hand with a larger scale, as the zoom on the Paper53 application had limitations on how much I was able to magnify the drawing . In terms of style, I found images online of different hand positions to use as reference when sketching out my hand drawings. At some points, it became difficult for me to accurately depict what was shown in the drawings, so I decided to use my own hand to sketch angles that I could not directly see and to gauge a better idea of lights, darks, and shadows . I decided that I wanted the hand in this artwork to be portray sideways so that the audience would immediately recognize that the blood was dripping down towards off screen With my prior background in photography, I drew inspiration from Austrian artist, who was known for his work in photography, sculpture, painting and graphic design. In one of Bayer’s more known works, Lonely Metropolitan, he uses photomontage techniques to depict two hands in front of a building . I was fascinated by the way that Bayer was able to evoke meaning within this work using the title and placement of the eyes within the palms . In alignment with Bayer’s uses of stark contrast through harsh lighting, I plan to use a varied color palette to establish stark contrasts

In order to make this piece relatable to an international audience, I will use an unconventional color for the skin tone of the hand. When deciding on this factor, I was inspired by the work of Gilbert & George, a collaborative British duo, who are known for their brightly colored graphics. Gilbert & George are known by their slogan “Art for All” and I attempt to emulate this by creating an art piece that people from various ethnicities can relate to. In order to find the right shade, I experimented with a variety of unusual colors that range that would complement the blue background.

http://www.tate.org.uk/art/artworks/ gilbert-george-fates-t12168

In regards to the curatorial aspect of this work, I plan to have the three sketches displayed on four different iPad minis. As a digital drawing, I feel that this form of display will align with medium, as well as draw viewers in being that this is a contemporary medium. The four iPads will be placed on a table in order from the first drawing in which the hand is closed, to the last drawing in which the hand is open and dripping with blood . I plan to have the height of the table be at waist level so that the viewers will not have to search for the image too close to the ground, but also be enticed into reading the text within the drawing and gauging Herbert Bayer LONELY METROPOLITAN the detail that can be found within the piece

a unique photomontage with gouache, 1932

Descriptor A: Processes

The exposure here was 1/600 which turned out to be too dark

SUBJECT For this artwork, I knew that I wanted the final image to be printed digital images, therefore I needed to make sure that the overall composition would appear clearly when exhibited. The first thing I needed to do was decide on my subject, as this work was centered around an individual’s hands. I began by taking test shots of both my female and male subjects, in order to gauge the type of atmosphere each individual’s physical characteristics would convey. I found that the masculinity of the male subjects’ hands appeared more rugged and placed the stereotypical idea of workers and construction; being that they had hard calluses on their palms. On the other hand the feminine qualities of my female subjects’ established a calmer aspect being that the hands appeared more delicate and capable of creating. I decided to use a caucasian female so that the complexion of the hands would contrast greatly to the maroon color of the carpet used as the background. The subject’s long fingers would place the idea of elegance associated with femininity in the minds of the viewers while in regards to function, the length would fit the dimensions that I wanted the image to be. I also decorated my subject’s fingers with multiple rings as well as her wrists with bracelets, as this would enlighten the viewer to the individual’s personality and add a sense of authenticity to the artwork.

PHOTOGRAPHY For this particular work, I kept my camera settings on Aperture Priority which allowed me to focus on creating a strong depth of field so that the subject’s fingers would stand out against the blurred background. I set the aperture to F 2.8 which meant my exposure was 1/400 of a second. When experimenting I found that if the shutter speed was too fast, the image would be too dark. Thus, I had to find the right balance between a small aperture and large shutter speed

While the background was busy, it did not distract from the hand in the foreground

The difference in having the light shine through the window in the photograph added depth and detail to the image

SETTING In terms of the environment of the photo, I decided using a plain background would be the most suitable for drawing the viewer’s attention directly to the subject’s fingers. I photographed this work inside rather than outside to have more control of the variables such as lighting and subject placement, however this meant my options for the background were limited. Ultimately, I decided to use the carpet of my room, which though possessed a pattern, was not too busy so that it took attention away from the subject’s fingers. This decision turned out to be beneficial, because when shooting I was able to take a down angle? And thus frame the image shooting directly from above my subject. As my subject was caucasian, I chose a dark background that would contrast her fingers in the foreground. In regards to lighting, I chose to shoot in natural day light, as this would further enhance the authenticity of this piece, making it appear less staged than if it were to be shot under studio lighting. The lighting also altered the framing of my photographs because I was shooting indoors and therefore needed to place my subject’s hand in the best position where sunlight would be shining through the window

As a stop motion animation, the medium I will be utilizing for this work is digital photography.

Photography, as a means of communication, will help establish a more realistic connection while allowing the audience to obtain a greater depth of information through visuals that include individuals just like them. This will also allow more room for interpretation and create a personal connection between myself and my artwork https://www.dpreview.com/ reviews/canon-eos-70d http://www.enki-village.com/ wash-face-with-water-only.html

The camera I plan to use for this project

As the hardest part of creating this piece will be executing the facial transition from one individual to the next, I decided Photoshop, in conjunction with digital photography, will give me the most flexibility in terms of manipulating opacity and working with multiple layers. Initially, I began by brainstorming in pen, to figure out the layout and style of this piece

Manipulating opacity will be important to show the transition between faces

Possible positions I want my subject to be stationed in The painting done on each subject’s face will be in a similar style, and possess a similar color palette, to my portrait piece created in Bosnia. This will be very useful in order to establish a common thread in terms of structure and style, that goes beyond identity, in all of my 8 final art pieces.

In terms of the curatorial aspect, I plan to showcase the stop motion on a large blank space. The video will be shown on a continuous loop between the portrait I painted in Bosnia (during second semester) and my clothing/photography piece on identity, created in Sweden (in first semester) . In order to convey the serious atmosphere of the piece, I would like the stop motion to be viewed in a dark area, so that the sole focus is drawn to the artwork.

DESCRIPTOR C: COMMUNICATION OF IDEAS AND INTENTIONS

I want the animation to be displayed with dimensions: 2 m x 1.5 m so that it is displayed larger than life size.

This will hopefully establish a deeper connection between the audience and the subjects within the stop motion, on a more intimate, humane level .

Blank Slate, Ayesha Kazim.

2015

https://www.rottentomatoes.com/m/coraline/reviews/

Tim Burton, a film director and animator, is known for his dark, gothic, eccentric fantasy films such as “Beetlejuice” and “Edward Scissor Hands.” When examining Tim Burton’s early work with stop motion, I was inspired by his minimal use of colors and high contrast within his 1982 film, “Vincent” Burton himself was inspired by Edgar Allan Poe, and this autobiographical work utilizes his renowned style of gothic fiction to create a dark, surreal atmosphere. For my own piece, I plan to employ Burton’s techniques of using color to convey atmosphere. While the subject’s face may possess tones of reds, browns, and pale pinks, I will have the subject wear a black shirt to contrast the blank, white background.

Payton Curtis is a stop motion animator known for his work on “Fantastic Mr. Fox,” “Coraline,” and “ParaNorman.” After watching his 2013 Animation Reel on Vimeo, I was really inspired in his ability to add depth and vibrancy to the bleak atmospheres of animated worlds. The common themes with Curtis’ works involved highly saturated colors and grim settings with fluorescent undertones. With my own animation, I plan to add a dream-like quality to my stop-motion, in order to blur the lines between fantasy and reality. I think this will help my piece become more enticing to younger viewers.

The first step when creating this artwork was to choose my subjects. I decided to use 4 people for the purpose of this work with varying skin tones, so as to establish a gradient when transitioning from one individual to the next. I chose Elliot, the palest subject, as the individual who would start the stop motion, being that the colors chosen to paint his face would contrast the most to his skin tone

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The color palette I used involved colors from an artwork made during my second trimester in Bosnia, and utilized warm red, purple, and blue tones. Unfortunately, I did not have access to face paint, so I used acrylic paint to recreate this artwork on Elliot’s face. This actually turned out to work really well because the paint hardened in one complete layer and the colors remained bold and vibrant in the photographs. After painting his face, I scouted the best area within the hotel room that would allow for a broad light source.

I also experimented with different opacities in order to asses how I would transition between the first and second subject. I found that lowering the opacity by roughly 10% between each frame produced the smoothest transition in which appeared as if each subject was ‘revealing’ their underlying layer or next individual

In terms of compiling the photographs into a stop motion animation, I utilized Final Cut Pro, a video-editing software . Video-Editing as a skill, requires one to be familiar with digital editing platforms and the functions of slicing and cropping images or footage. Other important aspects to consider include the clip duration as this would affect the pacing and fluidity of the stop motion. I found that the ‘Balance Color’ and ‘Match Color’ tools on Final Cut Pro were also extremely useful for establishing a uniform atmosphere throughout the images. Inspired by Tim Burton’s gothic style, my aim for this piece was to recreate the bleak atmosphere that is often present in his work. I would achieve this by lowering the saturation and contrast of each image on Final Cut.

DESCRIPTOR A: PROCESSES The composition of each photograph wasn’t the highest quality that I wanted, so I decided to test out using different border sizes, and found that a greater border width allowed the images to appear collectively crisp.

This would also make it easier for the viewer to focus on the moving images, without feeling like they need to strain their vision to focus on the subject

The final product

The initial stages of constructing the handpiece were the most difficult to execute, due to the fact that it would set the foundation of the entire sculpture. In order to figure out the proportions I began, by constructing a two-dimensional outline of what the hand would look like on the floor of my room.

I used a simple outline image for reference, in order to figure out the size of the fingers in relation to the palm of the hand

DESCRIPTOR A: PROCESSES

When shaping the wire, I found that flat-nose pliers were the best for creating right angles at the corners of the fingers. Once in place, I was able to stick down the shape of the hand with tape. Because I wanted to make this artwork three-dimensional, I decided to create two wire outlines and then establish support for each surface of the palm using mesh wire. https://www.amazon.com/ Beadalon-201E-007-Flat-NosePliers/dp/B004DGIRP2 Mesh wire was crucial to giving the sculpture its shape and providing support for more intricate areas such as where the fingers branched out from the palm. Once both twodimensional pieces were established, I was able to put them together to form a threedimensional hand using zip ties and rope.

While I had initially planned to use papermache to cover the outside of the hand, I found that using mask tape was more efficient in establishing the base of the hand.

Proportions and scale were two factors that needed to be considered throughout the creation this piece. I made the hand so that it surpassed hiplevel while also maintaining the proportions of a human hand

Newspaper turned out to be the best medium for filling the hand sculpture, due to the fact that it was light but still held the shape of the palms and fingers.

At first it was difficult to shift from a 2-D to 3-D layout, but after experimenting with how to tie the rope around the mesh wire I found the best way was to create individual loops around the edges

In order to attach the hands, I had to use a combination of masking tape and thin rope

C O M PA R AT I V E S T U D Y

Hand Shaped Earring, 2001 Yasumasa Morimura Chromogenic Color Print 133.7 x 108.6 cm.

In Bed, 2005 Ron Mueck Polyester Resin, Fibreglass, Horse Hair, Cotton, ed. 1/1 161.9 x 650 x 395 cm

Two Tahitian Women, 1899 Paul Gauguin Oil Paint on Canvas 94 x 72.4 cm

The three artworks being assessed explore feminine identity through a male lens. Documenting female subjects through mediums involving photography, sculpture, and painting, each male artist attempts to display their personal view of femininity while evoking audience discussion on the concept of self-identification. Through the lens of three different artistic styles: conceptualism, hyperrealism, and post-impressionism, these three artworks cast a new light on the socially-accepted constructs regarding gender and self-representation. Following the analysis of Hand Shaped Earring, In Bed, and Two Tahitian Women, I was prompted to create three abstract artworks that attempt to explore the idea of inner identity, or true character. li

A N A LY S I S O F F O R M A L Q U A L I T I E S Morimura has decided to create a two-dimensional artwork on a rectangular, picture plane.

As this is a form of staged photography, Morimura was able to utilize intentional lighting, hitting the subject’s face directly, and heavy amounts of makeup in order to further conjoin the worlds of Kahlo and Morimura

INTRODUCTION: As an artist who consistently incorporates gender-bending into his artwork, Morimura uses the female form, specifically that of Frida Kahlo, in this piece in order to motivate the audience to question the societal constructs of masculinity and femininity, as well as the role of transculturalism, in modern society.

SYMBOLISM: Morimura makes his aims explicit regarding what he expects the audience to see. He clearly portrays the subject with a womanly figure through the creation of realistic, feminine qualities regarding the facial features and body proportions. The background can also be said to be one of nature due to the vegetation characteristics and chosen color palette.

APPROPRIATION: While this piece is Morimura’s attempt to appropriate the popular figure of Frida Kahlo; he employs conceptual perception by expanding on the idea of this icon with more creative features such as radical colors and a flamboyant environment.

Working in conjunction with the head wrap that has transformed from a garnet of fresh flowers to a garish tiara of artificial blossoms, further reflects the contemporary differences Morimura emphasizes between Kahlo’s SelfPortrait Dedicated to Dr. Eloesser and Daughters created in 1940 and this 2001 recreation

There is also a large depth of field which has been established through the separation between the women and the natural environment in the background.

In terms of the adaptations Morimura made, there is shift from the Latina skin of Frida Kahlo presented in the original work, to the fair Asian skin shown here which ironically helps to establish a “more feminine air” than that of the gloomy, morbid mood that initially radiated

ATMOSPHERE: The intense expression on the subject’s face, in addition to the lone hand-shaped earring, and thorn necklace, adds to the somber tone of this image. In contrast to the original piece

by Frida Kahlo, the vibrant colors chosen by Morimura attempt to contrast the original dismal mood of this piece.

DESCRIPTOR A

MEDIUM: The use of chromogenic materials and processes further emphasizes the importance of color within this piece, as the focus of chromogene involves the production of color or pigment in particular.

The use of this specific medium also helps to add an heir of genuity to the piece, as chromogenic color prints were highly popular during the early 20th century up until the 1960s, which was the time period of Frida Kahlo’s original piece.

This image is a form of graphic art, specifically a painting, that utilizes shading shown here in the shawl., to create the illusion of a third dimension.

As with all of his artworks involving iconic figures, Morimura’s aim was not to mimic Kahlo’s surreal self portraits. Instead, he “[took] in only a very limited amount of information and use[d] only that information to create works dedicated to [Frida]. This work is a celebration and adaptation of Kahlo’s work, as he attempts to portray his own interpretation of her work.

Here, we can see the biomorphic shape of a woman depicted in her natural form. This can also be found in the background, with the plants. Some of the nature in the background appear as amorphous shapes, but the audience is able to figure out they are plants based on the context and its surroundings.

The small jaw line, full lips and protruding collarbones are clear indications that the subject depicted is a woman

Hand Shaped Earring, 2001 Yasumasa Morimura Chromogenic Color Print 133.7 x 108.6 cm.

"The various elements of Doña Frida and myself mix into a muddle and a chemical reaction occurs, creating this imaginary Frida of mine” (Frida de mi Corazon. An Imaginary Dialogue, 2002) - Yasumasa Morimura

The hybrid of Morimura’s own features with that of Frida Kahlo’s brings forth the ambiguity of sex to the audience, as it is difficult to distinguish between the artist’s and the subject’s characteristics

The size of this piece: [59 x 47.25 inches]; makes the scale of the image appear almost life size in relation to the audience. The realistic proportions of the figure depicted add to the authentic connection that Morimura aims to create between an individual of the general public and the subject portrayed in the artwork.

While Kahlo’s original pieces used subdued colors of murky greens and greys to establish a morbid atmosphere, Morimura works at the other end of the spectrum, using a fluorescent palette, in addition to iconic symbols such as the Louis Vuitton pattern found on the subject’s scarf, to highlight the influence of contemporary culture, 60 years later.

COMPOSITION APPLIED: The medium is a color photograph printed on canvas. During the creation of this piece, Morimura incorporated large amounts of makeup, costumes, painting, and digital manipulation to transform this piece into a surreal experience.

While the foreground consists of a live model to recreate a realistic figure, Morimura uses a painting as the background to probe the audience to question the line between imaginary and real

A N A LY S I S O F F O R M A L Q U A L I T I E S MEDIUM: “In Bed” is a hyperrealistic sculpture created by Mueck uses a solid, white an Australian sculptor named Ron Mueck background to draw focus In order to create the sculptor, Mueck to the sole figure in the incorporated polyester resin, fibreglass, foreground polyurethane, horsehair, and cotton

As this is displayed in an indoor exhibition space, the light source is crucial in order to draw audience focus to the artist’s area of intention. Here, Mueck uses a broad, soft light source to demonstrate equalized focus over the entire sculpture, as well as reduce the intensity and harshness found within the areas depicting great amounts of detail

In regards to the physical properties, Mueck deliberately used polyester resin and fibreglass due to the fact that these were two durable mediums, that also maintained a high flexing tolerance. The fibreglass is especially important for creating the mould once Mueck has finalized the clay figure

In terms of scale, the dimensions of this piece are: 1.6 metres high, 6.5 metres long and 4 metres wide making it considerably larger than life size

His combination of artistic mediums (clay, fibreglass) and natural elements (horsehair) juxtaposes the realism aspects with the abstract, exaggerated characteristics

Mueck is known for his immaculate attention to detail, which can be seen in this work when examining the intentional, repetitive creases found near the eyes, and even the uneven skin complexion

As this is a portrait image, Mueck utilizes a minimalist color palette which directly reflects the tones that can be found in real life to further the realistic aspect

In Bed, 2005 Ron Mueck Polyester Resin, Fibreglass, Horse Hair, Cotton 161.9 x 650 x 395 cm

Mueck’s technique when painting highlighted the finer details of veins and blemishes which add to the expressive qualities of the subject’s face and the overall realistic appeal of the human figure

DESCRIPTOR A

AESTHETIC: Mueck’s intent was to create a “hyper realistic” woman, so the use of horsehair proved ideal for portraying the humanistic qualities found in the subject’s hair and eyelashes.

This piece can be seen more as an installation than just a regular artwork, due to the fact that sculpture works in conjunction with its environment (a bare room with low ceilings) to heighten the sense of enormity in comparison to its audience

When asked in an interview with the International Sculpture Center, if he exaggerated the size of his figures to raise the emotional and psychological impact, Mueck stated that his intentions were to have the audience “take notice in a way that you wouldn’t do with something that’s just normal.”

In terms of movement, this piece is intended to appear completely static in order to direct the audience to the focal point - the subject’s face and her subtle expressions

A N A LY S I S O F F O R M A L Q U A L I T I E S The vibrancy of the yellow sun depicted to be shining through the trees further develops the notion that the women are apart of nature, rather than rulers or being ruled by it

There hollow eyes, possess an ambiguous focal point, making the audience unsure of what the two women are looking at, highlight a sense of longing for something they may have lost or desperately need

The tall stature of the women share similar proportions with the trees in the background thus relating them back to plants, a part of nature and the natural cycle of life The woman on the left holds a more earthy hue standing behind the woman on the right to highlight her position as she begins to blend into the background

The organic shapes of the trees creates a low depth of field so that the focus is drawn to the subjects in the foreground

The pout of the lips depict the woman almost as if she is about to lean down and kiss something, which further highlights her sense of emptiness and longing

Her stoic facial expressions makes the woman appear rigid and cold; this could possibly allude to her devirginized state and a lack of emotional connection

The continuous solid lines outlining the two women add a sense of structure and rigidity

In contrast to the Western ideals of beauty which were classified by small waists, tiny feet, a lack of body hair, and polished skin, Gauguin depicts the Tahitian women as strong individuals with broad shoulders, strong arms, and capable hands

The lack of the coverage of the woman’s breast highlights the fact that she is not a virgin, but does so in a subtle, non pompous way

Two Tahitian Women, 1899 Paul Gauguin Oil Paint on Canvas 94 x 72.4 cm The similar yellow tones found within their skin highlight the fact that they are part of the sun and not simply collectors of its bearings

DESCRIPTOR A

The focal point of the image is the women’s breasts which rest near the fruits the woman on the left carries as if to symbolize nature and man’s shared ability to produce

The golden hues of the woman’s skin juxtapose their tropical environment

The fruits act almost as a continuation of the breasts and the labour one’s go through to create The repetition of curved lines from within the woman’s wrap dress establishes a sense of harmony

The light blue of the woman’s dress symbolizes virginal qualities, one of innocence and naivety

The asymmetrical layout of the painting is created through the tilting of the subjects’ heads, which establish a subtle imbalance within the piece

I N T E R P R E TAT I O N O F F U N C T I O N & PURPOSE A constant theme which can be seen throughout all of Yasumasa Morimura’s work focuses on identity as expressed through self-portraiture.

Sexual and cultural appropriation through iconic figures such as Audrey Hepburn, Che Guevara, and in this case, Frida Kahlo, to establish common ground with the audience Referring to himself as Andy Warhol’s “conceptual son,” Morimura utilizes celebrities or the famed to highlight stereotypes and explore the nuances of cultural, gender, and sexual identity

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A Requiem: Infinite Dream - Che 2007, Yasumasa Morimura •

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Self-Portrait - After Marilyn Monroe 1996, Yasumasa Morimura

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According to art historians, Morimura’s work is an innovative platform for stimulating conversation and discussion with the audience In contrast to Morimura’s former intentions of exploring sexual and gender identity, discussion has • also arisen amongst the public regarding whether Morimura is simply capitalizing on Frida Kahlo’s fame

• Characterized by skepticism, irony, and moral relativism,

Postmodernism sought to use varying approaches to artmaking as a platform for the questioning of cultural and • Morimura takes a postmodern approach to art and social

issues of importance alongside artists such as feminist, Cindy Sherman, and minimalist, Eva Hesse to induce shock and controversial debate within the audience • Following the explosion of the Pop Art movement, Postmodernism emerged during the early 1970s as a breakaway from the modernism movement and formerly

DESCRIPTOR B

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Hand Shaped Earring, 2001 Yasumasa Morimura 133.7 x 108.6 cm.

“Hand Shaped Earring” is just one piece in a collection of artworks created by Morimura called An Inner Dialogue with Frida Kahlo The range and variety of these hybrid portraits allow Morimura to explore the topic of sexuality with depth through detailed research and investigation into Kahlo’s personal life Having been taught primarily by Western artists, Morimura focuses on the allegedly Western concepts of imbalanced mental states and identity crises through imagery This particular work serves as a platform for discussion regarding self-image and the complexities of an individual’s character The combination of digital editing and an exaggerated color palette consisting of vivid reds and bright oranges, enables Morimura to explore the topic of gender and sexuality by blending his maleness with that of Kahlo’s subtle femininity

According to a review by the New York Times, Morimura’s collection of art appropriations called An Inner Dialogue with Frida Kahlo, “these clever yet affecting knockoffs and approximations of the Mexican Surrealist’s [Kahlo’s] paintings take drag to levels of transcultural perfection.”

Morimura’s bold approach creates a striking and high impact reaction within the audience who find Morimura’s work to be “raucous, meticulous homages.”

While some individuals see Morimura’s work as a “sacrilege against the pillars of art” and a form of desecration, art curator, Achille Bonito Oliva, has stated that he sees Morimura’s art as “as a tool employed by an artist to not only revive art that has perhaps lost its Self-Portrait with Thorn Necklace and impact due to innumerable reproductions worldwide, Hummingbird Autorretrato con Collar de but also as a way to capitalize upon the meanings Espinas, 1940, Frida Kahlo already embedded in these images and then add his own as well” (Gorman, 2013).

I N T E R P R E TAT I O N O F F U N C T I O N & PURPOSE

• Critics value the sentimentality found with

Mueck’s work and his ability to transport external onlookers within introspective present for centuries situations of his figures Through his work, Mueck aims to take a new approach to • His focus on the seemingly mundane actions art and the anatomy of the human body, stating: ‘I’m just or events within life draw focus to the trying to make them ordinary. I don’t want people to see common connection that can be found the wrinkles, just the person.’ amongst all humans The function of“In Bed,” is to capture a state of self• The National Galleries of Scotland claims consciousness, introspection, and deep contemplation that the figures ability to dwarf the Mueck’s aims rely less on the technical expertise of the audience (the scale being 1.6 m and 6.5 m creation of his works, but more on the way his sculptures long) within her presence is a direct evoke audience interaction or emotion equivalent to the likes of Alice in Audience critique on Ron Mueck’s work have seen his sculptures Wonderland or Gulliver’s Travels as an alternative approach or challenge to Renaissance Humanism• It allows us to revert back to our childhood a system of thought in which individuals believed humans, rather mentality in which we see and feel things than the church, should decide their own truths, morals, and Mask II, 2001 from a naively innocent perspective behaviours-through his hyper realistic approach Ron Mueck • For the audience, “In • In an interview, Mueck stated that his intention was for "the viewer to be struck first Bed” ranges anywhere from a commentary on by the scale of the piece, rather than its topic" ("Playing with Scale", 2003).

• Creating life size pieces did not appeal to Mueck as we meet life-size people the subtle warning signs of depression to everyday • Mueck disregards verisimilitude as the main aim, though he excels at it, instead the reawakening of the focusing on being able to empathize with the emotions and feelings of the figures feelings of childhood

• The issue of how to accurately represent life has been •

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Woman with Sticks, 2008 Ron Mueck

depicted • His extremely ordinary approach to the human body, creates an unsettling atmosphere between an individual of the audience and the figure itself as connections are drawn out of the exaggerated, mundane similarities of moles, wrinkles, and subtle beauty marks

• By creating sculptures that are extremely lifelike, Mueck

tries to make the audience forget the ‘people’ are made from fibreglass and polyester resin, and focus more on the importance of human subjectivity so as to fully understand the emotions and atmosphere being established

DESCRIPTOR B

• As the artist himself, Mueck’s elusive

qualities in the limited commentary he provides of his work leaves ample amounts of room for audience interpretation and their own senses

Man in a Boat 2002 Ron Mueck

I N T E R P R E TAT I O N O F F U N C T I O N & PURPOSE

• Author, Michael Sturma, believes Gauguin’s intention may have

• A painting which depicts the “Tahitian Eve,” Gauguin

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aimed to showcase the simplistic beauty and serene qualities of the native Tahitian women Through painting, he utilized gesture and facial expressions to highlight their innocence, which though stemmed from naivety, allowed them to walk naked confidently among their community As Gauguin described it, the women were "very subtle, very knowing in her naïveté and at the same time still capable of walking around naked without shame."

This artwork was not only a culminating piece for Gauguin’s work in Tahiti, but also for his life While suffering financial trouble and being hospitalized for syphilis, he continued to paint, now focusing on work that was self-referential

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Self-Portrait, 1893, Paul Gauguin

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been to dispel the sexualized perception of Tahitian women and “tear away the stereotypical expressions of happiness and flirtatiousness to reveal the more reserved side of Tahitian personality” (Sturma, Michael. South Sea Maidens. 1st ed.

Westport, Conn.: Greenwood Press, 2002. Print.)

National Gallery curator, Mary Morton, says Two Tahitian Women depict the glamorized island women Gauguin had hoped to find but is a purely a mirage of his desires (http:// www.npr.org/2011/03/15/134537646/gauguins-nudetahitians-give-the-wrong-impression) In a conversation with NPR she explains, "Tahiti was a French colony. It had been thoroughly Christianized and colonized.

The women were not walking around half-naked. ... They tended to be wearing ... Christian missionary gowns."

This unfamiliar depiction of strong women in lush, tropical settings were too intense for European taste; Gauguin only sold 4 of his 44 Tahitian canvasses when he brought his work back to his Paris gallery However today, Gauguin’s artworks go for tens of millions of dollars. Though the public is now fully aware of the myth behind his work, the seductive nature and excellent oil painting techniques makes it fascinating and completely irresistible

• He was intrigued by their form, beauty, and lack of shame considering their partial nudity and wanted to

Rupe Rupe (The Fruit Harvest), 1899, Paul Gauguin

juxtapose this against the 19th century European women’s conservative attitude toward the naked body • This piece depicts Gauguin’s deep love of nature in a more subtle way than his prior still-life paintings, instead highlighting the prosperous mutualistic relationship one can share with it • The purpose of Gauguin’s use of nudity sought to lessen the differences between the male and female sexes; this was further developed by the Tahitian women’s androgynous body shapes which involved broad shoulders and slim hips

• He often used the same figures, turning them into new works of art, such

as in this case in which the women shown here appear in two of his former works: Faa Iheihe (Tahitian Pastoral) and Rupe Rupe (The Fruit Harvest) • Gauguin aims to show a relaxed femininity, one that finds comfort and familiarity within nature • In his second and final visit to Tahiti, Gauguin moved away from his typical symbolist paintings to create the natural portraits of native Tahitian women

DESCRIPTOR B

Faa Iheihe, 1898, Paul Gauguin

E V A L U AT I O N O F C U LT U R A L SIGNIFICANCE

• Through a majority of his work, Morimura

channeled this work by using art as a tool to transform himself into the iconic figures of Marilyn Monroe, Mona Lisa, and Cindy Muñoz, Raquel. "Yasumasa Morimura: A Sherman from pop culture and art history.

Requiem – Blog CBA". Circulobellasartes.com. • From a historical standpoint, appropriation is N.p., 2017. Web. 7 Jan. 2017. a tool used to subvert the domination of one cultural power over another and, in the Marilyn Diptych, 1962, Andy Warhol • During the early 2000s, there was an context of Morimura’s work in the mid-20th emergence of digital art and general century, served to highlight the consumerism • As mentioned before Morimura, was highly expansion of computer art influenced by his artistic Western counterparts and pop culture mentality of Western society • As shown with “Hand Shaped Earring,” such as that of Andy Warhol and Cindy

artists such as Morimura began to turn to the world of Photoshop to alter the appearance of simple photographs into more abstract pieces.

• While Giclée printing, emerged as the popular medium for fine art prints, Morimura diverged from the norms, turning instead towards chromogenic color prints for a bolder medium and impact in terms of the style and atmosphere of this work • With the beginning of the New Millennium, the culture of celebrity became a popular topic within society.

DESCRIPTOR C

Sherman, thus Hand Shaped Earring allows him to incorporate his Japanese background and Eastern influences into his work • “Hand Shaped Earring” as a self portrait of Morimura appropriates the transformation of Frida Kahlo's shawl of her Mexican identity to one possessing Louis Vuitton symbolism.

• As an eastern artist, a large part of Morimura’s culture has been western-dominated • Through this particular artwork, Morimura pulls on the methods of used during Western colonization, applying appropriation techniques in order to portray a new side of the tactics of dominating political powers

Untitled (Marilyn), 1982, Cindy Sherman

E V A L U AT I O N O F C U LT U R A L SIGNIFICANCE • Transitioning away from the popular classical

"New Hyperrealistic Sculptures By Ron Mueck".

Colossal. N.p., 2017. Web. 7 Jan. 2017.

realism movement, Mueck employs hyperrealistic techniques “shock” the audience through the portrayal of mundane activities • While the term dates back to a Belgian artist, Isy Brachot, who utilized this term as the title of his first major exhibition during the 1970s, hyperrealism only really became popular during the early 2000s when it made it’s way into the Western world

• A “trick of the eye” hyperrealistic

• Ron Mueck, as an artist, was primarily influenced by his

artworks contrasted the intense realism of the ancient Greeks which attempted to portray the human body in the divine form intended by God • Realism is considered to be the first modern movement within the art world, allowing artists to use depictions of everyday life to question the traditional value systems and seek new truths • A blend of naturalist and realist qualities, Mueck has been influenced by these contemporary techniques to create realistic sculptures that remained honest and true to its real life counterparts

DESCRIPTOR C

Sticky Hyperrealism, Mike Dargas, 2015

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Mona Lisa, Leonardo da Vinci, 1503

parents growing up, as they were both toymakers Motivated by his work in the production aspect of the film industry, began his career by creating puppets for children shows and abstract models for films such as Labyrinth (1996) Because he did not have any formal training within art school or from professionals, Mueck’s influences approach him everyday.

Ideas are provoked by his own surroundings and the people that he interacts with; through artistic sculpture he is able to take what he sees in his daily life and transform it at a new level Hyperrealism was a genre of sculpture and painting which became increasingly popular during the late 20th century

E V A L U AT I O N O F C U LT U R A L SIGNIFICANCE • The painting has often been compared to Édouard Manet's

Le déjeuner sur l'herbe (1863) and Olympia (1863) in regards to the way the two women confront the viewer and compare the women’s breasts to fruit and flowers • Gauguin’s time spent in Tahiti coincided with rising feminism in the West and thus may have explained his need to escape the dominating hold that was put over women during this time period • Gauguin’s feminist views may have also been influenced by his grandmother, Flora Tristan, who was a leading advocate Sunday Afternoon on the Island of La Grande Jatte, for women’s rights in France and his wife, Mette-Sophie Georges Seurat, 1884 Gad, who was also a strong female figure in his life

"Italian Paintings & Famous Italian Artists".

Italianpaintings.org. N.p., 2017. Web. 7 Jan. 2017.

Farms near Auvers, Vincent van Gogh, 1890

• Classified as a Post-Impressionist, Gauguin

took elements of the Impressionism movement, rejected its limitations, and transformed his work into his own highly personalized style

• Despite the Westernization and colonial corruption of

Tahiti that was occurring at the time, Gauguin still • Views on sexuality during the early 19th century worked to paint the native women in their true forms. were classified by repression and emotional • This piece is often called Gauguin’s “betrayal of Western concealment however the late 1890s saw an narcissism” explosion of conflicting and differing mindsets • While Western interactions with nature are built upon confrontation with the supposedly lesser, natural world, • Author David Sweetman argues that Gauguin’s Gauguin utilized this piece to show a relaxed relationship work serves more than to exploit sex and gratify that one can have with nature; one which works to men’s sexual fantasies, and instead works to establish unity and thus, benefit from nature’s fruits virtuously depict Tahitian women and life • Art critics have become skeptical of the credibility of this artwork and its depiction of the Tahitian land and women • Gauguin, as well as popular male figures such as Pablo Picasso and Ernest Hemingway, were in its true form. Some believe Gauguin may have romanticized and eroticized the island due to his deep interested in the idea of androgyny thus, his trips affinity for its people and desire to expose Western to Tahiti may have been an attempt to society’s cultural shortcomings

DESCRIPTOR C

“decolonize himself not only from the repression of civilized life, but conventional sexual boundaries”

Le déjeuner sur l’herbe, Édouard Manet, 1863

M A K I N G C O M PA R I S O N S & C O N N E C T I O N S A N A LY S I S O F F O R M A L Q U A L I T I E S

• Morimura’s Hand Shaped Earring and Gauguin’s Two Tahitian Women both utilize natural backgrounds to juxtapose the relationship

between man and nature • Both pieces use either fruit or flowers to associate women with the bearers or producers. This further highlights the symbiotic relationship between women and nature • The androgynous qualities found in Morimura’s work aims to produce a hybrid between Frida Kahlo and Morimura himself, while the broad shoulders and slim hips depicted within Gauguin’s work highlight the strength of the Tahitian women • Both works utilize paint mediums in a two=dimensional, rectangular plane Hand Shaped Earring, 2001 • The shading found within each piece aid in defining the women’s facial features Yasumasa Morimura Two Tahitian Women, 1899 • The juxtaposition between the women in the foreground and the natural background Chromogenic Color Print Paul Gauguin create a shallow depth of field, drawing the focus directly to the subjects 133.7 x 108.6 cm.

• the light source within these two pieces produce a

strong focal point on the subjects’ faces

• Both works focus on one central figure in order to

draw the audience’s attention to their dominant role within the piece • As exhibition pieces, the works transform into staged photographical works as they utiize strong intentional lighting • The immaculate intention to detail employed by both

artists allow symbolism to be created within the Louis Vuitton Shawl of Morimura’s piece, and Mueck’s work to take on a more hyperrealistic form

• Morimura’s use of heavy makeup, painting, and

chromogenic printing tehcniques establishes a sense of ambiguous reality that mirrors Mueck’s hyperrealistic sculpture

• The combination of artistic mediums (paint in

Morimura’s work and clay & fibreglass in Mueck’s work) and natural elements (Morimura’s human subject and Mueck’s use of horsehair) aids in juxtaposing the realism aspects with the abstract, exaggerated characteristics

• Both works are static, stationary pieces, possessing no

implied movement so as to direct the audience to the focal point - the subject’s face and her subtle expressions

• The female subjects in both works are presented almost

fully covered from the neck down in order to eliminate distracttion from the main feature, their faces

DESCRIPTOR D

Oil Paint on Canvas 94 x 72.4 cm

• the staple colors of green and warm earth tones

establish a natural environmental setting that establishes the unity between woman and nature

• Both images are comprised of solid color palette’s

• all three works consist of female subjects with facial features that

portray pensive expressions and give off a serious atmosphere

• the works utilize close up portraiture to draw focus directly to the

female subjects depicted within each image

• the lack of people within the background and use of solid, organic

shapes, creates a shallow depth of field

• in each image, the hair of the female subjects is presented away from

the women’s faces in order to omit distractions from their strong, somber expressions • the draped cloth depicted around the women’s body with the repetition of curved lines hides the figures of the subjects so as to prevent the sexualization of the female body

• the titled angle of the subject's faces create a partial profile of the

women’s faces thus, establishing a sense of their disconnect from reality and the artwork itself

In Bed, 2005 Ron Mueck Polyester Resin, Fibreglass, Horse Hair, Cotton 161.9 x 650 x 395 cm

which leaves less room for interpretation in features other than the woman themselves

• The hand and positions of the female subjects

establish a mood in which they are lost in thought and possibly unaware of their surroundings • The hand and positions of the female subjects establish a mood in which they are lost in thought and possibly unaware of their surroundings • The use of full body portraits gives the audience a

deeper look into the situation of the women; in Gauguin’s work the women may be gathering food and supplies, while in Mueck’s work the woman may have just ended a long day and is contemplating issues she is worried about

• Both artworks dispel Western ideals of beauty;

Gauguin’s work utilizes the strong arms and wide hips of the Tahitian women while Mueck employs large dimensions to create a woman larger than life size

• The light color palette involving Gauguin’s use of golden yellow

and pale blues and Mueck’s monochromatic use of white establish a sense of purity or innocence

• The solid structure found in Gauguin’s use of continuous solid

lines to outline the two women and Mueck’s concrete clay sculpture add a sense of structure and rigidity both to the artwork as a whole and the women themselves

• The asymmetrical layout of the painting is created through the

tilting of the subjects’ heads and the position of their bodies, particularly their arms, which establish a subtle imbalance within the piece

M A K I N G C O M PA R I S O N S & C O N N E C T I O N S I N T E R P R E TAT I O N O F F U N C T I O N & P U R P O S E

• Both works explore cultural representation; Morimura utilizes famous celebrities to find common ground with his audience while Gauguin

fulfills the misguided representation of foreign women to the Western world • While both artworks did not aim to give off any sexual connotations, Morimura’s piece indirectly does this through his own reflection of the female form through the union of himself and Frida Kahlo, while Gauguin’s use of nudity and strong, defining features of the Tahitian women evoke a sense of allure and curiosity • The artworks serve as a platform to explore and question cultural and societal beliefs regarding identity and the foreign world • Both pieces are just one work in a collection of artwork; Morimura’s Hand Shaped Earring Hand Shaped Earring, 2001 is one of 15 self portraits in An Inner Dialogue with Frida Kahlo while Gauguin’s work Two Yasumasa Morimura Tahitian Women is 1 of at least 5 in the Tahitian Women narrative which unfaithfully Chromogenic Color Print Two Tahitian Women, 1899 documented his time on the island 133.7 x 108.6 cm.

Paul Gauguin • The artists take bold, controversial approaches to the historical

• Both works are characterized by the Post-Modernism

movement, in which the artists use their art to question cultural norms and explore styles such as Morimura’s use of both 2-D and 3-D mediums and Mueck’s application of hyperrealism

• Both Morimura and Gauguin were famed for their

unique artistic styles. While Morimura utilized celebrities to explore sexual and cultural appropriation, Mueck added a whole new level of “realism” to the human form

• Because Morimura was taught by Western artists and

Mueck himself is an Australian artist, both works explore the identifiably Western concepts of imbalanced mental states and identity crises

• While Morimura’s work was said to be an attempt at

“reviving art” that had lost its meaning due to countless reproductions, Mueck’s work can be said to add a new twist to the 18th century Realism Movement through his alarmingly accurate depiction of the human body • Both works capture a state of self-consciousness; Morimura uses the female subject’s direct eye contact with the audience while Mueck establishes the female subject’s contemplative expression • The words attempt to make the audience forget

about human subjectivity; Morimura through his combination of digital photography and painting, while Mueck pays immaculate attention to detail with his use of polyester resin and fiberglass

DESCRIPTOR D

aspects of their portraiture, especially Gauguin who claimed the myth of his depicted Tahitian island paradise to be true

• The aim of all three artworks revolve around accurately depicting life;

whether that be literally in Mueck’s work which focuses on the human form, or figuratively through Morimura’s interpretation of sexual identity and Gauguin’s portrayal of native Tahitian women • The works stimulate controversial discussion on the way in which art can be used to explore deeper themes of identity, self-revelation, and cultural differences • All three works can be seen as a narcissistic act by the artist to reveal their own desires; Morimura places himself at a status similar to that of Frida Kahlo, Mueck tries to redefine the typical depiction of the human body, and Gauguin creates his own idealized reality of Tahiti

Oil Paint on Canvas 94 x 72.4 cm

• According to art critics, both can be defined as “clever,

yet effective knockoffs.” Morimura’s work appropriates the art of Kahlo while Gauguin adds his own interpretation of native Tahitian women

• Both works focus solely on one medium, Gauguin’s on

painting, which adds to the evasive nature of its historical context, and Mueck’s on sculpture, which allows him to develop intricate detailing of the human body

• While Mueck struggles to accurately represent life

within his sculptures, Gauguin channels the other end of the spectrum portraying a romanticized depiction of • The audience plays a crucial role in all three works. While Morimura foreign life in an attempt to highlight the downfalls of provokes discussion on gender and sexual identity, Mueck plays on Western society regarding their narcissistic tendencies the audience desire for self-representation in art, and Gauguin’s work • Mueck claimed that he “just wanted to make [people] actually motivated discussion on the world outside of the West that ordinary,” by including their wrinkles and age spots critiqued his work, but mainly stimulated Westerners to reevaluate which is very similar to Gauguin’s attempt to depict the their own artwork solid form of the Tahitian women with their broad shoulders and child-bearing hips In Bed, 2005 • While Mueck disregards verisimilitude through the scale of the Ron Mueck artwork (larger than life-size), Gauguin does so through his Polyester Resin, Fibreglass, Horse diversion away from reality and historical accuracy Hair, Cotton

161.9 x 650 x 395 cm

• The artworks rely on the human body to create a relationship

with the audience based on mundane similarities in regards to figure and form • Both artists provided little commentary on these particular works, instead letting their beliefs transcend the pieces. While Mueck aimed to explore the relationship between artwork and audience, Gauguin’s work is a culmination of his time in Tahiti and eternal love for nature and foreign nations

M A K I N G C O M PA R I S O N S & C O N N E C T I O N S E V A L U AT I O N O F C U LT U R A L S I G N I F I C A N C E

• Appropriation, in a historical standpoint, is used to subvert domination of one cultural power over another. While Morimura does this

through his appropriation of Western celebrities, Gauguin’s actions are more subtle, in the sense that he creates his own romanticized version of Tahitian life • Both works capitalize on Western influence in conjunction with their own artistic intentions to produce work that showcases the conjoining of their personal background, Japanese and French respectively, with that of Western cultural ideals and values • The cultures of Morimura and Gauguin were both heavily Western-dominated and thus incorporate appropriation techniques to explore the influence of powerful political figures in multicultural art • Both works relied primarily on the media and society as inspiration for their work: Morimura’s Hand Shaped Earring, 2001 work is a commentary of iconic figures in history while Gauguin’s is a critique on Western Yasumasa Morimura standards of beauty Chromogenic Color Print Two Tahitian Women, 1899 • The works can be classified as a “betrayal of Western 133.7 x 108.6 cm.

Paul Gauguin narcissism” due to the fact that they refute the idea that Man is Oil Paint on Canvas • As 20th century artists, Morimura and Mueck rely on the in control of Nature, instead highlighting the mutualistic 94 x 72.4 cm Post-Modern characteristics which involve using art as a relationship that occurs between the two systems platform for social and political commentary • Through the use of realism, Mueck and Morimura are

• All three artists draw inspiration from their daily lives and transform

• Within modern art, a key factor relies on shocking the

• The artworks coincide with new rising mentalities which revolve

able to use depictions of everyday life to question the traditional value systems and seek new truths audience or stimulating controversial discussion.

Morimura does this through his commentary on the taboo topic of transsexualism while Mueck rejects the ideology behind the ideal human form

• Both works take an alternative approach to the

Renaissance style, instead employing Humanism which challenged the belief that the church should decide ones truth, moral, and behaviors

• In attempt to “reawaken” their respective audiences,

Morimura questions the definition and guidelines of what it means to be a woman while Mueck propels his audience back to a childlike sense of naivety and ignorance

• Both works use grand dimensions, Morimura’s work (59

x 47.25 inches) stands at roughly life size in an attempt to make female subject an equal to an individual audience member while Mueck dwarfs his audience with his sculpture that is 1.6 metres high, 6.5 metres long and 4 metres wide

the interactions they have with people and their surroundings into commentary for the greater society around controversial topics during the modern era

• A challenge of the accepted ideas and values of their time, each

piece analyzes their respective societal norms through the use of an introspective female subject

• The commentary on colonial corruption is a key underlying factor

within each artwork as the artists attempt to reject Westernized standards and beliefs regarding beauty, sex, and outsiders.

• All three pieces have been created by male artists and thus possess

very diverse approaches to femininity and feminism as a whole, as can be seen through Gauguin and Morimura’s underlying sexualization of the female body

In Bed, 2005 Ron Mueck Polyester Resin, Fibreglass, Horse Hair, Cotton 161.9 x 650 x 395 cm

• Neither artist had formal training; Gauguin began painting

in his free time as a stockbroker while Mueck progressed from his work in the film industry • Both contrasted the intense realism of the ancient Greeks which attempted to portray the human body in the divine form intended by God, instead Mueck and Gauguin work to create accurate depictions of the human body • The artworks rely on the 19th century naturalism

movement to create anatomically true portrayals of the female body; the works as a whole serve as a commentary and rejection of the idealistic characteristics of Romanticism

• Both works utilize the desire to expose Western

shortcomings; Mueck highlights the issue of mental health while Gauguin’s piece comments on the Western’s unattainable beauty standards and ignorance of the foreign world

• While Gauguin’s work coincides the rise of feminism during this time

period and thus explores the relationship between Mother and Nature, as well as Female and Society; Mueck’s work goes a step beyond to comment on the relationship between The Individual and Society

• During the 19th century, views on sexuality during the early 19th

century were classified by repression and emotional concealment, however Gauguin’s shows the transition into differing mindsets

DESCRIPTOR D

M A K I N G C O N N E C T I O N S T O O W N A R T- M A K I N G PRACTICE Morimura’s Hand Shaped Earring and Blank Slate Blank Slate utilizes paint, namely acrylic, in conjunction with complimentary colors, to emulate the surreal atmosphere portrayed in M o r i m u r a ’s artwork W h i l e M o r i m u r a ’s work aims to depict the relationship between subject and nature, I utilized warm colors within Blank Slate to expose the tranquil state of the subject presented within the painting Here, the placement of the hand over one eye attempts to establish a disconnect with the audience that forces them to create a relationship with the painting based on its entire composition. This artistic decision was a reflection of Morimura’s positioning of the subject angled away from the audience which thus enticed them into taking a closer look at the environmental background Like Morimura’s Hand shaped Earring, Blank Slate is an exploration of identity. While Hand Shaped Earring, explores gender identity in the context of transgenderism, Blank Slate aims to expose one’s inner character through the use of colors and a portrait image.

DESCRIPTOR F

Inspired by Morimura’s use of bold colors to redefine the image of Frida Kahlo, Blank Slate uses red and blue hues to establish a calm atmosphere while conveying the sadness of the subject.

Hand Shaped Earring, 2001 Yasumasa Morimura Chromogenic Color Print 133.7 x 108.6 cm.

In the same way that Hand Shaped Earring contrasts an overly-saturated Morimura-Kahlo fusion with the natural setting, the dark cobalt background of Blank Slate juxtaposes the warmth of the subject’s face in order to heighten the subtle intensity of the overall mood.

Within the 21st century, identity has continued to transform into an i n c r e a s i n g l y c o n t ro v e r s i a l t o p i c , prompting artists to explore all aspects of life surrounding the purpose of the individual in the context of their environment.

When experimenting with the design of facial features of the subject, I attempted to create the same androgynous makeup of Morimura’s subject in Hand Shaped Earring. As Blank Slate is meant to be a piece which connects to all audiences regardless of gender, I felt it was important to create a portrait of an individual that all people could relate to.

[Cropped Image] Hand Shaped Earring, 2001 Yasumasa Morimura Chromogenic Color Print

For this piece it was important to consider not only the physical characteristics as they stood alone, but also the emotion they would convey collectively. I experimented primarily with the shape of the eyes and placement of the hands to create a painting that would be engage and elude the viewer.

M A K I N G C O N N E C T I O N S T O O W N A R T- M A K I N G PRACTICE

Mueck’s In Bed and Face-to-Face

Face-to-Face is a continuation of Blank Slate which transforms the portrait painting into a stop motion animation. The combination of painted faces and the transition between subjects played on loops, the piece further explores inner identity on the basis of the idea that humans are all connected.

Like Mueck’s In Bed, Faceto-Face exaggerates one’s physical identity by painting the face of the subject to establish a surrealistic atmosphere.

In the same way that Mueck uses hyperrealism to redefine the human body, I utilized acrylic paint on the face of my subject to overly saturate facial features that are most commonly used to define one’s physical identity.

The deep contemplative state with which Mueck’s subject is consumed juxtaposes the monotonous expressions of the individuals within Face-toFace. As the subject’s uncover their new identities, their expressions remain the same so as to establish a sense of unity.

The colors used in In Bed rely mainly on a white palette to symbolize a sense of purity and innocence. On the other hand, Face-to-Face aims to both exaggerate and romanticize the concept of identity. I channeled the work of Tim Burton by changing the opacity of the images to create a faded, bleak setting.

In Bed, 2005 Ron Mueck Polyester Resin, Fibreglass, Horse Hair, Cotton 161.9 x 650 x 395 cm

Both In Bed and Face-to-Face employ modernist techniques to create works that utilize the “shock” factor to engage the audience. In my artwork, I attempt to cast a new light on what it means to be human by “peeling” back the layers of one subject to establish a new individual, or identity.

A Girl, Ron Mueck, 2006

DESCRIPTOR F

https://www.pixtastock.com/ illustration/16971716

Inspired by Mueck’s use of multiple medias involving horsehair, clay, and fiberglass, Face-to-Face incorporates acrylic paint in combination with digital media manipulation using Final Cut Pro.

While the artworks differ in artistic medium, both pieces utilize hands as key factors to uncovering the atmosphere.

Mueck’s work creates a pensive mood while my work aims to establish a more fantastic state.

M A K I N G C O N N E C T I O N S T O O W N A R T- M A K I N G PRACTICE Gauguin’s Two Tahitian Women and Negative The third and final work within the inner identity collective, Negative captures the act of one ripping away there outer layer to exposes their true character. The title of the piece is a play on the photographic terminology for black and white film negatives, which are essentially the most raw form of an image. Negatives expose the hidden areas of an image in the same way that this piece attempts to reveal the hidden aspects of an individual.

When experimenting with the angles in which I would position my subject within the final piece, I worked to contrast Gauguin’s style by taking direct portrait shots which strengthened the connection between the subject a n d v i e w e r, w h i l e a l s o heightening the tense atmosphere.

Negative attempts to emulate Gauguin’s post-impressionistic style, characterized by the rejection of the observed world and instead, implementation of symbolic and personal meaning within an artist’s work. In this way, I use color within Negative to portray the materialization of inner character. For me, the placement of blue on the subject’s face and underlying layer of fabric is meant to show the seeping through of one’s true feelings onto the surface.

Arearea, Paul Gauguin, 1892

Inspired by Gauguin’s incorporation of the natural environment, Negative utilizes S w e d e n ’s w i n t e r landscape taken during December of 2017 to establish a cool, distant atmosphere.

DESCRIPTOR F

Both Two Tahitian Women and Negative utilize a shallow depth of field to draw attention directly to the subject in the foreground. In addition, the organic natural shapes, symbolize the connection between man and nature thus strengthening the concept of collective identity.

Two Tahitian Women, 1899 Paul Gauguin Oil Paint on Canvas 94 x 72.4 cm

Like Gauguin and many other PostImpressionists, the work relies on establishing a relationship between color and shape. The ragged cuts within the fabric of the subject’s shirt creates a haphazard effect to symbolize the messiness and reality of trying to discover and establish one’s identity.

BIBLIOGRAPHY Hand Shaped Earring - Yasumasa Morimura • http://www.fridakahlo.it/en/morimura.php • http://collections.artsmia.org/art/109149/an-inner-dialogue-with-frida-kahlo-morimura-yasumasa • http://www.artnet.com/artists/yasumasa-morimura/an-inner-dialogue-with-frida-kahlo-hand-shapedn54PHUZ5gYha-4fvjTddxA2 • http://www.luhringaugustine.com/exhibitions/yasumasa-morimura4/press-release • https://etd.ohiolink.edu/rws_etd/document/get/bgsu1363520942/inline • http://www.nytimes.com/2001/09/21/arts/art-in-review-yasumasa-morimura.html In Bed - Ron Mueck • http://www.sculpture.org/documents/scmag03/jul_aug03/mueck/mueck.shtml • http://www.independent.co.uk/arts-entertainment/art/features/artist-at-work-inside-the-workshop-of-ron-mueck-creator-ofeerily-lifelike-sculptures-8567614.html#gallery • https://www.nationalgalleries.org/whatson/exhibitions/ron-mueck/about-the-artists-technique • http://www.thewhitereview.org/art/making-them-ordinary-ron-muecks-art-of-the-uncanny/ • http://www.theage.com.au/news/entertainment/arts/arts-reviews/ron-mueck/2010/02/02/1264876022556.html • https://www.nationalgalleries.org/whatson/exhibitions/ron-mueck/highlights-4464 Two Tahitian Women - Paul Gauguin • http://www.metmuseum.org/toah/works-of-art/49.58.1/ • http://www.actingoutpolitics.com/paul-gauguins-two-tahitian-women-1899-femininity-mediated-by-gentle-intelligence-andhuman-bodies-outside-appeal/ • http://www.actingoutpolitics.com/paul-gauguins-two-tahitian-women-1899-femininity-mediated-by-gentle-intelligence-andhuman-bodies-outside-appeal/ • http://www.theartstory.org/artist-gauguin-paul-artworks.htm • Sturma, Michael. South Sea Maidens. 1st ed. Westport, Conn.: Greenwood Press, 2002. Print.

• "Two Tahitian Women, 1899 By Paul Gauguin". Gauguin.org. N.p., 2017. Web. 7 Jan. 2017.

• "Gauguin's Nude Tahitians Give The Wrong Impression". NPR.org. N.p., 2017. Web. 7 Jan. 2017.

GALEK My body of work has thematically evolved and as a result the theme of ignorance in the digital age has become the underlying idea in my pieces. Artist such as Ron English and his idea of POPaganda inspired me to create pieces that can reach out to a broader audience, but still functioning to make them reflect on the effects of media on their lives. This topic is relevant especially since media plays such a large role in today's society and how we Millennials, are the first generation fully immersed in social media. I explored the effects of mass media, propaganda, lack of individuality and finally ignorance behaviour people cannot break free from. I began IB Art stronger in watercolor but then began exploring different mediums and slowly began became stronger in ink and illustration works.

My first three pieces, “T.V Time”, “Animation Time” and “T.V

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TV time, Digital vector illustration, 63 x 71 cm , January 2017

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TV Time 2, Cardboard and Apple Ipad 2, 0.54 second (on loop), January 2017

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TV Time 2 (Stills and detail) , Cardboard and Apple Ipad 2, 54 seconds (on loop), January 2017

Animation Time, Apple Ipad 2, 12s econds (on loop), December 201

Animation Time ( Detail) Apple Ipad 2, 12s econds (on loop), December 201

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Static Eyes, Digital photography printed on gloss paper, 60 x 100 cm , January 2017

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Static Minds, Digital collage photography printed on gloss paper, 81 cm x 111 cm , January 2017

Static Minds (Detail), Digital collage photography printed on gloss paper, 81 cm x 111 cm , January

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My Favourite Show, Digital collage printed on gloss paper, 25.5 cm x 54 cm, February 2017

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Holiday Special, Cardboard, acrylic paints, black PITT artist pen, 15 cm x 16 cm x 29 cm , January 2017

Holiday Special (Detail), Cardboard, acrylic paints, black PITT artist pen, 15 cm x 16 cm x 29 cm , January 2017

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My Favourite Channel , Digital collage printed on gloss paper, 25.5 cm x 54 cm, February 2017

The Birth Of Likes , Black and coloured Faber Castell Ink pens, white cartridge paper, black cartridge paper, February 2017

The Birth Of Likes (Detail) , Black and coloured Faber Castell Ink pens, white cartridge paper, black cartridge paper, February

Critical Investigation Modern culture and social development These past few decades has changed and improved how we keep connected to our friends, families and other parts of the world. It has become faster, better and easier. The development that has occurred is so powerful, that now we have data and information at the tips of our fingers. However, with this development many changes have occurred in terms of how societies work and how societies want people to act like. It is now very uncommon to not own a cellphone, or have a social media profile. People use their technology as a means of escape from real life connections with real people. People decided to let the mass media they see thought their technology dictate how they should think, especially since the age at which this technological exposure occurs is very young.

Through this thought process, I decided to investigate artists and themes related to mass media and technology.

Stylistic choices Artist that have explored these themes are Jean-Michel Basquiat, Roy Lichtenstein and Andy Warhol. In investigating their pieces, I have found that the style I would like the emulate is a pop art style. The solid colour and line art makes it easier to distinguish shapes and images, thus making the overall message of the art easier to understand as well. The style also looks more modern which would tie into the theme of technology.

Pop Art Pop art is an art movement that emerged during the 1950s in Great Britain and in the United Sates later on during the 1950s. Commonly associated artworks of this movement are the works of Andy Warhol, Roy Lichtenstein, James Rpsenquist etc. The movement reinforced the imagery from mass media and popular culture, which was a large shift towards modernism. Pop art has been utilised as a method of advertising and used as a style in comic books as well. One of the aims of the movement was to use common popular items, emphasising the kitschy elements of culture. The movement is seen as similar to Dada, due to its use of common objects. The movement is one of the earlier examples of postmodern art.

I decided to explore this movement considering its common simplistic style and the use of this style to relay a message to the audience. An example of a piece from this movement I found interesting was Andy Warhol’s Campbell’s soup Cans. The use of recognisable objects and focusing on mass production is an idea that I would like to recreate in my art as well. Linking it back to modern culture and social development, I wanted to bring on the idea of mass reproduction of ideas and actions.

How commodities are now easily recognisable and we do not take a second glance anymore.

The more you see, the less sensitive you are to it.

http://www.theartstory.org/movement-pop-art.htm

https://en.wikipedia.org/wiki/Whaam!

In Roy Lichtenstein’s piece “Whaam!”, we can see that he utilises the iconic features pop art has. That is, dark exaggerated lines, bright colours. The details creates a lasting memory in the audience’s mind as the bright colours also shock the audiance. https://en.wikipedia.org/wiki/Crying_Girl

In Roy Lichtenstein’s piece “Crying Girl”, is another piece from which I would like to take stylistic inspiration from. This artwork has less details than “Whaam!” however, we can still see that the lack of detail does not take away from the image and what the artist is attempting to portray. lxxxiii

The artist I took the most inspiration from in terms of the themes and messages I wanted to portray were artist Steve Cutts. The Uk based artist is an illustrator and animator. His style is based off of cartoon from the 1930s and 40s and his work criticises the excess of modern society.

The artist created a video for music artist Moby called “Are You Lost In The World Like

Me”. The video has a similar theme to what I would like my piece to be about. It portray’s the world full of people who are constantly on their phones. This is significant to my piece as it has similar themes and styles that tI would like dot emulate. https://www.youtube.com/watch?v=qlQ79z5quVw

https://www.youtube.com/watch?v=qlQ79z5quVw

https://www.youtube.com/watch?v=qlQ79z5quVw

Here, the artist represents people who are so engrossed in their phones, they fall into a manhole. Though the animation does not have the bright colours of pop art that I would like to use, the underlying message of the animation is very clear and strong.

Throughout the animation, the artist utilises fast paced flashes of images to create a sort of brainwashing effect. This would be something I would like to utilise in one of my pieces.

The artist has created many similar pieces which are not a n i m a t i o n s h o w e v e r, t h e animation strengthens the idea by creating a visual that keep the audience captivated and gives added content that the artworks which are not animations could not provide.

In this way, I would also create an animation based off of my still illustration artwork to strengthen the message.

http://metro.co.uk/2015/08/26/artist-illustrates-modern-day-lifeand-its-terrifying-5360687/

The piece above is another one of Steve Cutts artworks titled, “Happy Halloween”. This one is much more detailed than his animation and depicts zombies on their phones with the function of comparing people to zombies, as they are so engrossed on their phones. This idea of brainwashing is something I would like to incorporate in my work. http://metro.co.uk/2015/08/26/artist-illustrates-modern-daylife-and-its-terrifying-5360687/

Just as in “Happy Halloween”, Cutts utilises different tones in his pieces to create greater contrast and to bring the focus to certain parts of his illustration. In “Owned”, we can see a hierarchy of who owns whom, and in this case it is the phone that owns man. This method of very obviously showing the audience the theme is something I will use in my piece as well as the use of contrast to bring focus to my works of art.

I decided that I wanted to portray the effects of media in my first artwork. For this artwork, I knew that I wanted to use the element of the television to represent the media and a person watching the television to help portray the strong effects the media has on out thinking. sketches from my sketchbook

I began by looking The first row consists of a at different angles boy watching the tv. at which I could portray my final piece. I made three rows of ideas with Here, I added an exposed a similar central brain to the boy’s head. idea to it, however each row has different elements In the last row, I added tubes added to it.From that ran from the boy’s head, these, I decided to into the tv. choose the bottom right idea.

After I decided at what angle I want my subject in my piece to be in, I explored what other items I could add to the piece. This included how I would depict the tv and smaller items that I could place around my subject. I later on decided that these smaller items would take away from the main focus of the piece as a whole so, they were removed. sketches from my sketchbook

sketches from my sketchbook

Communication of Ideas and Intentions

Final Sketch

sketches from my sketchbook Deciding my background was a relatively easy process as I wanted to follow the style of pop art where mostly solid colours are used. However, I would be adding a larger quantity of shading to my piece. As focus of my subject is a running theme to planning my art, I decided to have darker edges to my piece and a lighter centre. This would add even more focus to my piece.

sketches from my sketchbook For my piece, I decided that I would depict a boy watching television with no signal that represents the unless unstimulating content the media sometimes portrays and the aspects of consumerism that comes along with it. The tubes running from the television to the boy represents the huge affect and role the media has on our lives.

Planning presentation I then proceeded to plan how I would be presenting my final piece during the final exhibition. In order to do this, I sketched out the following ideas. sketches from my sketchbook Inverse colors

Normal colors

The piece as sketched above.

Inverse colors

Normal colors

Normal colors

I then explored what I could have on the tv screen in my piece. I drew small sketches of tv with inappropriate items on it, violent items on it, hypnotic images on it and lastly a tv with static on the screen.

I decided to use the tv with static on the screen as it, once again brought more focus to the subject of the piece. I realised that there are different types of static that a tv has, which I will be further exploring with I explore the colours of final piece.

Idea 1: the piece by it self, printed out.

I decided that Idea 1 would not have the necessary impact that I want to portray from this art piece.

The other ideas would present the topic in a more interesting fashion.

However, having the simplest version of the final piece would allow for the viewer to understand the easier.

Idea 2: The piece cut in half with one half having normal colors and the other half having the inverse colors.

Having the inverse colours of the pieces would allow for more focus towards the piece and would look for aesthetically pleasing, due to the nature of the lines used in the piece.

There fore, I had decided to use idea 3 for presenting my artwork, however instead of using two normal pieces and two inverted pieces, I would use 4 normal pieces due to time constraints. This would also add to the theme of mass production which would strengthen my theme of mass media and consumerism as a whole. The piece will be titled “TV Time”.

Inverse colors

Idea 3: the piece printed out four times with two having normal colors and two with the inverse of those colors.

Idea 3 would present the most reputation of the idea of the piece than Idea 2 or 3. The use of single images with either normal colours or inverse colours would help the view understand the piece just as idea 1 had done.

Final presentation of piece

Skills For my exploration of skills, I decided to primarily focus on the different types of line drawings and different methods of shading that I could apply to a pop art   concept. This included many experimentation with different Continues Line Counter, Hatching, Stippling and experimentation with different tools.

Drawing skills

For the exploration of the different skills I could use for art piece, I decided to look into the different methods of shading with lines.

Hatching Hatching

Cross Hatching Cross Hatching

Continues StipplingStippeling

Continuous line line

sketches from my sketchbook

After looking at the different methods I could shade and draw out my final piece, I began to use them by drawing primarily faces and figures. This would help me finalise how I would be creating my art and with what technique.

For the use of ink and pen, I experimented with continuous line contouring and cross contouring. I used an example of Matt Louscher’s cross contour of a shell.

My first few pieces were Felt tip pen done with felt tip pens which turned out to be quite difficult as the ink would blot if I did not draw fast enough.

Felt tip pen I experimented with smaller tips, however Felt tip pen the blotting still occurred. I then decided to use ball Ball point pen point pens instead.

I had much more control Ball point pen and I could draw much slower as well.

Felt tip pen

http://www.studentartguide.com/ articles/line-drawings

Pens I used

Ball point pen

However, I liked the lines that the felt tip pen created, so I began experimenting with thicker lines and techniques such as stippling for shading. I liked the overall look of the piece, I however thought it looked too messy.

sketches from my sketchbook

I began with using only pencils with different graphite intensities. In terms of using graphite, the shading was very easy especially due to the different levels of intensities that I could use. With the sketches above, I used a mechanical HB pencil in order to create a basic lines and shape of the face and went on top of it with softer graphite (3B and 6B) for shading. I realised that I should have done the opposite and began with softer graphite first.

sketches from my sketchbook

In the next few sketches, I began with the softer graphite and worked my way to the hardest graphite to solidify lines and create sharper shapes. This worked very well, however the pop culture style that I would like to emulate in my piece would be difficult to do with graphite. Therefore, I moved on to experimenting with pen and ink instead.

Felt tip pen

I then experimented with only dark lines that would look mush cleaner and more like the pop art technique that I wanted to emulate. The different sizes of felt tip pens also helped make the lines much cleaner and made adding detail easier as well. Which is why I decided that the technique I would be using in my final piece would be line drawings with ink.

Pens I used

Ball point pen

Techniques After deciding the technique I would be using for my piece, I had begun developing the necessary techniques to be able to create this artwork.   I took the different ways of shading I had explored before hand, and used them in larger more detailed experimentation works.

Here I used lines to construct the outline of the girl and used a mixture of stippling and cross hatching as a means to shading. This gave me a very specific type of shading which gave me a nice gradient, however did not give me the pop art like look I wanted. The result turned out to be more realistic than the cartoon like style I wanted my final piece to have.

sketches from my sketchbook

I then began experimenting on my techniques with much less detail to create a more pop art inspired piece.

I first began with sketching a very basic sketch of an object (a flower in this case) with very bold lines. This look more like the style that I wanted in my fi n a l p i c e h o w e v e r , a s mentioned the lines were not done as well as I wanted them to be. I decided that I would use an application on this sketch to see if the lines became clearer.

Picture taken by myself

sketches from my sketchbook

The pens I used for my sketch were mainly from the brands Staedtler and Faber Castell.

I contemplated using Adobe Photoshop to trace my sketch, however I decided that Adobe Illustrator would be a better option as I would be able to use the function “Image trace� which would automatically trace my image. I learned that Adobe Illustrator also uses vectors instead of pixels which allows for a much clearer end result compared to a work made in Adobe Photoshop.

I had previously created a infographic on Illustrator that turned out quite successful. I found that Illustrator was reasonable easy to understand.

The sketch I created on the left has uses bold lines and stippling that creates a much more simplistic piece that is much closer to what I wanted to achieve in m y final work. However, I decided that it was still too detailed.

I noticed that even if I made even lines very well of the paper, it was very difficult to get the lines as bold as I wanted them to be. This is when I began to consider using an application to make my sketches into illustrations instead.

sketches from my sketchbook

I decided that my final work of art would be created in vectors on the application Adobe Illustrator.

Illustration made by myself

Process

images taken from my process

In order to create my final piece, I first sketched out the outline of my piece. I took the plans I had created previously and created my piece on paper using graphite first to reduce the mistakes I could make later on. I then went over the lines with black markers and drawing pens. I began with thinner

lines which I later on realised was too thin so I drew them to be very thick and smooth lines. This was to emulate the pop art like style from the previous pieces I had studied from that movement.

After creating the first sketch, I then decided that instead of creating the final piece physically, I would do it digitally.

Therefore, I decided to use the application Adobe Illustrator CC 20135. This was because when I decided to print out the final piece, I would be able to print it out at in the size that I want to without it being blurry because of its vector nature.

This would make it much easier during my final exhibition.

Wacom Tablet I used The use of the Wacom table helped speed up the process of filling out the colours in my final piece as well as editing it further and cleaning up minor details in the piece. I have been using the Wacom Table for a few months to get used to the stylus and the tablet sensitivity. The tablet in general has been very useful for pieces that I might have wanted to clean up and when I wanted to use Photoshop or Illustrator.

Original sketch

The most comfortable position when using the tablet is when the tablet is in line with the laptop. This is due the fact that the table mirrors the screen and having the tablet parallel to the scene eliminates any awkward positions and errors when using the tablet.

Sketch after Image Trace

I began with importing my primary Image taken by myself sketch onto Illustrator and began to trace my image manually. This was a challenge because of my lack of experience using the application itself.

My teacher then recommended the use of Image Trace. This would allow for the application it self to create an outline automatically, instead of having to go Piece o v e r t h e s k e t c h m a n u a l l y. T h e after application created much cleaner and colour is added smoother lines than what I had been creating before.

Image taken by myself The next step consisted of adding the colours in the piece itself. In order to achieve this, I created a different layer in which I used the Curvature Tool to create new pathways.

After tracing separate pathways, I filled the shape I created with different colours. Each shape had to be created separately and filled out separately as well. This was very difficult to do with the track pad on the laptop, so I decided to use a Wacom Tablet instead to speed up the process.

Image taken by myself Shape created with the Curvature tool and filled with the colour planned out previously.

Different layers with the different lines and shapes. This allowed me to edit specific parts of the piece easily.

I then switched the colours in the television screen. This process was much shorter as I had already created pathways and shapes before hand.I had to keep in mind the colours that I was changing them to as I wanted there to be a clear distinction between the previous colours as well. In terms of the background colour, I had decided to leave it white instead of what I had previously planed out.

This is because I believed that any other colour in the Pathways background would remove the focus of the subject it self.

After having created the two main pieces, I then used the pieces to create the way in which I would be presenting my final piece during my exhibition (refer to communication of ideas and intentions) The most challenging part of this process was using the application Adobe Illustrator. This also took the longest time. Even though I had used the application before, I had not learned and understood all the functions the application had. My art teacher helped this process by sharing her knowledge on the application, however it still did not stop me from making mistakes that I did not know how to fix, which ultimately lead me to be very frustrated. The only way I overcame this was being more patient and learning more about the application.

“Static Minds” created by myself

My final body of work will be displayed as it is on the left. The sizes will be 30 cm x 34 cm with a 3 cm gap in between all of the each image. It is called “TV Time”.

I printed the piece on gloss stock paper to make sure the art piece was sturdier and would not tare.

Communication of Ideas and intentions and Processes.

Planning the artwork

Making the artwork

I first began with creating the centre of the collage: The boy watching television. I wanted this piece to be very pop art like and animated so I used bold lines and very bright colours. I used graphite pencil to create a rough sketch which aided in eliminating mistakes.

After making my artwork, “TV Time”, I decided to make a different piece that would accompany it. In this piece however, I wanted to use the skills

and techniques I developed previously with ink pen Illustration.

For this piece, I wanted to take the element of the child watching the television and add elements of “The Birth Of Venus” by Sandro Botticelli together. This piece would have the same themes of “TV Time” with the added elements related to social media.

The most difficult part of this was making the liens even . I began with using thinner ink pens to more thicker pens which helped make the liens better, however it still took patience to create very well. sketches sketches

sketches from my sketchbook

For the planning of my piece, I looked at what elements from “The Birth of Venus” I could take. In my first idea, I looked at only taking the shell of the piece however, I decided that this would leave the piece very empty. I then looked at taking the woman and the angels into the piece. I liked how they would centre the piece around the boy watching television. I finally decided that in order to push my audience to realise my overall message of the piece, I would also have to the aspects of social media.

So, I decided to make the woman and the angels have phones, and place realistic hands in the thumbs up mention to represent Facebook likes.

I contemplated creating my piece on one illustration, however I decided that I would create a collage instead as it would create the most contrast between the two styles used.

Image from: https://en.wikipedia.org/wiki/The_Birth_of_Venus

I chose “The Birth Of Venus” to appropriate because of two reasons. The first one being that I had seen the actual artwork in Florence, Italy with my school and since have wanted to incorporate the styles of the piece into on of my artworks. The second reason is because I want to create an artwork with contrasting elements. I want to portray elements of “The Birth Of Venus” because of how long, historically, these painting took to created and the amount of skill needed to create these paintings.

The child watching tv from “TV Time” which represents consumerism and mass media would create a contrasting effect as the piece also represents how we have lost appreciation for things that take time to create. Most of everything in the world is now mass-produced and the quality of the things have lowered as well.

The repetition of the element of the child watching TV in my exhibition would showcase this theme as well.

from

from

my

my

I then began working on creating the elements of “The Birth Of Venus”. This was much more difficult as there is a lot more detail required for this piece.

I did a few practise runs of the work which helped me understand the shapes, lines and shading needed to appropriate this piece. I practised on cartridge paper as it is much more studier and easier to work with. In order to illustrate the proportions of the elements perfectly, I roughly traced the outlines of the elements and filled in the details later on.

I then created the thumbs up gestured hands on cartridge paper as well, and began cutting out the elements to glue the, all together.

Final Piece “The Birth of Likes” I made sure to line up my pieces before I began gluing them onto the paper to stop any mistakes from happening. I used back paper to create a contrast which draws the audiences eyes towards the white tones in the elements of the piece.

Image taken by myself

I decided to title the artwork “The Birth of Likes” to hint to the audience the message of this piece, which is effects of mass media and mass consumerism, the validity we need from social media to feel accepted and the loss of appreciation for good quality works that take a long time to create.

sketches from my sketchbook

Communication of Ideas and Intentions

Slow

During the creation of “TV Time”, when adding the colours on Adobe Illustrator CC 20135, I found that I could individually un group shapes and remove them individually. This would allow me to add or remove specific colours separately.

Which led me to the idea of creating an animation inspired by Steven Cutts’s animation “Are You Lost in The World Like me”. This piece would be a continuation of “TV Time” and would present the themes in the previous piece, with the added theme of brain washing.

In all of the following ideas, the colours will appear on the screen from a white screen. The order in which the colours will appear will differ from idea to idea and how the piece will be portrayed will also differ.

Idea 1

Idea 2

Slow

Idea 8

Idea 7

Idea 6 Slow

Slow

Fast

Fast

Slow

Fast

Fast

Fast

Fast

Slow

Idea 6, 7 and 8 looked at the different speeds and ways in which I could portray the changing of colours in the animator if there were four instead of one or two. This would tie in the theme of mass production along side the theme of brainwashing. I also thought about having the four screen changing the speeds at different times.

Final idea

sketches from my sketchbook

illustration by myself

Here, I would add colours onto the screen from left to right. The speed at which the colours will appear will be slower and to make the video on a loop, the colours will appear from left to right and disappear from right to left. This idea would keep the animation simple and would not over load the viewer’s eyes. It would however, keep the viewer’s attention to the piece very short and limited. I also decided that I would like to over load the viewer’s eyes as it would further my reasoning behind the piece.

In order to make the animation look “busier” I decided to speed up the changing of the colours of the animation. This would keep the viewer’s attention for longer. This also allowed the stop motion to look like much more of a stop motion animation.

However, the idea would still lack elements that would keep the viewer’s attention for more than a few minutes.

Idea 3

I then look into the idea of having not just one figure in front of the screen but two instead. The two televisions would in in sink and will display same things as well. I also looked at the possibility of having both videos fast.

Idea 5

sketches from my sketches from my sketchbook sketchbook I then look into the idea of having not just one figure in front of the screen but two instead.

The two televisions would in in sink and will display same things as well. I also looked at the possibility of having both videos fast.

When I was planning for this animation, I decided that I would create animations for eight of my ideas and would then decide which one represented my chosen themes the best. I would be using the video making application Final CutPro to create the animations. Due to the fact that I have used the application before, the creation of the animations should not take as much time.

After creating each individual animation for each idea, I had then tested different combinations of ideas to see which one has the best result.

This type of art planning process is very experimental for myself as I usually plan my pieces very well before hand. In terms of this art planning process, I will be improvising very much when finally deciding what animation I will have for my final piece. I think this will be an interesting experience as an artist. The final piece will be titled “Animation Time”

Cardboard IPAD

sketches from my sketchbook

From these ideas, I also decided to create a separate artwork where I would create an actual television set using cardboard. I would be using an IPad screen as the screen of the television, from which I would be displaying another one of animation I created in the process. The piece would be titled “TV Time 2”.

Process

Screenshots form my process

In order to create an animation, I first collected

all the necessary frames. Each frame would have the colours changing on the screen of the televisions from the artwork “TV Time”.

Sample frames from my piece “TV Time”

I then imported the frames into the video making application Final Cut Pro. The Application would allow me to create animations at different speeds and place the frames in different https://en.wikipedia.org/wiki/File: positions of the screen.

2015_Final_Cut_Pro_Logo.png When the frames are made to last for a shorter amount the animation becomes much faster

After I created each separate animation for each idea I had created before hand, I experimented with different combinations of the animation to create a longer animation.

The final animation I decided looked the best was the animation that depicted only two screens changing. The screen on the left would have the colours appearing slower and the screen on the right would have the colours appearing at a much faster place. The changing of colours would made an irregular pattern which would keep the audience’s attention for longer, and would look like a video that brainwashes.

Final Piece Still from animation.

Time

Frames imported

Screenshots form my process

I then created smaller animations for all of the ideas I had developed before hand. I had not taken into account the size of the illustration on the size of the screen. This became the most challenging part as the size of the illustration was not the same as the size of the screen. This created black bars on the side of the screen which I could not change unless I distorted the illustration.

Screenshots form my process

I decided to choose two c h i l d r e n w a t c h i n g t v, because of the way in which I want to exhibit this piece. I would be having an iPad play the animation on a loop and having more than two children watching televisions would make the details look too small.

Stills from animation I had created

In order to learn how to use the material better, I began creating a basic shapes and worked with the measurements of my iPad as well. Through this experimentation, I found that lightly cutting the cardboard made it easier to bend, however made it weaker. I also found that once the cardboard was bent, the support it had goes away and the board then beds in that way naturally. This experimentation helped greatly with eliminating mistakes later on.

When creating the tv, I found that using the already pre made lines and cuts on the cardboard box, instead of creating my own was easier. I began with measuring out the length of the box, and cut out the extra parts. I did the same for the sides until I had a smaller box structure, in the correct size that I wanted my tv to be.

Experimentation done before the final creation of piece.

Process I then moved on to my artwork “TV Time 2”. I first decided what animation I would be using to play on the screen of my iPad. From the process of “Animation Time”, I decided that the animation I would be using for this piece, would be the combination of all the ideas during the process of “Animation Time”, to create a brain washing like video.

The animation is 53 seconds long, and will be played on a loop on the iPad.

I then began creating a smaller version of the tv with normal A4 sized paper, which helped me understand what shapes I would need to cut out in order to make the TV.

I then out out a hole in the middle of the from of the box where I would be placing my iPad screen.

A mistake I made during the cutting process, was cutting on of the sides of the box accidentally. This was easily correct as all I had to do was cut out a pice of cardboard in the correct size and clue it on the side. This made me realise that I should go over all of my actions before doing them to prevent further errors.

Final Piece

Images taken by myself during my process

added extra cardboard on the inside to create more dimension I studied how cardboard boxes are folded and what other techniques I could possibly use for my final artwork.

Images taken by myself during my process

“TV Time 2” created by myself

iPad would be inside as depicted in the image

added buttons and layered cardboard to create dimension

Critical Investigation

I wanted to look at photography for this body of work, so I looked at artist who works with photography I found very interesting, both thematically and stylistically. The artists I found the most interesting were Banksy and Bill Henson.

Napalm, Banksy. Graffii

Bill Henson is an Australian contemporary artist known for his work with dark and light in photography. His more famous pieces of work comprise of single figures in a piece as the main focus with not much detail in the background. He has had many exhibitions in Australia as well as New York, London, Paris, Beijing, Tokyo etc. Some of his influences are considered as broad and not very typical for contemporary artists. They include a variety of painters, writers, musicians and composers. His influences go beyond just being visual and stretch out to the mood and memory of the pieces created. Considering that the piece that we are analysing is a photograph, an inspirational photographer of Henson is O. Winston Link. He was an American photographer who was best known for his work with black and white photographs of steam trains in America in the 1950s. He utilised lighting, low key tone and rich tonal range to create his photographs. Henson “Napalm” by Banksy is a graffiti work by world renowned contemporary artist Banksy. The artist focus on political issues was fascinated by his ability to illuminate a specific scene in his photographs. for his artwork and mostly works in the medium of graffiti. In t h i s s p e c i fi c p i e c e , h e b o r r o w s e l e m e n t f r o m a Untitled #23. Bill Henson, LS SH41 Henson worked alone in his studio, where photograph,“Napalm Girl” by Nick Ut and juxtaposes it with N23. 127cm x 180cm 2007/2008. he printed his own coloured photographs for many years. Very recently, he has begun to iconic mascots from corporations to hint the negative effects print from negative (analogue) to digital these corporations have on us. printing. He still, however uses film cameras. He then further develops the images on photoshop or other programs before finally printing his pieces.

O. Winston Link and his assistant Thom with his lightning equipment.

Napalm bombs in Vietnam: From 1965 to 1967, the US troops used napalm in the Vietnam war. The substance when ignited sticks to anything and burns up to ten minutes. The effects of napalm on the human body are excruciatingly painful and almost always results in death. The original photograph explores the Vietnamese and American relationship during the Vietnam War. Themes of racism, immigration, war turmoil, poverty are seen through his images. ("Napalm-The Vietnam War” Kim Phùc, the napalm girl, had been burned and had tore off her clothes. When she was taken to the hospital, they had determined that her injuries were too sever and that she would not survive. She however, did survive. (Wang, Frances Kai-Hwa).

Untitled #10, Bill Henson. Archival Injet pigment print. 180x127 cm. LS SH176 N25. 2011/2012.

This is significant to my piece because I wanted to take not just thematic qualities of this piece, but also the stylistic qualities. Such as taking the use of darker tones to make a part of the artwork look brighter.

Communication of Ideas and intentions For the next two pieces, I wanted to create a piece where I would portray the person facing the audience instead of watching a television like in my previous work, “TV Time”. I wanted the artwork to display the negative effects of mass media and consumerism. In order to create a transition between my previous pieces, I decided to make one element form “TV Time”, which I would apply to my new pieces. I decided that the best element to take would be the SMPTE bars from the tv screen of “TV Time”, as the element is arguably the focus of the piece. It would also give the piece the stylistic element of pop art sued before hand.

Final Ideas

sketches from my sketchbook

sketches from my sketchbook

sketches from my sketchbook

The ideas I had, focused on replacing a part of the portraits I would be creating. I looked at placing the SMPTE bars over the face of only subject and a group of subjects. I also looked at replacing the face or just the eyes of the subject with SMPTE Bars.

I decided that would be creating two pieces. The first piece would be called “Static Minds”. This piece will be projected onto a wall, and would only have two subjects Who's eyes are replaced with SMPTE bars. This piece would represent the negative effects of consumerism and mass media. It depicts the subjects in a brainwashed state. sketches from my sketchbook The next piece is “Static Minds”. This piece would be a body of work with six subjects with their eyes replaced with SMPTE bars. This piece would allow the a u d i e n c e t o r e fl e c t longer on my message

I liked the idea of of replacing the eyes of the subjects with the SMPTE Bars. I was planning the different ways I could portray the faces and decided that I would have the subjects make funny faces or they neutral faces to represent how the negatives effects of consumerism and ignorance can effect everyday people. I would strengthen this by depicted in “Static Eyes”. This piece would also carry over having the subjects in their natural themes of mass production. It will be printed on gloss card stock paper and will be symmetrical to a certain extent. environment.

Skills and techniques For this piece, I contemplated working with the medium of watercolour, digital illustration on the application Photoshop or   Photography.

I began with experimenting with watercolours. I used layers and water marks to create shapes.

This medium was relatively easy to work with once I knew how to work the watercolour, however I decided that there would be too big of a medium difference between watercolour and the Watercolour created by myself first few art pieces.

Moving on to the medium of digital Illustration created by myself illustration, I have used the application Photoshop before hand and know it at an intermediate level. I liked how clean you could make pieces look and the different layers I could create to make an artwork.

However, I decided that I would use the mediums due to the fact that I had already created a digital illustration piece

I had never had a strong in the medium of photography. To explore this medium, I decided to ask a few of my friends out to take picture of them.

I used a Cannon EOS 1200D camera to take pictures. I found that I wanted to learn more about taking pictures and the different things I need to consider when taking pictures. Thus, I decided I would be working in the medium of Photography.

Photograph taken by myself to practising with exposure 1/50

In order to develop this technique, I had to take more photographs and analyse what I had done correct and incorrect. One of my friend volunteered to teach me the basics of photography which included focus, aperture, exposure etc. I found it the most difficult to manipulate Focus and exposure in my pictures.

Too exposed 1/125

Too exposed Not Focused

Practise photograph taken by myself

Good

Even though I did not want to use the medium of illustration on photoshop, I still wanted to add certain elements onto the photographs that would connect to the theme of my exhibition. I decided that I would be using the application Photoshop to change or edit certain things from my images.

Illustration created by myself So, I began to work with Photoshop more to get more comfortable withe the application and lean the function of it much better as well. This was quite challenging, however I had the help of my art teacher who is knowledgeable in photoshop.

Process I began the process by taking images of my fellow peers who would be my models for my final piece. I wanted to take photos of them in their natural environment so that the message would related back to the effects of mass media and   ignorance occurring in everyday people.

Contact sheet of Images take by myself

Too dark

Practise photograph taken by myself exposure level: 1/15

I was using my friends Canon EOS 5D camera which I had never used before so I took some test shots to get used to the camera itself.

After collecting the raw images, I moved on to editing them in the application Photoshop. Here I realised that I would need to edit all of the pictures in the same way to have all of the final pieces looking a certain way. In order to do this, I found that I was able to record my edits on photoshop and apply them to all of my the pictures so they they all looked the same.

When clicking record, the application would record my each edit I would make and after clicking stop, I Screen shot taken during my process could choose what edits I would like to be applied to An issue that I came across repeatedly was the any of my photos.

Screen shot taken during my process

message of the layer not being available. I did know understand what this meat or what I had to This saved a lot of time and do in order to have the layer available again. I made the process much ended up asking my teacher for help later on, easier. however this issue relates back to my lack of knowledge with the application

Screen shot taken during my process

After editing my images to the correct tone, colour and brightness, I began to remove

their eyes using the eraser tool and replacing their eyes with SMPTE bars. I did this by creating a new labor under the image and positioning the SMPTE bars accordingly.

using the eraser tool to remove eyes

Edited images

Edits on image

Screen shot taken during my process

Eraser tool I then chose the images that turned out the best and organised them into how I would be exhibiting them in

Screen shot taken during my process

Final pieces created by myself

Static Eyes

Static Minds

Before SMPTE bare were but behind layer

After SMPTE bare were but behind layer

Final Pieces The piece “Static Eyes” will be projected onto a wall so that a larger Image can be achieved easily. It represents the negative effects of mass media on people. The piece “Static Minds” is a continuation of “Static Eyes” and is printed on gloss yardstick paper. It carries over the same themes that the previous piece did, with the added theme of mass production.

Critical Investigation

For the critical investigation of these pieces, I decided to look into portraying issues in my artwork inspired by Gallery 11/07/95 and “Family Watching TV” by Gerard Rancinan.

Entrance of the Gallery

http://galerija110795.ba/

Gallery 11/07/95 is a memorial gallery in Sarajevo with the intent to “Preserve the memory of the Srebrenica tragedy and the 8372 persons who tragically lost their lives during the genocide”.

The gallery was composed of the works of two artists along separated by a projection of documentaries on the genocide. The works of the two artists were primarily photography but they works conveyed the genocide in different ways with different themes.

They also had alternative ways of evoking slightly different emotions from the viewers.

When I had visited the gallery, the two documentaries gave me a better understanding about what had actually happened in Srebrenica and what the people went through during that time. The documentary also helped evoke specific emotions as there was more background information to the images captured by the artists. This part of the exhibition made me realise that certain exhibition can also have pieces such as these documentaries to create more of an awareness or to add more background to the piece. This work is significant to my work as it gave me the inspiration for the content of my piece.

Two documentaries: "Srebrenica Memorial Film"

by Lesslie Woodhead and Muhamed Mujkić "Miss Sarajevo" by Bill Carter (movie about life in Sarajevo under the siege) http://galerija110795.ba/

Art style: Pop art Pop art is an art movement that emerged during the 1950s in Great Britain and in the United Sates later on during the 1950s. Famous artworks rom this movement are the works of Andy Warhol, Roy Lichtenstein, James Rpsenquist etc. The movement reinforced the imagery from mass media and popular culture, which was a large shift towards modernism. Pop art has been utilised as a method of advertising and used as a style in comic books as well. One of the aims of the movement was to use common popular items, emphasising the kitschy elements of culture. The movement is seen as similar to Dada, due to its use of common objects. The movement is one of the earlier examples of postmodern art. I wanted to use a pop art like style for these pieces, as it would allow me to bridge the pieces stylistically to my other pieces already created. I would be using bright colours and hard dar lines, which are common stylistic elements from Pop Art

Family watching TV from Wonderful World Trilogy, Gerard Rancinan, 2015. Argentina Print mounted on Plexiglas in artist’s frame 180 x 238 cm.

“Family Watching TV” is an appropriated piece by the artist Gerard Rancinan from “ A Wonderful World Trilogy”. The piece portrays a family wearing masking, eating fast food and eating television. I liked how the artist uses different icons and element to crete one piece.

I liked how the artist utilised bright colours only on the subjects of the artwork and used darker tones to make a contrast against the bright colours.

The artist’s art making process focus heavily on pre-planning which makes the actual photoshoot very short. I took inspiration from this, to plan my next few pieces very well, so that the creation of the piece would be much sorter.

Communication of ideas and intentions Inspired by Gerard Rancinan’s photography works, I decided to create compilation of elements that depicted my theme.

Instead of making a staged photograph however, I would create a collage due to time constraints. I thought about the idea of making a physical collage with magazine and news paper cutouts, however once again due to time constraints I decided not to do this because finding the right images would have taken much longer than what it had taken me to create a digital collage instead.

In my artwork, I wanted to choose a specific issue that people do not know about because of the profits people make from the issue. For example, palm oil is used in many products however, many people seldom know that the methods to produce and grow palm has become very detrimental to the environment and the people working on the plantations, work in very poor conditions. The companies that run these plantations use their power to prevent knowledge of how destructive the plantations are, so that they can keep making a profit from them. This usually happens through the way media portrays the issue.

Tv with media

sketch from sketchbook

actual situation

my

This is my idea for portraying the palm oil industry. The way I wanted to portray all of my ideas was a televisions set on the side of the artwork, with how the media portrays the issues, and with what is actually happening out side of the screen.

sketch from sketchbook

my

Some of the other ideas I had were the issues of world hunger and the wastage of food, destruction of the environment and the treatment of water mammals for entertainment. sketch from sketchbook

my

Final Ideas

The final ideas I to use were one on the fashion industry and the production of their clothing in sweat shops, which would be titled “My Favourite Show”, and the production of roses in developing countries where the working environment is very poor. This piece will be titled “My Favourite channel”. These two pieces will be printed on card stock paper and displayed. sketch from sketchbook

my

I decided that I wanted to do another installation based off of one of the final ideas chosen above. I decided that I would create an installation for “My Favourite show” which would help me show my skills and connect the art making process to “TV Time 2” in my exhibition.

Skills and Techniques To prepare for the final piece, I worked on the study of the human form and photoshop skills. developing my

Figure studies

Before actually sketching forms in movement, I began with actually studying the form itself. In this case, studying the form of a person. I learned that using the size of head as the base measurement, I could measure how many heads down and across a person is before adding the details. This exercise helped me with understanding how to create realistic, proportionate body forms. It also made me look for minute details that I had not realised before such as how one leg of an individual looks different when it is slightly behind the other.

Movement sketches After studying the basic form of the human form, I began sketching human bodies in the middle of performing a certain type of movement. I modelled gymnasts, martial artists etc.

sketch from sketchbook

sketch from sketchbook

my

my

Here, I began with the first sketch. I marked where all the joints of the body were( the circles in the sketch). I was applying too much pressure with the pencil and this made it difficult to alter and correct. The second sketch I used pressure which made it easier to change and made it look cleaner as well. This is when I used a pigment liner to outline the body. The use of varied pressure made the form look more realistic as the thicker lines make certain parts of the body pop more which then gives the illusion of shadows in the lines.

This is a sketch of a martial artist. The first sketch was done lines too thick and the proportions made were not done accurately. When I did the sketch for the second time, I made better lines for the proportions and used less pressure. This made the figure more realistic and as mentioned before, the sketch still looked professional if I had to change something.

Repeating a certain sketch multiple times did make the sketch look better than the previous one. I started getting used to where certain points were on the body and my lines became smoother as well.

Facial Studies

Just as I had started with the drawing of the human form, I began with sketching the proportions of a human face. I measured the basic size of the skull and then placed the eyes, nose bottom and top of the lips etc. This excursus also made me realise how most faces have a general proportion. For example the size of the ears are generally from the eyes to the bottom on the nose. After drawing the basic whole face, I decided to draw individual pats of the human face. sketch from my

I drew the eyes, nose and mouth a few times. Noticing the shading on these parts of the face in terms of where the light was and what the shape of the part was. For example as the bottom lip s more curved and if the lip was hitting the lip directly, the brightest part of the lip would be in the high centre part of lip and the darkest would be edges and the centre lower part of the lip.

sketchbook

I then used acrylic paints to colour in the face. I combined many different tones (starting from the normal skin colour to adding hints of blues, greens, reds and burnt umber) to create the base face colour and the different shades of the face. This made me realise the areas in which the face is usually shaded.

For example the “corners” of the forehead were generally people have shadows. I learned how to create certain skin tones and what colour paints are best for this. I learned that acrylic paint drys very fast and I had to work faster than usual. This allowed me to work faster and finish the piece faster as well. sketch from my These techniques would help to create the 3D piece “Holiday sketchbook Special” Illustration created by In terms of the techniques for Photoshop in “My myself Favourite Show” and “My Favourite Channel”, I had already developed in the process of my previous artworks, “Static Eyes” and “Static Minds”. I developed techniques such that mostly had to do with actually photoshopping images, which would be useful for the processes of “My Favourite Channel” and “My Favourite Show”. I had also created other pieces on Photoshop, with painting tools.

Process Progression of layers Screen shot taken during my process

I began my process by looking for the elements of the pieces online. Having a detailed planning for this helped me find the images faster. I tried to find brighter images so that I could keep the pop art like style running through out my exhibition.

The process of this piece

mostly consisted of isolating certain parts of images using the following tools on Photoshop:

Screen shot taken during my process

I initially found it very difficult to remove parts of the artwork with my track pad so I switched to my Wacom Tablet. The table allowed me to be edit the images with much more ease and precession.

Screen shot taken during my process

Screen shot taken during my process

They helped me remove parts of the image that I wanted specifically. I then layered them on top of each other to create the final image that I wanted.

Screen shot taken during my process

I then merged down the layers of the tv screen, to create one single layer before moving on the the layers in the background.

This allowed me to have a clearer work space on Photoshop.

I created the piece “My Favourite Channel” in the same method as my artwork “My Favourite Show”. This work was created at a much faster speed than the one before because I had become more comfortable with the tools I needed to create the artwork.

Final Pieces

“My Favourite Show” And “My Favourite Channel” created by myself

F o r m y fi n a l p i e c e , I attempted to have a contrast between the image in the television screen and the images on the outside. I did this by making the image inside of the screen much brighter and the images outside of the screen with a darker tone. This would bring focus to the tv screen and would push the audience to reflect on how mass media sometimes bring focus to what they want us to see.

Process In terms of my installation “Holiday Special”, it represents the same themes as “My Favourite Show”, just with the added effect of being a 3d installation. This would allow the audience to to continue their thought process from “My Favourite Show” to “Holiday Special”.

I used cardboard as the primary material so that I would have some stylistic similarities to the piece “TV Time 2”.

The pieces stuck onto the artwork using strips of cardboard

Image taken during my process

I then moved on to cut out the other separate pieces needed. I used cartridge paper as it was harder and could withstand being stuck upright in the artwork.

Front view

I began by using tape to stick the smaller pieces onto the artwork, however the tape would not last long. So, I then began using glue which took more time drying than Image taken during my tape, but kept the pieces stuck process together better.

I used an abstract style in the Image taken during my process creation of the elements in the piece. This included the people and things such as the tables used on the left side of the piece. This Image taken during my would allow the audience to show process the piece “Holiday Special” in a I began with creating the structure of the piece different style than portrayed in made out of cardboard which I painted with “My Favourite Show” watercolour. I found that the water would make the “Holiday Special” created by myself cardboard wrinkle, so I moved to acrylic paint instead which have me a better result.

I added the details of the windows with ink and a much smaller brush. I attempted to make the atmosphere of the piece My final piece would be exhibited with “My Favourite Image taken during my dark though the colour Show”, to help the audience reflect on the themes and process ideas presented. tones.

Final Pieces

Comparative study

The overarching theme that all three pieces revolve around, is one of media

portrayal and consumerism with reference to large corporate brands as a means to showcase the idea of mass media and consumerism, and the effects it has on our thinking. In relation to my works of art, I wanted my overarching theme to be the effect of mass media on people, with a motif similar to the one of Mickey Mouse in these three works.

Napalm, Banksy. Graffiti, 2004.

Mousemask Murphy with Skeleton, Ron E n g l i s h , 2 0 11 . O i l , synthetic polymer paint and collage on canvas 91.2 × 132.1 × 3.8 cm

Family watching TV from Wonderful World Trilogy, Gerad Rancinan, 2011. Argentina Print mounted on Plexiglas in artist’s frame 180 x 238 cm. ciii

Analysis of Formal Qualities

“Napalm By Banksy”

“Napalm” by Banksy is a graffiti work by world renowned contemporary artist Banksy. The artist focus on political issues for his art work and mostly works in the medium of graffiti. In this specific piece, he borrows element from a photograph, “Napalm Girl” by Nick Ut and juxtaposes it with iconic mascots from corporations to hint the negative effects these corporations have on us.

fully clothed

Naked

fully clothed

Both hands

Appropriation : In art, appropriation is the use of pre-existing objects or images recontextualized, to give the work a new meaning. In this piece, Banksy appropriated Mickey Mouse, Ronald McDonald and the Napalm girl to created his own original piece.

Graffiti: Graffiti had began to become very popular from the 1970s as an art form which appeared in the American pop culture and in the western contemporary art world. Caleb Neelon, author of “The History of American Graffiti”, stated that young people were key players in shaping the contemporary graffiti movement. Graffiti is by definition, a defiant method of public exhibition and can be viewed as illegal.

Now, graffiti has evolved into works which can be exhibited in museums and used as means of showcasing people’s voices in the public. (Melker, Saskia)

Left hand

Right hand

Right foot

Centered

Left foot

Compositions Napalm has three subjects, with two of the subjects are much larger than the subject in the centre. We can also see that the two subjects on either side of the girl are stepping forwards

with opposite feet, where as the girl in the middle has both of the feet forward, as if she is being forced to walk by the the other two subjects. The background of the piece is a mono-toned grey colour slightly darker than the grey used with the subjects which allows for a contrast. This and the lack of any extra pattern or

composition in the background, make the viewers eyes draw towards the subject.

The famous icon Mickey Mouse who is the mascot of

Napalm, Banksy. Graffiti, 2004.

The Walt Disney Company. The image of the icon itself, looks a little more different to what is normally seen. Instead of the actual representation of the icon,

it is represented as a man wearing the costume of Mickey Mouse. The man is walking holding the hand of a naked girl. This shocks the viewer as the man Image from dressed as Mickey mouse seems to be hurting the https:// girl. en.wikipedia.org/

The famous icon Ronal McDonald. Ronald McDonald.

The icon is the face and mascot of the fast food chain McDonalds. The clown is also holding the hand of the

naked girl and is also waving as if to a crowd. Just as how the image of Mickey Mouse alarms the viewer, the man dressed as Ronald McDonald also further shocks the viewer into believing that he is hurting the young girl.

wiki/ Mickey_Mouse

Art making techniques: This piece was created with the use of stencils and spray paint.

The Colours: Primarily, the colours black and grey. The base colours used in this piece is back and grey. A darker grey is used for the background and in terms of the lines and shading, black and a lighter grey is used. Slightly different shades of grey are used for the background, the cloths of the subjects and the skin tone of the subjects.

Tone: Due to the similar use of shades of grey, the art work looks almost monotoned.

There is a use of black to bring out the shadows from the shape of the subjects.

Image from http:// mugen.wikia.com/wiki/ Ronald_McDonald

A young naked girl in the centre of the art work. She has a look of pain on her face and her wrists are being dragged by the other subjects: Mickey mouse and McDonald. Her facial expression accompanied by the visual of her naked body shocks the viewer into believing that the girl had been possibly sexually abused by the two people holding her hands.

The girl depicted in the piece was originally from “The Girl in the Picture : The Kim Phùc Story” by the photographer Nick Ut. Banksy created an appropriation of the image into this piece.

Napalm Girl, Nick UT. Photograph, 1973

The lines: The lines in the piece are not very bold, which adds to the realism of the piece. Even though two of the three subjects that the artist is using have cartoon like features, the line work makes them look much more realistic.

Evaluation of Cultural Significance “Napalm” By Banksy Cultural Significance of the compositions.

The two icons of Ronald McDonald and Mickey Mouse are the mascots of two multibillion-dollar companies, McDonalds and Disney. The two companies

have been criticised for their influence over their audience (children) and what they portray. Things such as inaccurate representation of the real world and hiding information about the company. They have also been criticised to be expanding their companies for mostly their own benefits rather than the change they could be making with their broad influence.

The culture during the time period of when the piece was being made was a period in which new ideas were formed and spread through the use of media.

Banksy was born and raised into the time period where this development of social media and the want to “uncover” the truth developed as well, which may have also inspired many of his pieces. Specifically in this piece, he achieves this through the use of an issue where the US had used ruthless tactics of war and the icons used to keep the population distracted. Even though the main theme of the piece is against capitalism and consumerism, the piece is still reproduced and sold which is very ironic. The large following the artist has could be behind this.

Cultural Significance of the Artist.

Banksy is an anonymous England-based graffiti artist who’s art can be distinguished though his distinctive stencilling technique. Most of his art pieces have a political message behind it and the artist combines dark humour with graffiti. His works can be found through out the world though he prefers his identity to remain hidden. The artist has been partaking the art of Graffiti since the early 1990s, when he as associated with a gang of underground street artist in Bristol called the DryBreadZ Crew.(Stencils, Custom and Stencil Shop)

Napalm bombs in Vietnam: From 1965 to 1967, the US troops used napalm in the Vietnam war. The substance when ignited sticks to anything and burns up to ten minutes. The effects of napalm on the human body are excruciatingly painful and almost always results in death.

The original photograph explores the Vietnamese and American relationship during the Vietnam War. Themes of racism, immigration, war turmoil, poverty are seen through his images. ("Napalm-The Vietnam War") Kim Phùc, the napalm girl, had been burned and had tore off her clothes. When she was taken to the hospital, they had determined that her injuries were too sever and that she would not survive. She however, did survive. (Wang, Frances Kai-Hwa) Napalm Girl, Nick UT. Photograph, 1973

Inspirations: The artist states that his art was inspired by 3D, a graffiti artist who later founded a musical group called Massive Attack. Banksy describes how he came across the idea of using stencils when he first began working with graffiti. He stated during an interview, that he was spray painting bubble word art the metro when he the police had caught him. While hiding under a garbage truck in a puddle of oil, he pondered faster ways to graffiti. He then noticed a work of graffiti with stencils under the truck. (Stencils, Custom and Stencil Shop)

During the time of when the piece was created Between 2003 and 2004, the artist had an exhibit in the Alexandria suburb of Sydney. In 2004, Banksy began creating works for his future exhibits. An example was the 10 pound note that featured Princess Diana. The artist had been creating art pieces related to political issues long before Napalm in 2004.

It is very difficult to analyse the piece in terms of the Cultural Significance of the Artist in this case, as Banksy is anonymous and even though we may find interviews with quotes from the artist, the information may still be skewed to fit the general message the interviewer is trying to set. (Stencils, Custom and Stencil Shop)

Di-faced Banksy Tenner, Banksy. Print .2004.

“Napalm” By Banksy

Function and Purposes Function and purposes of the compositions

The napalm girl in the art work with a very dark cultural significance relating to the treatment of people in the Vietnam War. This aspect could also represent how not only treated the people of Vietnam in this fashion but also how many large US companies still have their products made in bad conditions in East Asia.

The girl appears to be crying and trying to get away from the other two subjects: Mickey and Ronald, who is contrast look very happy in an almost sinister manner. Dr. Eric Jenkins, Assistant Professor of Communication at the University of Cincinnati argues that, “animation fuels consumer culture in a way that is distinct from, and more powerful than, live action cinema”. He also argues that Disney and McDonalds promote consumerism though fantasy by using iconic images. The original intended representations of Mickey Mouse was one to remind people of their childhood and good memories, where as here the icon seems to to representing a more sinister character.

Napalm, Banksy. Graffiti, 2004.

The purpose of the piece is mainly to educate people on the affects of consumerism. We can see that the piece is targeted towards the American people specifically, because of the use of the famous american icons, Micky Mouse and Ronald McDonald.

The aim of the piece is to point out how consumerism keeps the population blind and ignorant to concerns and issues that occur today. Banksy wants to show how the population has been pacified with entertainment to distract them from the issues and concerns mentioned before.

The artist also wants to focus on the idea that the most important things in life: love, peace and empathy cannot be bought. However, this is all dependant on the audience. It is once again, difficult to understand fully the function and purpose of the piece as the artist is anonymous and has not revealed the true purpose of the piece.

The emotions that the piece brings out, do not only hook the audience to the art work, but also makes the issues depicted in the piece have a lasting impression on the viewer.

Lombard Street, Banksy. Graffiti .2004.

240 × 160

The title of the piece gives hints to what the piece is actually about. It gives the viewer a starting point to learn about the use of napalm and the Vietnam war. The title also forces the viewer to reflect on why and how consumerism keeps people ignorant and stop themselves from thinking and knowing about issues such as this.

The use of the specific colours bring make the meaning behind the piece and the affect on the audience much stronger than what it might have been had the artist used brighter colours. However, the original image of the Napalm girl was also in black and white so that decision to leave the appropriation black and white might have been made to help the audience recognise the subject instead.

Another art work by Banksy that has similar functions and purposes in terms of the message of how money cannot buy love or piece.

“Mousemask Murphy” By Ron English "MouseMask Murphy” is a painting by artist Ron English. The piece depicts a mouse mask with multiple cartoon like wearing a gas figures in the back ground. The artist utilises famous icons appropriated to created a piece that represents the negative influences of media in our lives.

Analysis of Formal Qualities

Red light

white green light

Lines : The lines in the piece are not very bold but the highlights create a contrast that make them more noticeable.

Form: The main subject is painted as 3D and the subjects in the background are 2D. Tone: The light sources create the highlights which give the main subject a defined shape and a much lighter tone. The background is contrasted with a much darker tone. The style in which the icon is painted makes the texture of the subject seem like it is made out of a plastic, making it seem like it is almost like a toy for children.

The famous icon Mickey Mouse, who is the mascot of The Walt Disney Company is created by Walt Disney and Ub Iwerks at the Walt Disney Studios in 1928. Here, the icon is heavily depicted by animated features and is not depicted as realistic. The icon is wearing a gas mask instead of its usual happy face. The subject was named “Mousemask Murphy” by the artist. The subject also makes up the foreground of the art work.("Mickey Mouse") The artist depicts Mickey Mouse as mush more sinister than the original version of Mickey Mouse. Gas Masks represent fear, toxins and poisons in popular cultures. The contrast between the usually happily portrayed Mickey Mouse and the gas mask reinforces the sinister look the piece gives off.

Image from Google

English works with many different styles of art work and has a habit of repeatedly using characters in previous works.

In this art work, he has as also created a 3D toy version of “Mousemask Murphy” as well.

https:// urbanvinyldaily.com /2012/04/08/ review-10mousemaskmurphy-by-ronenglish/

Mousemask Murphy with Skeleton, Ron English, 2011. Oil, synthetic polymer paint and collage on canvas 91.2 × 132.1 × 3.8 cm

The artist has appropriated his piece by taking Mickey mouse and adding some objects such as the gas mask and artistic qualities such as the shiny plastic like sheen. He also takes parts of some of his other works and puts them together in a comic book like way to create the back ground of the piece.

The full body of work created by Ron English has a skeleton of the icon Mickey Mouse on the other side. The full body of work would create a more balanced and symmetrical piece with.

Background Compositions

“Mousemask Murphy” By Ron English

The background: In the background, we can see other cartoons blended in a red hue. The hue creates a contrast between the subject, Mickey Mouse and the background.

The content of the background itself, we can see many figures that Ron English has created and reused previously. These include his own characters and some appropriations of well known characters. The subjects in the background are portrayed in a comic book style with speech bubbles and animated movements.

Clowns looking similar to Ronald McDonald

“Kindly fetch me a new caption” in relation to social media

Overweight Ronald McDonald clown

Mousemask Murphy with Skeleton, Ron English, 2011.

Oil, synthetic polymer paint and collage on canvas 91.2 × 132.1 × 3.8 cm

Smaller Micky Mouse with a skeleton structure resembling the other side to the art work more.

Man portrayed as a demon with pointy ears and exaggerated features.

Rendition of popular character Charlie Brown into one of English’s Grin characters. It is also one that features in many of his other works Grin “Evil Charlie Brown”, Ron English.

Cathy Cowgirl, Ron English, 2011.

One of English’s other works, where he depicts a cow with human features.

Sexualises the subject.

elements found in “Mousemask Murphy”

Graveyard Guernica Ron English, 2011.

Oil, synthetic polymer paint and collage on canvas 183 cm x 457 cm

An object that looks like a deformed skull. This object has a slightly different colouring around it, making it less noticeable and hiding it in the corner. It is from another work of art by English, “Graveyard Guernica”

Evaluation of cultural significance “Mousemask Murphy” By Ron English

Cultural Significance of the compositions.

Mickey Mouse: the icon is the mascot of The Walt Disney Company. The company is an American multinational mass media and entertainment conglomerate, which focuses on family entertainment.

The company has been criticised for the lack of diversity within their movies and inaccurate or unhealthy representation of the real world.They have also been criticised to be expanding their companies for mostly their own benefits rather than the change they could be making with their broad influence.("Mickey Mouse") “Kindly fetch me a new caption”: Another part of the compositions background, the sentence is in a speech bubble and is being carried by a cartoon figure. The sentence is a reference to modern social media where captions are used to describe pictures. The cultural significance of social media in the lives of the Millennial generation and how important social seems to have become to us.

Gas mask: gas masks are protective masks used to cover a person’s face as a defence against poisonous gasses. Gas masks represent fear, pollution, war, disease and other hazards that a person might need a gas mask for. When typically thinking of a people wearing gas masks, we think that those people are trying to harm us.

Obesity and McDonald: In the background of the piece, we can see many of the McDonalds mascot, “Ronald McDonald”. Instead of being represented as he is traditionally represented, he is obese in the art work. McDonalds is an American hamburger and fast food restaurant chain. The restaurant is known for their cheap unhealthy food, which is why their icon (Ronal McDonalds) could be obese in this art work. The company has been criticised for the lack of information on how the food is being made and what the ingredients are.

Mousemask Murphy with Skeleton, Ron English, 2011. Oil, synthetic polymer paint and collage on canvas 91.2 × 132.1 × 3.8 cm

The elements taken from English’s piece “Graveyard Guernica”.

The piece was created as an appropriation of Pablo Picasso’s Guernica. English appropriates this specific many times over in the works of art, using it as a method to display the terror of war. The original was created in response to the bombing in Guernica, Spain by Nazi Germany. The piece was used as an anti-war painting which English uses as a motif today.

Cultural Significance of the Artist.

Ron English is an American contemporary artist who’s art mainly focuses on brand imagery and advertising. The artist is known for his use of colour and collage work. He also coined the tern POPaganda as a word to describe his art where he utilises character from popular cultures and very well known figures such as Mickey Mouse and Abraham Lincoln. English has participated in illegal public art campaigns such as the Billboard Liberation Front, where culture jamming is practised by changing key words to alter the message of a billboard.

Graveyard Guernica Ron English, 2011. Oil, synthetic polymer paint and collage on canvas 183 cm x 457 cm

Function and purposes of the compositions

Function and Purposes “Mousemask Murphy” By Ron English

In todays day and age making products cost so little and the knowledge of where the products are being made and what they are made of is also so little. The art piece highlights this issue and makes the viewer reflect on their own actions. Consumerism is also depicted to keep the wealthy wealth and the poor poor. Through advertising, the population is taught from a very young age to want to look a certain way, to buy specific things and live a specific lifestyle. The piece was created to push the audience to realise what an impact and affect consumerism has on their life style and how they have changed because of it. Today, approximate 250,000 infomercials are aired every week to persuade people to buy certain products, in the US alone.("The Economics Of Infomercials") The media and advertising are constantly giving the illusion that more is better. People have begun to replace people with things and now lack the attention span to learn and talk to the people. Consumerism is changing our values and beliefs by targeting the younger generation as they grow older (relating back to the depiction of Mickey Mouse). The piece has heavy use famous icons from modern pop culture. The artist utilises one of the most well known icons, Mickey Mouse in his piece in order to represent the effect consumerism has on society.

Mickey Mouse: The intended representations of original Mickey Mouse icon was one to remind people of their childhood and good memories.

The depiction of the Mickey Mouse in English’s piece is more menacing. The use of the gas mask covers up the usual happy smile of the icon. The cultural significance of the gas mask explained above adds to this.

Obesity and McDonald: The repeated use of the iconic figure, Ronald McDonald, pushes the viewer to understand and analyse what the company represents, intends and what their influences are in today’s society. English links the obesity of the characters to the company in order to do this as well.

Mousemask Murphy with Skeleton, Ron English, 2011. Oil, synthetic polymer paint and collage on canvas 91.2 × 132.1 × 3.8 cm

Skulls and skeletons:The intended use of the skeletons specifically, represent how we humans, have been stripped of our characteristics and qualities that really make us human. In terms of how the composition was used in its original work of “Graveyard Guernica”, they were used as a push against war. In this piece, the the skeletons remind the audience of how they have been changed by consumerism and how they have been limited because of it as well.

Intended perception towards the audience

The perception of the art work to the audience could be just as Ron English had intended, however due to his work with illegal form of art work, this piece could be focused on the history of the artist rather than what the artist is actually trying to portray. This could also be what draws people to the piece. The history of the artist has an impact on how well known the piece can be, and the illegal history of English could bring more viewers to experience this specific piece. Many of the characters he utilises in this art work have been created before, which could aid in the understanding of the piece. It could also help create a thematic factor between his works.

Analysis of Formal “Family watching TV” By Gerard Rancinan Qualities “Family Watching TV” is an appropriated piece by the artist Gerard Rancinan from “ A Wonderful World Trilogy”. The

piece portrays a family wearing masking, eating fast food and eating television.

Texture: We can see the texture on all of the objects in the foreground such as the texture of the cloths on the subjects.

The texture of the background is very smooth. Through the art making process, Rancinan has created what looks like a family prostrate in a very animated style.

Pattern: There are patterns found on the background with the bar code, the tiled floors and on the dresses of the female subjects. The whole work looks quite busy, due to the patterns contrasting to each other.

Colour scheme Family watching TV from Wonderful World Trilogy, Gerard Rancinan, 2015. Argentina Print mounted on Plexiglas in artist’s frame 180 x 238 cm.

The colour scheme comprises of black, white, a maroon, a beige and a light sky blue. The colours are used repetitively that creates another pattern. The warmer colours are only found on the subjects, and the other colours are used in the background.

Lines : There are harsh lines from the tiles and the bar code in the back ground.

The back ground is all black and white.

Appropriation: Rancinan appropriates children characters such as “The three little pigs” and icons of large companies such as “mickey mouse” as elements of this piece.

Foreground: All the objects and subjects that make up the foreground have much more vibrant colours than the colours that make up the back ground.

Art making process: Rancinan’s art making process consists of preplanning the piece heavy before hand, so that the final image can be taken very quickly. Through the behind the scenes videos he has created on his web site, we can see that the artist has a very clear image of how the photograph should turn out, which allows the actual photography of his works, to be very quick.

Form: All the forms that make up this piece are 3D. Tone: There are not many shadows in the piece and the lighting is very even, which gives the piece an animated or cartoon like look.

However, because he adds so many components to his works, the preparation for the photographs take more time. (Seuve, Lucas)

“Family watching TV” By Gerard Rancinan Barcode

Analysis of Formal Qualities

Compositions

The largest formal quality of the art work would be the bar code that makes the background or the wall paper of the room. There is a number label on one of the lines on the bar code. This is the bar number “A909964468”. The bar code is defined as “Code 39 Italian Pharma Code” Compositions

Famous children Icon “Mickey Mouse” The famous icon Mickey Mouse, who is the mascot of The Walt Disney Company is created by Walt Disney and Ub Iwerks at the Walt Disney Studios in 1928.

Here the icon is represented by masks that the five subjects are wearing. The male subjects have the Mickey mouse masks where as the female subjects are wearing Minnie mouse masks (Mickey mouse’s female counter part).(“Mickey Mouse")

Famous fast food brand “McDonalds”. The American hamburger restaurant chain as founded in 1940 as a barbecue restaurant operated by Richard and Maurice McDonald. The brand can be seen through all the food that is placed around the piece. All of them are junk food that are mostly branded as unhealthy. ("Mcdonald's")

Famous children story characters “The three little pigs”. The fairy tale features three pigs who build three houses of different materials.

In the art work, the fairy tale is represented by three masks on the background wall. The makes are of the pigs wearing chief hats and features that look similar to features of a devil i.e. horns and their tongues.

Marines Advert There is a “Join the Marines” advert on the wall of the room.

Family watching TV from Wonderful World Trilogy, Gerard Rancinan, 2015. Argentina Print mounted on Plexiglas in artist’s frame 180 x 238 cm.

Obese family There are six subjects in the piece who portray a family. All of the members are visibly overweight and look like they are watching tv.

There are four male subjects all of whom are wearing a red track sure and two females who are wearing dresses. All of the family members are wearing either a Mickey mouse mask or a Minnie mouse mask except the baby in the mothers arms. The mother is feeding the baby from a coca cola bottle.

Balance: The piece is very well balanced and very symmetrical with the line of symmetry running down the centre.

Evaluation of cultural significance Cultural Significance of the compositions.

Family watching TV from Wonderful World Trilogy, Gerard Rancinan, 2011. Argentina Print mounted on Plexiglas in artist’s frame 180 x 238 cm.

Mickey Mouse: the icon is the mascot of The Walt Disney Company. The company is an American multinational mass media and entertainment conglomerate, which focuses on family entertainment. The company has been criticised for the lack of diversity within their movies and inaccurate or unhealthy representation of the real world.They have also been criticised to be expanding their companies for mostly their own benefits rather than the change they could be making with their broad influence. ("Mickey Mouse") McDonalds: McDonalds is an American hamburger and fast food restaurant chain. The restaurant is known for their cheap unhealthy food, which is why their icon (Ronal McDonalds) could be obese in this art work. The company has been criticised for the lack of information on how the food is being made and what the ingredients are. ("Mcdonald's") Three Little Pigs: The characters are from a children’s fairy tale where the three pigs built houses out of different material and the wolf blows down two of the pig’s houses, but cannot blow down the last house made out of bricks.

Pigs are usually used as a means of describing a person who is overweight.

Bar Code: The bar code is the code 39 which is an Italian Pharmacode standard which defines medicines to be marketed in Italy. Barcodes are connoted with shopping and money. Barcodes represent the value of something. (Dhalluin, Hervé) The Family: The family of six watching television while eating dinner. Eating whilst watching tv is criticised in communities as it takes away from the real connections one can make with his or her family.

Marines advertisement: The US Marine Corps is a branch of the US Armed Forces responsible for providing Power Projection using the mobility of the US Navy. The advertisement sued to recruit more people looks to be an older ad.

Cultural Significance of the Artist.

Gérard Rancinan is a French photographer who's works on portrayed photography became very well known. He produces large scale photographic tableaux mostly on the subjects of social issues, politics, pop culture and violence. His career began as a photojournalist as a teenager while covering riots, natural disasters and wars. The affect of this can be seen in his works today. The artist began his career at a very young age and by 18 he had become the youngest photojournalist in France. He has seen worked with other newspaper agencies and has worked with photographing current event such as natural disasters, wars, riots, show business, fashion and cinema and political upheavals. His previous jobs had required the artist to be in the middle of conflicts and in the presence of the rich and famous. This influenced his work later on and the themes he uses in his works.

(Seuve, Lucas)

Function and Purposes The purpose of the piece is one that pushes the audience to reflect on themes such as

propaganda and the effects of media with the use of iconic.

The artist uses references to “Mickey Mouse’ in oder to bring the Disney Company into the audiences mind. Having the mascot of the company in this piece, where it is quite obvious that the company is being scrutinised, makes the audience reflect on what effects the company has on the audience. This is also done with the elements of fast food and McDonalds found through out the work.

Image from http://marinesciencetoday.com/ 2013/01/24/mcdonalds-usa-to-serve-onlysustainable-seafood/

Family watching TV from Wonderful World Trilogy, Gerard Rancinan, 2011. Argentina Print mounted on Plexiglas in artist’s frame 180 x 238 cm.

The three little pigs in the corner of the piece would hint at how the piece is mocking the family’s size. Stereotypically, we connect more obese people to pigs.

This would make the audience reflect on how and why the piece is mocking the family.

Image from https://en.wikipedia.org/wiki/ Mickey_Mouse

With the use of the barcode, the audience may understand that consumerism is one of the factors that contributed to how the family appears to be without identities. The audience could then tie it in with the corporations and companies that the artist mentions thought out the piece as some of the other factors that cause the family to lose their identity.

Comparisons of Formal Qualities Mousemask Murphy with Skeleton, Ron English, 2011.

Family watching TV from Wonderful World Trilogy, Gerard Rancinan, 2011.

The art work is in the medium of photography.

The art work has a background composed of different characters, both created by the artist and appropriated by the artist Both pieces utilises more than two previously in the form of a a collage.

Uses real subjects, posing in a certain way

children’s icons.

There are many components that make up the piece.

The medium is Paint (polymer) The pieces has one main subject (Mickey Mouse) and many subjects in the background The source of light is very distinct

Utilises elements that can be found in other pieces that the artists have worked on.

Vibrant colours are used such as reds Most number of subjects in the foreground

Has some form of the icons Mickey Mouse and Ronald McDonald.

All three pieces uses Both works are Similar comic book likedifferent techniques to symmetrical to a styles in the background achieve a 3D form

of “Mousemask Murphy” and in the subjects of “Napalm” Both works have thin lines that make parts of the piece look more realistic.

The piece has a single coloured monotoned background

All three are an appropriation

certain extent (equally weighted on both sides of the art work)

There are less elements that make up the piece The medium is scary paint with stencils

The icons in appropriated in the piece are depicted as consumes Napalm, Banksy. Graffiti, 2004.

Bold lines in background

Comparison of cultural significance

 

Mousemask Murphy with Skeleton, Ron English, 2011.

Family watching TV from Wonderful World Trilogy, Gerard Rancinan, 2011.

The artist uses significant characters or symbols in other works repeatedly e.g. skeletons.

Both pieces were created in 2011

There is a mention of social media through subjects in background.

Artist works most prominently in photography

Both works depicts obesity in some form

The subject is used in other works of art by the same artist.

The Artist had a strong background with journalism

All three pieces mention McDonalds and Disney.

Both artist have worked illegally

mentions 21st century issues and fear

Both artist have worked with other mediums such as sculpture

The artist is anonymous

Both artist have worked with themes of war

adds elements that represent the war. e.g. marines advertisement and Vietnam Artist works most prominently in Graffiti

The artist has a stronger background in illegal work of art

Napalm, Banksy. GraďŹƒti, 2004.

Making connections

Function and purposes

Mousemask Murphy with Skeleton, Ron English, 2011.

This piece has a very strong focus on Mickey Mouse. Thus the perceptions from the audience will be focused on Disney.

The audience will understand the functions and purposes better if they have background knowledge on some of the other works the artist has created

Illegal work done by artist may change how the audience views the purposes of the work Both pieces depict conflict and war with the purpose of ‘

Family watching TV from Wonderful World Trilogy, Gerard Rancinan, 2011.

Both pieces have many different elements that the audience can draw different conclusions from

The piece has a different way of showing the purpose of the piece i.e. the effects of consumerism and media, by actually displaying the effects on the family

The piece also has another purpose which focus on the loss of identity

All three pieces push the audience to reflect on consumerism and Both pieces create ignorance a stronger emotional connection with the audience using war photography and idea of a family

The artist focus on the theme of money not being able to buy love and piece in the world Uses familiar war images to bring out stronger emotions from the audience

The piece has an educational function in terms of the Vietnam War and the use of napalm

Napalm, Banksy. Graffiti, 2004.

Making connections to my own work: themes and purpose The connections I have made from these three pieces to my own pieces, include the colours used as well as the style of creation, however, the most important link is the theme. For my final art works, I wanted to focus on the idea of mass media and the effects it has on people. My theme was inspired by the artists, whose work I have chosen for this comparative study.

TV time, my own work. Illustration printed , 2017.

In my piece, “My favourite show”, I wanted to depict the theme of media covering up information. I did this with the running motif of the television. I wanted the theme to be more educational and used other events in my piece, just like in Gerard Rancinan’s Family watching TV. I also wanted this piece to be an appropriation with images taken from other places. Once again, relating it back to the three pieces compared.

For example, In my piece “TV time”, the intended purpose of the piece was to push the audience to reflect on the negative effect of media and to also reflect on weather or not the information we are being fed is true. I was inspired by “Family watching TV” by Rancinan in the development of this theme and further developed it by investigating other pieces like it.

Static eyes, my own work. Illustration printed , 2017.

In my piece, “Static eyes”, I wanted to expand on my idea by showcasing how the effects of media on people. I removed the subject’s eyes and replaced them with SMPTE bars to show the people who have let the media decide how they think in a very dramatic way. This was inspired by “Napalm” by Banksy with his use of both the napalm girl and the mascots.

My favourite show, my own work. Illustration printed , 2017.

Making connections to my own work For my pieces, “TV time”, I specifically choose a very popart like style. The colours were inspired by Gerard Rancinan’s Family watching TV, and the lines were loosely based off of Banksy’s Naplam.

TV time, my own work. Illustration printed , 2017.

Napalm, Banksy. Graffiti, 2004.

Family watching TV from Wonderful World Trilogy, Gerard Rancinan, 2011.

I liked how the back and white background contrasted with the colours on the subjects of the piece. I attempted to use this in my own pieces, by bringing the focus of the audience towards the television screen of my own piece and using very little colour in the surrounding area.

I also liked how the back and white tones in “Naplam” by Banksy, brought the audience’s focus towards the subjects. I used this, to bring the audience’s focus towards the eyes of the subjects in the piece.

The bright colours in the eyes of the subjects also refer back to the contrast in “Family watching tv”

by Gerard Rancinan.

Static eyes, my own work. Illustration printed , 2017.

Making connections to my own work For my piece, “My favourite show”, my piece was an appropriation inspired by Gerard Rancinan’s Family watching TV. However, instead of creating an actual photograph, I created a collage. I took inspiration from the Rancinan’s art making style by planning the piece very heavy before hand. This allowed me to find the elements in the work easier for the creation process of the piece.

Family watching TV from Wonderful World Trilogy, Gerard Rancinan, 2011.

My favourite show, my own work. Illustration printed , 2017.

I wanted the piece to also have aspects that were more educational like Banksy’s Napalm, by featuring issues that are happening today.

I found it very interesting how the darker background in “Mousemask Murphy” brought the focus of the audience to the subject. I used this with not just the purpose of drawing the audience focus towards one part of the piece, but also strengthening the message of ignorance.

Mousemask Murphy with Skeleton, Ron English, 2011.

GILLIAN

The theme of my work is perception of identity. I want my audience to comprehend how they view the world through their understanding of identity. Initially, when creating my artworks, I focused on specific details regarding identity but found that this approach was too broad, as the theme encompassed any feature of identity I was interested in. As I continued creating artworks I cultivated a greater understanding of how I wanted my theme to progress with each piece and how I wanted my exhibition to be tied together under perception of identity. By the end of my exhibition, I hope that my audience will have reflected on how they perceive their identity and the identities of others.

When entering my exhibition space, my audience will first be faced with a photography piece entitled The Whole Picture. I

1

What Can Be Taken Away? , Acrylic on Paper, 88cm x 30cm, March 2016

1

The Whole Picture , Digital Photography on Paper, February 2017

The Whole Picture (Detail) , Digital Photography on Paper, February 2017

1

How Do You See Yourself?, Mixed Media (Digital Photography, Mirrors) February 2017

1

How Do You Talk About Yourself?, Felt, February 2017

What Do You Really Want to See?, Mixed Media - Ink, Glass, January 2017

What Makes Us? What Breaks Us? , Digital photography on card stock, January 2017

What Makes Us? What Breaks Us? ( Detail) , Digital photography on card stock, January 2017

1

If I Were, Digital photography on paper, January 2017

Blockade, Mixed Media - Digital photography, Ink, Glass, January 2017

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h"p://www.fridakahlo.org/self3portrait3with3thorn3necklace3and3hummingbird.jsp; h"p://www.fridakahlo.org/self3portrait3dedicated3to3dr3eloesser.jsp; h"p://www.fridakahlo.org/self3portrait3with3monkey3and3parrot.jsp;

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Documentary;Photography; ; Documentary;photography;is;a;form;of;photography;that;aims;for;an; organic;view;at;chronicling;events;and;history.;In;documentary; photography;the;photographer;interacts;with;their;image;by;being; separate;from;the;events;that;they;are;capturing.;They;remove; themselves;from;what;is;occurring;therefore;giving;a;perspecCve; that;is;not;shaped;by;personal;arCsCc;choices;or;values.; ; 3I;wanted;to;emulate;the;style;of;documentary;or;scienCfic; photography;in;my;artworks;What%Makes%Us?%What%Breaks%Us?,; The%Whole%Picture%and;to;a;lesser;extent;How%Do%You%See%Yourself?% % 3Specifically,;I;was;interested;in;emulaCng;the;simple;and;untouched; manner;of;documentary;photographs.; ; 3In;my;piece;What%Makes%Us?%What%Breaks%Us?%I;aimed;to;show; aspects;of;physical;idenCty;that;define;individuals;and;their;idenCty.; For;this;reason;and;because;I;aimed;to;produce;such;a;large;number; of;individual;photos;I;wanted;to;evoke;a;sense;that;what;is;shown;is; exactly;what;was;iniCally;captured,;that;the;photos;had;not;been; manipulated;and;that;the;story;told;was;true.;In;order;to;accomplish; this;I;told;my;eight;models;to;come;as;they;normally;would.;By; doing;this;the;extent;of;personal;idenCty;shown;in;the;piece;was; h"ps://www.moma.org/collecCon/works/73745; greatly;expanded;and;the;message;stronger.;; In;her;artwork;Wigs%(Por*olio)%Lorna;Simpson;makes;use;of; ; organizaConal;designs;that;evoke;the;feeling;of;scienCfic;evidence.; 3Something;I;had;to;;think;about;in;regards;to;documentary; With;my;artwork;I;wanted;to;incorporate;similar;design;traits;such; photography;was;to;what;extent;does;a;photo;remain;documentary; as;order,;straight;lines,;minimum;color;and;a;sense;of;cohesion.;; depending;on;the;involvement;of;both;the;photographer;and;the; subject;of;the;photo?;Considering;my;subjects;were;aware;that;I; In;order;to;properly;uClize;documentary;photography;technique;I; was;taking;their;photo;with;the;intent;of;creaCng;an;artwork;their; tried;to;remain;non3criCcal;of;my;work;unCl;aUer;I;was;done;shooCng.; approach;to;the;shoot;was;altered.; In;this;way;I;had;many;more;photos;to;choose;from;however;only;a; select;few;of;them;were;great;photos.;;

Ideas;and;IntenCons; 3I;originally;wanted;to;make;eyes;out;of;mirrors; 3First;wanted;mirrors;shaped;like;eye; 3Then;considered;breaking;mirrors;in;order;to;make;eye;however;this;would;have;defeated; the;purpose;of;having;the;audience;see;themselves; 3I;used;a;solid;background;in;order;to;draw;a"enCon;to;the;features;of;my;subject;as;well; as;to;maintain;a;connecCon;to;my;previous;piece;What%Makes%Us?%What%Breaks%Us?% 3I;took;my;test;shots;against;a;white;background;in;landscape.;I;wanted;my;subject;to;be; centered;within;the;frame;in;order;to;create;disCncCon;amongst;the;negaCve;space.; 3I;wanted;reflecCon;to;become;a;moCf;in;my;artworks;since;my;theme;was;percepCon;of; idenCty.;; ; ; Skills;and;Technique; ; 3In;order;to;properly;explore;the;concept;for;this;artwork;and;see;what;my;final;result; might;look;like;I;used;Photoshop.;In;Photoshop;I;first;played;with;the;lighCng;of;my;test; shots.;I;darkened;the;background;from;white;to;an;even;grey;so;that;my;subjects;figure;and; skin;tone;popped;out;into;the;foreground;in;a;more;obvious;manner.;; 3I;also;experimented;with;different;ways;to;alter;the;eyes;of;my;model.;I;highlighted;the; Process; area;around;the;eyes;before;creaCng;a;new;layer;and;duplicaCng;the;selected;area.;I;then; 3While;taking;the;photos;for;this;artwork;I;experimented;with;a; overlaid;the;selected;area,;colored;the;eyes;grey;and;traced;an;outline;of;the;area;in;white; variety;of;facial;expressions;and;hair;posiCons;for;my;model.; to;create;the;feeling;of;layers.; While;taking;the;photos;I;found;that;when;my;models;head;was; 3Aditonally;I;selected;the;outline;of;the;eyes;and;delted;them;in;order;to;see;what;it;would; aligned;with;her;neck,;her;hair;was;placed;behind;her;back;and; look;like;if;I;cut;the;eyes;out;of;a;physical;photo.; her;facial;expression;was;neutral;there;was;less;emphasis;placed; 3I;used;the;paintbrush;tool;and;many;different;colors;in;an;a"empt;to;create;a;semi3 on;the;chaos;of;the;different;elements;of;the;shot;and;instead;the;phycadellic;background;for;one;of;the;photos.;Early;on;in;the;development;of;this;piece;I; image;became;simple,;clean;and;focused.; enjoyed;the;idea;of;contrasCng;an;original;version;of;the;photo;with;a;photo;with;a;mulC3 3In;order;to;make;sure;that;my;models;posiCon;would;remain; colored;background;in;order;to;show;the;difference;between;the;ways;we;can;view;our; consistent;between;the;shot;of;her;with;her;eyes;open;and;the; surroundings;with;our;eyes;open.;However,;I;came;to;the;conclusion;that;contrasCng;an; shot;of;her;with;her;eyes;closed;I;took;two;shots;consecuCvely; original;photo;with;a;black;and;white;photo;would;achieve;this;more;successfully;as; while;direcCng;her;to;open;and;then;quickly;close;her;eyes;while; combining;the;colored;background;with;mirrors;distracted;from;the;message;of;the;piece.;; remaining;perfectly;sCll.; ; 3I;dressed;my;model;in;a;black;shirt;with;red;accents;in;order;to; ; create;a;color;scheme;with;reference;to;my;How%Do%You%Talk% About%Yourself?%sculpture;which;is;red.; 3By;keeping;my;models;clothing;minimalisCc;a"enCon;is;directed; towards;her;facial;features.;; ;;

(Photo;of; the;lamp; being;held; above;the; bed); The;exposure;of;my;camera; was;iniCally;too;low;resulCng; in;dark;images;with;lots;of; shadow;

3I;took;a;series;of;photos;of; my;model;lying;on;a;bed.;I; chose;this;posiCon;and; locaCon;due;to;the;simplicity; of;the;white;bed;sheets;and; the;relaxed;nature;of;the; posiCon;of;lying;down;which; would;in;turn;lead;to;more; movement;in;the;lines;of;the; photo.;

;

(All;photos;are;mine);

Process;and;Skills;and;Techniques;

I;experimented;with;incorporaCng; 3I;had;another;person;hold;a; more;of;my;models;body;in;the;image.; lamp;above;my;subjects;face; However,;the;posiCon;felt;sCff;and; in;order;to;illuminate;the; awkward;and;the;angle;created;too; skin;which;would;cause;my; many;shadows.; subjects;features;to;pop; against;the;plain; 3I;had;my; background.;I;chose;to;use; model;lay;in; warm;arCficial;lighCng;in; many; order;to;create;a;Cred; different; atmosphere;with;the; posiCons;in;an; sensaCon;of;a;haze.;; a"empt;to; ; take;a;photo; The;pink;Cnge; ; with;dynamic; of;the;lighCng; lines;that; in;the;final; would;work; photo;helped; well;for;my; to;offset;the; outlined; warm;orange; drawing.; glow;of;the;

; lamp;used;for; lighCng.;; 3I;later;chose;to;focus; 3I;also;decided;to;have;my;model; specifically;on;my; keep;a;neutral;or;contemplaCve; subjects;face;as;I;found; facial;expression;In;order;to; having;more;of;her;body; reflect;how;my;audience;should; I;chose;this;photo;as;my;final;photo;due;to;the; in;the;frame;created; be;viewing;the;artwork.;; As;seen;in;the;two;images;above,;ge]ng;an;image;with; combinaCon;of;the;low;amount;of;shadow,;the; unnecessary;movement.; ; minimal;shadows;in;both;the;background;and;on;the;models; Cred;and;wis_ul;facial;expression;of;the;model,; ; face;was;difficult.;In;order;to;get;the;photo;on;the;leU;which; the;amount;of;movement;in;the;posiCon;which;is; has;few;shadowed;areas;on;the;models;face;the;lamp;had;to; limited;but;sCll;enough;due;to;the;style;of;the; be;held;upside;down;and;directly;over;the;camera.;; models;hair,;the;shape;of;her;face;and;the;way; her;body;is;angled.; 3AUer; selecCng; my;final; image;I; printed;it; on;gloss; cardstock,; I;then;repeated;this;process;to;create;the;final;artwork.; placed;it;in; ; a;silver; 3I;then;placed;a;glass;pane;over;the;photo;and;using;a;black;pen; 3In;the;end;I;decided;to;use;one;glass;pane;instead;of;two;due;to;the;technical; frame.; sketched;an;approximate;version;of;the;portrait;before;using;the;same; limitaCons;that;the;frame;provided.; black;pen;to;write;a;series;of;adjecCves;describing;the;girl;in;the;photo.; ;

;

Ideas;and;IntenCons; (All;photos;are;mine);

Promatrac/ Observer!

Fikret; Libovac; 2000; (Photo;I;took; at;the;Ars; Aevi;gallery);

; 3IniCally;I;wanted;to;use;wire;to; emulate;Lebovic's;style;of; 3Blockade;was;inspired;by; drawing;with;a;sculpture;of;a; the;artwork;Promatrac/ human;figure;separated;into; Observer;by;Bosnian;arCst; many;individual;pieces.;Therefore; Fikret;Libovac;from;the;Ars; separately;the;piece;would;not; Aevi;gallery;in;Sarajevo,; resemble;anything;cohesive;but; Bosnia;and;Herzegovina.; when;the;parts;were;placed; The;artwork;consists;of;a; together;the;audience;would;see; Other;ideas;for;wire;sculpture;I; sketchily;drawn;woman;on; that;they;formed;a;person.;I; sketched; a;piece;of;glass;in;a;wood; wanted;to;include;a;mirror;at;the; frame.;I;was;inspired;by;the; ; bo"om;of;the;artwork;as;the;way; wire;like;style;of;the; 3I;began;experimenCng; A;sketch;I;drew;showing; that;the;audience;would;view;the; drawing;and;the;idea;of; with;wire;and; my;iniCal;idea;for;a;wire; overall;piece.;; drawing;a;figure;on;glass; sculpture;hung;over;a; simultaneously;with; ; mirror; drawing;in;a;style;similar; to;Lebovac's;with;his; 3With;Blockade%I;wanted;to;show;the;obstacles;that;face;people;when;they;a"empt;to; simple;and;stylized;lines.; properly;perceive;someone;else's;idenCty.;There;are;many;factors;that;can;keep;people; As;I;conCnued; from;perceiving;someone;else's;idenCty;enCrely;correctly.;Personal;opinion,;interacCon;and; experimenCng;I;found; influence;can;all;contribute;to;misunderstanding;or;preconceived;noCons;about;someone's; myself;leaning;towards; true;nature.;For;this;reason;I;want;to;show;these;layers;to;percepCon;of;idenCty;and; drawing;rather;than; quesCon;the;nature;of;why;they;exist;and;how;we;can;understand;them.; creaCng;a;wire;sculpture.;

;

3I;decided;that;I;wanted;to;showcase;three; different;elements;regarding;obstrucCon;of; percepCon;of;idenCty:;the;true;form;of;an; individual,;the;rough;outline;made;up;by;others; and;the;words;that;we;use;to;describe; individuals.;In;order;to;create;the;first;two;layers; I;decided;to;use;a;portrait;style;photograph;as; the;true;form;of;the;individual;and;then;use;a; pane;of;glass;to;draw;a;stylized;version;of;the; portrait.;I;would;then;use;another;pane;of;glass; to;write;words;describing;the;portrait;and;place; it;as;the;front;most;layer.;

;

;

Frames;purchased;to; place;photo;in;and;draw; on; First;experimentaCons;for; sketching;the;outline;of; the;portrait;and;deciding; which;descripCve;words; and;font;to;use.;

Process;

If;I;Were;

; IntenCon:; ; 3AUer;looking;at;self3portraits;by;arCsts;such;as;Frida;Kahlo;and;Vincent;Van;Gogh;and;following;the;creaCon;of; seven;artworks;tracking;the;theme;of;percepCon;of;idenCty;I;decided;that;my;final;artwork;should;reflect;upon; how;I;perceive;my;own;idenCty.;For;as;long;as;I;can;remember;I;have;struggled;to;accept;myself;and;have;oUen; acted;as;my;own;worst;criCc,;constantly;poinCng;out;every;flaw;in;what;would;appear;to;be;self3sabotage.;For;an; artwork;looking;into;my;idenCty;as;well;as;how;I;perceive;it;I;decided;to;document;a;range;of;physical;traits;and; emoCons.;IniCally,;I;was;set;on;simply;capturing;my;physical;features,;my;nose,;my;eyes;etcetera.;However,;upon; conducCng;experimentaCon;and;going;through;the;process;of;taking;many;photos;I;came;to;the;conclusion;that; what;I;wanted;to;create;was;not;a;piece;regarding;how;I;perceive;myself;but;instead;a;piece;revolving;around; how;I;want;to;view;myself;and;how;others;might;see;me.;I;decided;to;create;a;series;that;follows;a;progression;of; happiness;and;look;at;what;I;might;look;like;if;I;were;happy.;;;; ; Skills:; 3I;chose;to;use;digital;photography;to;create;this;artwork;; 3In;order;to;create;this;piece;I;had;to;develop;a;unique;understanding;of;composiCon;and;lighCng;as;I;was;not; able;to;look;through;the;viewfinder.; ;

The;Whole;Picture; 3For;the;whole;picture;I;iniCally;wanted;to;used;dierent; mediums;to;draw;over;each;separate;image;in;order;to;evoke;a; similarity;to;both;what;can;be;taken;away;and;blockade; ; How;Do;You;Talk;About;Yourself?; ; What;Do;You;Really;Want;To;See?; ; What;Makes;Us?;What;Breaks;Us?; ; If;I;Were;

Artworks

Where the Water is Clean and The Grass is Green, 2012 Ewa Juszkiewicz Oil on Canvas 170 x 125 cm

Wigs (Portfolio), 1994 Lorna Simpson Portfolio of Twenty-One Lithographs on Felt 182.9 x 411.5 cm

Everyone I Have Ever Slept With 1963-1995, 1995 Tracey Emin Appliquéd tent, mattress and light 122 x 245 x 214 cm

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Where the Water is Clean and The Grass is Green: Formal Qualities - Light and feminine colors in the appearance of the woman/in the -

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foreground of the artwork Darker colors with a remaining natural appearance in the background The overlay of the greens of the background in the shadows created on the woman’s skin and in the folds of her dress.

Eery colors.

Soft lines and curved shapes.

Motif of flowers.

The woman holds a basket of flowers in her lap that cover her uterus.

Flowers are traditionally used as a symbol of femininity, fertility and fragility.

Flowers can also represent female genitalia.

This woman not only carries the flowers over her womb/uterus but also has them cover her face, branching outwards and away from the rest of her body.

Although she is wearing a dress, the folds of her clothing drape over her knees creating a separation of her legs.

This separation holds potential sexual connotation which alludes not only back to the symbol of the flowers standing for female genitalia or fertility but also to the fact that the piece was created in the 21st century and therefore sexual identity is a more commonly approached subject in art.

Textured appearance of the paint strokes differ from the background to the subject of the piece.

The background shows evidence of harsher brush strokes which the texture of the female subject is polished and smooth with little evidence of actual brush work.

Where the Water is Clean and The Grass is Green, 2012 Ewa Juszkiewicz Oil on Canvas

 

Where the Water is Clean and The Grass is Green: Cultural Significance  

World -Use of technology in art in the 21st century.

-Nostalgia for the past in a time of present chaos.

Artist -Ewa Juszkiewicz is a Polish artist born in 1984 who specializes in painting portraits of women.

-Female identity -Distortions of female appearance in order to reclaim the idea of female beauty.

-Desire to reflect inner beauty, turmoil and strife in an outward manner within her pieces.

-Tired of repeating the motif of the human face.

-The difference between a mask and a reflection.

Art Movement -Surrealism -Reclaiming traditional mediums in modern times -Baroque and Rococo era paintings

Where the Water is Clean and The Grass is Green, 2012 Ewa Juszkiewicz Oil on Canvas 170 x 125 cm

Wigs (Portfolio): Formal Qualities - The artwork is in the shape of a rectangle and evokes a sense of -

order and control.

Within the portfolio itself each individual panel is a rectangle.

By containing this shape consistently throughout the piece, Simpson creates order and a cohesive nature.

The wigs appear to be three dimensional but are in fact two dimensional as they are photographs printed on felt.

Simpson uses a soft material such as felt in order to draw parallels between hair and the fabric as well as to create a calm atmosphere due to the flat and non-threatening of the medium.

The lines of the artwork are straight in terms of the borders of each individual panel, creating repetition and constancy in the piece.

However, within each panel the hairstyles vary in size and shape.

The hair picture typically consists of curved lines and shapes and creates dimension in the other wise flat piece.

- Wigs (Portfolio) only has muted colors (beige, cream and a faded black).

- The colors are reminiscent of an old book with washed out or stained -

pictures and pages.

The images themselves are reflective of a textbook or scientific journal.

By using text in the artwork to describe and categorize the photos Simpson adds an extra dimension to the artwork.

The shading in the artwork helps to create depth as the shadows of the wigs are also documented.

These shadows create the illusion the the wigs are three dimensional and are physically present in the piece, hanging.

The wigs in the photographs appear to be lit as they contain gloss and shine or are polished.

By leaving negative space between the panels Simpson divides the wigs.

This is an interesting stylistic and spacial choice as it almost destroys the cohesive nature established by using consistently rectangular shapes and leaves gaps in the artworks appearance.

Simpson also chooses to overlay some of the panels which contain text on top of the panels that only contain wigs which again creates a sense of disorder or chaos in the artwork.

 

Wigs (Portfolio), 1994 Lorna Simpson Portfolio of Twenty-One Lithographs on Felt 182.9 x 411.5 cm

Wigs (Portfolio): Function and Purpose - Reaching out to women in an attempt to portray a shared -

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experience.

The idea of portraying hair or wigs in an almost scientific manner as if portraying evidence.

The inclusion of one wig that caters to white women and two wigs that cater to men through facial hair and how this might show the opposite of what most people expect to see in art in terms of gender or racial bias.

How has Simpson’s own identity developed based on her hairstyle?

How does race, social status and gender contribute to how people present themselves to society.

 

Wigs (Portfolio), 1994 Lorna Simpson Portfolio of Twenty-One Lithographs on Felt 182.9 x 411.5 cm

Wigs (Portfolio): Cultural Significance

Wigs (Portfolio), 1994 Lorna Simpson Portfolio of Twenty-One Lithographs on Felt 182.9 x 411.5 cm

Audience

- The piece asks the audience to reflect on

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how they perceive elements of their own identity as well as how the perceive elements of the identity of others.

Aiming for reactions to the diversity within the wigs as well as the mass inclusion of black women’s hairstyles and the exclusion of white women’s hairstyles.

Simpson wants the audience to question how an element of life as simple as a hairstyle can affect greater elements such as race and gender identity.

World

- Hair, as with many other fashion or beauty trends, has evolved with the world.

- Major world events influence how hair is styled and within history, hairstyle can be Artist Lorna Simpson is an African-American artist born in 1960. Simpson is best known for her photography and multimedia artworks that touch upon topics such as sex, race, history, identity, memory and culture.

As a black woman in America, Simpson mirrors her own experiences with these topics in her work and has created many pieces that challenge the notion of perception of identity for other black women in contemporary American society. In her piece, Wigs (Portfolio), Simpson intended to portray how hairstyles (with a focus on those of black women) throughout history have come to encompass social and political implications.

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seen to change with developments in society.

In the 20th century when Wigs (Portfolio) was created hairstyles changed rapidly per decade with the shifts in political, social and economic climate.

For black women specifically hairstyles change very quickly in the century as with the social rights movement in Simpson’s home country of America new social liberties for black people signified a change in popular style and culture.

Hairstyle is also tied in particularly closely with race for black people as, along with the obvious different in skin color, natural black hair has been shamed in white society for being the opposite of smooth, easily manageable white hair.

For this reason drawing attention to hair as a contributing factor in identity and in black identity might be seen as a taboo topic in the 20th and 21st centuries.

Art Movement - Conceptual artwork in America - Taboo subjects - Rebellion against traditional mediums, qualities and forms - Reclaiming of sexual, racial and gendered identity

Everyone I Have Ever Slept With 1963-1995: Formal Qualities

Everyone I Have Ever Slept With 1963-1995, 1995 Tracey Emin AppliquĂŠd tent, mattress and light 122 x 245 x 214 cm

Everyone I Have Ever Slept With 1963-1995 is an installation

by Tracey Emin created in 1995. The installation consists of a blue tent with a yellow interior which contains hand stitched letters that make up the names of over 100 people that Emin has shared an intimate moment with. The artwork is 122 x 245 x 214 cm. It was made to this scale in order to accommodate people entering the tent. The tent is hexagonal in its shape and contains a mattress on the floor and a light on the ceiling in order to illuminate the text on the walls and floor. The title of the piece is placed on the exterior walls of the tent by process of appliquĂŠ.

Bright and varied colors are used throughout the interior of the tent in order to draw the viewers eye as well as to evoke a sense of nostalgia for the simplicity of childhood. For these reasons a tent is also used as the primary basis of the installation as camping is alluded to as a simultaneously intimate and youthful experience.  

The names within the tent are sized and placed according to their importance in the eyes of Emin, the artist. On the middle wall of the tent, the name Billy Childish is placed in the largest letters. As this name is the largest and is also placed in the most prominent position, appearing directly in the audiences line of sight upon entering the installation, it takes center stage The fabrics used to create the text in the interior of the tent also work to evoke an intimate atmosphere as they include soft materials that might be found in a bed or a place of comfort. The patterns used are mainly floral with designs that might be found in curtains, bedsheets and quilts and are contrasted with some solid fabrics used to place emphasis on the text itself.

- Use of straight lines to create symmetry and order - Block lettering and use of capitalization also places emphasis on childlike imagery and draws the viewers eye.

- By using fabrics and bright colors Emin brings about the feeling of an arts and craft project or a scrapbook, a compilation of memories that she might not have put too much effort or thought into but that still sheds light on important moments of her life.

- -Pulling back the entrance of the tent on both sides (pinning it up/ tying it up) creates an inviting atmosphere as Emin wants people to enter the tent of their own accord and curiosity.

- The medium of an installation works well in portraying the theme of intimacy as the space itself is intimate and invites the audience to become intimate within the environment of the artwork.

Everyone I Have Ever Slept With 1963-1995: Function and Purpose

Everyone I Have Every Slept With 1963-1995 was created by Tracey Emin for a group exhibition curated by Carl Freedman called ‘Minky Manky.’ Freedman encouraged Emin to create an artwork that was large in size but would not compromise the exhibition. Emin created Everyone I Have Ever Slept With 1963-1995 with the intent of challenging the perception of intimacy through a modern lens. She had a strong desire to portray close relationships in a way that evoked nostalgia in those who viewed the installation.

One of Emin’s greatest intentions with Everyone I Have Ever Slept With 1963-1995 was to immerse her audience in the physicality of the tent. By having individuals crawl into the interior of the installation in order to properly view it, Emin creates a strong sense of connection between herself and total strangers. With one of the main themes of the artwork being the understanding of and misconceptions regarding intimacy Emin takes her audience even further into the mindset of the piece by creating an intimate environment for them to view it in. The audience is therefore able to understand a small semblance of the intimacy that Emin is herself trying to comprehend.

Everyone I Have Ever Slept With 1963-1995, 1995

Tracey Emin Appliquéd tent, mattress and light 122 x 245 x 214 cm

Everyone I Have Ever Slept With 1963-1995: Cultural Significance Audience Everyone I Have Ever Slept With 1963-1995 was met with mixed reactions from art critics and the general public. This was due to the feminist nature of the piece in terms of its confrontation of the taboo topic of reclaiming sexual independence as well as desexualizing the nature of the term “sleeping with someone.” The blunt form that the installation takes in embodying its intended themes caused scandal amongst both people who traditionally view art as needing to conform to certain aesthetics and people who view sexuality as something kept private and certainly not belonging to a woman in such a forward and honest manner.

Everyone I Have Ever Slept With 1963-1995, 1995 Tracey Emin Appliquéd tent, mattress and light 122 x 245 x 214 cm

Artist

Art Movement

Tracey Emin is an English contemporary artist born in 1963. Emin is known for creating confessional artworks that reflect closely on her own life and experiences. She is also renowned for creating artworks that challenge the idea of intimacy, the female experience and confront taboo subjects. In her piece Everyone I Have Ever Slept With 1963-1995, Emin intended to break and embody the stereotypes regarding close relationships, specifically concerning the concept of “sleeping with someone” and it’s sexual connotation. Throughout Emin’s childhood, adolescence and young adulthood she encountered sexual abuse leading to a complicated understanding and personal relationship with the idea of sex, affection and close relationships. In Everyone I Have Ever Slept With 1963-1995, Emin explores her history by writing the names of every person she had ever shared a bed with, including lovers, childhood friends and even her grandmother. By examining and explaining the history of her own intimacy in this collective way, Emin shows that the connection formed by sharing a bed with someone or “sleeping with someone” is simultaneously a profound and developmental act and also a simple process in the course of human growth.

Emin played a prominent role in establishing the art movement of Young British Artists or Britart. Young British Artists was a group of, as the name implies, young British artists during the late 80’s and early 90’s who worked with visual art. Emin established her place in the movement by creating installations that embodied themes of confessional and conceptual art. Conceptual art is defined as art that focuses on concepts and ideas rather than placing great emphasis on traditional aesthetic appeals or approaches.

World In 1995 contemporary artworks which attempted to tackle taboo topics were frequent in the art world. Within the United Kingdom attempts to reclaim identity, particularly sexual identity, were taken by many artists. Following a century of rapid change in the art world and a flow on constant development between art movements young artists were eager to shock audiences by going against the grain while remaining true to their own voice.

Bibliography "Ewa Juszkiewicz | Artist." Culture.pl. N.p., n.d.

Web. Feb. 2017.

"MoMA Learning." MoMA | Lorna Simpson. Wigs.

1994. N.p., n.d. Web. Feb. 2017.

"Lorna Simpson. Wigs (Portfolio). 1994 | MoMA." The Museum of Modern Art. N.p., n.d. Web. Feb. 2017.

"WAC : Interactive Art Activity : Wigs." WAC : Interactive Art Activity : Wigs. N.p., n.d. Web. Feb. 2017.

Simpson, Lorna. "Lorna Simpson Studio." Lorna Simpson Studio. Lorna Simpson, n.d. Web. Feb. 2017.

Emin, Tracey. "Everyone I Have Ever Slept With 1963-1995, 1995." Tracey Emin Studio. N.p., n.d.

Web. Feb. 2017.

Lawrence, Amber. "Everyone I Have Ever Slept With - Tracey Emin." Scribd. Scribd, n.d. Web. Feb. 2017.

LISA

The overarching theme of my body of work is gender identity. My intention is to show my audience the diversity that exists in gender and how it really is an aspect of our identity we shape largely due to our social and cultural context. The process of my artworks have undergone a transformation in the same way as my understanding of the topic has matured over the two years within the IB course. What started as an exploration of the stereotypical contrast between masculinity and femininity progressed into an indepth look at my own cultural background and the digression from traditional gender roles within a reserved community. By the end, I want my audience to find themselves reflecting on their definition of gender and hopefully, as I have, develop a deeper understanding and appreciation for human diversity.

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The Dual Existence in Being Both Androgynous and Gender Fluid, Digital photography on matte paper , 88cm x 30cm, April 2016

Gender Shapes Culture, Mirrors, wires, gauze, yarn, aluminum foil and dried leave, 35cm x 35cm x 35cm August 2016

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Glimpses of a Life Foretold, Digital photography on matte card stock, 72cm x 40cm, August 2016

Gender is a Spectrum that Transcends any Boundaries, Printed digital photography and colored threads on cardboard background, 150cm x 200cm, January 2017

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The Gender Performance, Oil pastels and acrylic paint on cardboard , 100cm x 68cm, October 2016

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Femme Society is Watching You, Cotton fabric, dye chemicals, eye- and lip-liner, cardboard, 79cm x 110cm , January 2017

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Dance of the Queer Femme Fairy, Watercolor, photo collage and acrylic paint, 79cm x 110cm , February 2017

Staying Infinite, Digital photography, gold and silver paint pen, acrylic paint on wood board and cotton fabric, 86cm x 51cm , February 2017

Gender Fluid: “Gender fluidity conveys a wider, more flexible range of gender expression, with interests and behaviours that may even change from day to day. Gender fluid people do not feel confined by restrictive boundaries of stereotypical expectations of women and men. “ - genderdiversity.org -

Critical Investigation

The idea of genderqueer and fluidity and not conforming to a single gender role has been a fascination for me since I can remember. As a child I would often encounter masculine female roles and feminine male figures in media such as books and movies, which were outside of the typical societal view on gender identity norm. The flexibility and constant flux of a changing gender identification has led me to, more or less, question my own identity and how I would describe myself.

Growing up I had refused to be placed in a box, a limited frame built on solid pillars of stereotypes and traditions, of how I could behave and how I shouldn’t solely because I was assigned the gender female. That is why the idea of transforming from one gender to another, reversibly changing roles continuously without limitations, intrigued me. What I attempt to explore through this particular art project is the concept of fluidity and transformation of gender expression, challenging social and cultural expectations and obligations of traditional gender roles. After visiting the gender-neutral primary school Egalia in Stockholm, Sweden, I became aware of one way a modern-thinking education model has taken on to challenge the traditional gender roles of boys and girls. By using the gender-neutral pronoun “hen” (which can mean either boy or girl), and encouraging children to play and interact in multiple activities (i.e. boys playing with dolls, girls playing sports outside, etc.), the school’s objective is to foster a more neutral sense of gender identity (with both masculine and feminine traits) that is not limited to their assigned birth sex.

With all the recent media interest in transgenderism, the LGBT community and frequent usage of the term ‘genderqueer/fluid’, I was initially inspired by model/ actress Ruby Rose’s video “Break Free” - a short film that serves as hymn to having a gender identity that deviates from the status quo. The video reveals her transformation from a woman to a man, not in the traditional sense of transgender which refers to an individual who does not feel like their gender identity matches their assigned birth sex, but on another level - one that is fluctuating.

Photos taken by me

Uffizi Gallery Visit 27/04/16 - Ermaphroditus Room

Break Free. Ruby Rose, 2015. video. https://www.youtube.com/watch?v=EFjsSSDLl8w

The statue of the lying Hermaphroditus is a Roman imperial era copy taken from a sleeping figure model in the Hellenistic period of the mid-2nd century. In Greek mythology, Hermaphroditus was, by birth, the son of Hermes and Aphrodite. However, he was turned half man half woman (‘dual-sex’) after physically merging together with the nymph Salmacis in return for eternal love. Here he/she is portrayed lying on a lion pelt placed over rocky soil. The iconic position allows for a surprise to the viewer, as they have the impression of a sleeping woman on one side but discover the dual sexuality of the model once they observe the other side (since the male genitals are exposed). The figure’s age and the mythological element behind it demonstrates that the concept of androgyny is nothing new. The ancient Greek and Roman civilisations “Hermaphrodite”, I-II c. A.D. were considered open and accepting to a differing sexual orientation (homosexuality was almost common even). The gallery visit (to this one room in particular) has made Parian marble, 1914 Inventory n. 343. Provenance: from the Ludovisi me realise that the existence of Hermaphroditus in mythology, who is an offspring collection in Rome, purchased by Ferdinando II in 1669 for the Uffizi Gallery from the goddess of beauty and love herself, demonstrated that androgyny and a dualism between the male and female sexuality and the combined feminine-masculine attributes were regarded as something fascinating and to an extent, attractive even.

Fem i n i s t A r t

“Untitled Film Still #21”, Untitled Film Stills Series, 1978. B&W Gelatin silver print, 19.1 x 24.1 cm. The Museum of Modern Art Collection. http://www.moma.org/collection/works/56618

Cindy Sherman’s Untitled Film Still #21 (1978)

Eddie Redmayne as transgender pioneer Lili Elbe in The Danish Girl

Untitled Film Still #21 is one of the most representative works of the 1980s era of “appropriation” and “simulationism” in the American art movement. Appropriation refers to the mimicking of former art masterpieces or prominent images circulating in the mass media. Artists appropriate these and rework on them in order to provoke critical thinking and a sense of unease within the viewer. Sherman’s Untitled Film Still series has been acclaimed to display the concerns of the transformation and generalisation of mass culture into a play of superficial pretending and theatrical posing. In this particular film still, Sherman slips into the role of a small-town girl in the midst of a Big City. Her expression is suspicious of the metropolitan lights and busy streets, yet she can’t help but be intrigued and seduced by its anonymity and undeniable attraction. What I admire about her appropriation of popular mass media (i.e. how Hollywood presents stereotypical female characters) is that it raises the question of what the influence of mass media portrayal of women is on forming stereotypes within the general society which in turn can affect the shaping of personal identities.

"Eddie Redmayne Felt 'Very Exposed' For His Role In The Danish Girl". Mail Online.

N.p., 2015. Web. 27 Apr. 2016.

The way the artist had mimicked the stereotype is significant in perhaps adding a critical quality to the artwork I will be producing in this project. With recent issues arising concerning the portrayals of transgendered personalities in contemporary media (i.e. movies such as Dallas Buyers Club and The Danish Girl) as tragic characters (a major award-bait considering the nominations for the Oscars) and on top of that, played by cisgender male actors, Hollywood received massive criticism for Jared Leto as transgendered AIDS dealing with ‘transphobia’ and lack of diversity. Essentially, by emulating Sherman’s appropriation style and relating it back to this patient Rayon in Dallas Buyers Club context, I can create a work of art that challenges the audience’s mainstream view on gender fluidity.

Radish, Christina. "Jared Leto Talks Dallas Buyers Club At SBIFF 2014". Collider. N.p., 2014. Web. 27 Apr. 2016.

In the late 1960s, during the era of anti-war demonstrations and civil rights movement, an art movement called “Feminist Art” began. Adopting elements from postmodern and conceptual art, this movement aimed to re-evaluate the gender ideas of the early 20th century as well as intervening in the established art history canon. Feminist artists sought to open up the dialogue between the viewer and the artwork with inclusion of a feminist perspective, often done through the combination of various mediums and movements such as body art, conceptual art, video art and performance art. As the artist and social activist Suzanne Lacy states, feminist art seeks to “influence cultural attitudes and transform stereotypes”. This declaration directly links to the message I would like to send to the audience with this particular project on the subject of genderqueer and social acceptance of gender fluidity.

"Feminist Art Movement, Artists And Major Works". The Art Story.

N.p., 2016. Web. 28 Apr. 2016.

Transgender bodybuilder and feminist Heather Cassils and a documented piece from her performance art “Becoming an Image”

Heather Cassils, “Becoming An Image Performance Still No. 1”, 2013. C-print, 22 x 30 inches, Edition of 5. National Theater Studio, SPILL Festival, London Photo by Manuel Vason. https://cfileonline.org/clay-heather-cassils-becoming-image/

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Communication of Ideas and Intentions

1. Incongruence

These were my original set of ideas for The Dual Existence of Being Both Androgynous and Gender Fluid

Design by me

The product I envision for this project will be a photographic series, with a heavy focus on portraiture. Through the medium of photography, I would capture the gender fluid nature of an individual. In this particular layout, the photographs are an ensemble of candid portrait shots as well as composed, intentional body shots. By intentional, I am referring to the poses the subjects are in, and these poses would reflect the way the individual would carry themselves in their gender fluid identification (i.e. a girl may chose to express a certain behaviour that accentuates her ‘manliness’).

While the look borrows from an androgynous (gender neutral) sense of style (in terms of costume and makeup for example), the portraiture of the individual’s features will be adjusted to either appear more masculine or feminine depending on the gender of the person (i.e. a female model’s masculine features will be accentuated and the feminine attributes neutralized, in order to make the person appear as if they had adopted the opposite sex’s identity that distinguishes from their own).

2. Challenging Stereotypes This idea stems more from the concept of contemporary media’s view on transgenderism and genderqueer.

A man is dressed in a semi-formal suit, holding a palette from which he extracts ‘paint’ to create his ideal image of himself.

Design by me

The ‘paint’, which are labelled on the little desk next to him, contains labels which contain words that describe the personality characteristics the man wishes to instil on the woman version of himself.

The attributes however, are all considered ‘masculine’ traits (i.e. independent, assertive, confident, etc.). Through this, I wanted to challenge our societal perception and understanding of the stereotypes we associate with how an ideal woman should be like or behave. By letting the man paint his own ‘masculine’ personality into a very feminine-looking woman, the artwork makes a statement on how it’s alright to be both masculine and feminine, and how by changing one’s gender, wether permanently or temporarily, should not determine how the individual ultimately behaves in society.

The usage of traditional and stereotypical ‘costumes’ (the real man is wearing a suit as he paints a picture of himself as a very feminine woman - as presented through the presence of jewellery, hairstyle, clothing etc.) is more prevalent in this particular idea than the other ideas. This is done for the purpose of reenforcing the idea of stereotypes.

The central ‘concept’ I want to capture in this idea is how expressions and body language forms/influences a gender identity. A variety of different photographic formats (landscape, portrait, panoramic-like) allows for a dynamic display and even reflects the queer, interchanging and diverse nature that is associated with the theme of gender fluidity.

Masculine

Feminine

Masculine

Feminine

ore portraits of transitions between boy and girl.

Design by me

3. Ambiguity

The artwork still uses photography as the main medium, but includes a lot of technical elements (such as the props and the post-production phase, which would require the editing of a photograph to create a ‘painting’ illusion, as well as the morphing of one photograph into another photograph through digital Photoshop).

Intention: make clear the definition of gender fluidity by shifting the focus on the viewer and interpreter themselves they can now reflect on their own identification.

These two photographs represent the biological sex we were assigned as birth, hence the utilisation of male and female symbols. single prop/item is the mirror - indicates audience’s interaction with the piece I have intentionally not used the word “Which” since this would have only given the audience two options to chose from (in other words, either boy or girl).Yet by stating “What”, the viewer is left to wonder what endless of possibilities there are to identifying themselves however they wanted to, eradicating the traditional narrowed view of being either one or the other.

Japanese artist Yasumasa Morimura is well-known for his appropriation of iconic images of famous artists and artworks, which often leave the viewer startled and yet in awe. Morimura slips and transforms himself into the character of artworks and celebrities such as Marilyn Monroe in this picture, with her iconic, seductive gaze. His artworks are more than a homage to the artists he respects; they can be seen as cultural statements that reflects contemporary/post-modern themes that are culturally considered still as taboo - essentialism, masculinity, femininity and the appropriation of historical works. His examination of cultural disconnection, experimentation and the pursuit of idenifying the self in such a confronting, striking and comical way as well as his emphasis on costumes, body language, makeup and digital manipulations to enhance his artworks makes him an even more influential source of inspiration for my own idea.

Yasumasa Morimura, “Self!Portrait ! After Marilyn Monroe”, 1996.

Gelatin silver prints. 44 x 34.5 cm http://www.saatchigallery.com/artists/artpages/ yasumasa_morimura_marilyn_monroe1.htm

Before

After

With indoor lighting, such as in a studio, the photographer has more control over the lighting on the subject and composition of the photograph, adjusting the direction and intensity according to the photographer’s preference.

I will be applying a combination of both the constructionist and candid approach to portraiture, whereas the latter approach will be semi-staged due to the nature of my theme. Similar to the style of fashion portrait photographer Greg Gorman, who turns portrait shots of celebrities (especially from the 90s) into expressionistic works of art. His technical mastery in terms of light manipulation inspires me to create shots of four individuals with expressive faces/body gesture in order to construct gender fluid and androgynous identities.

subtle, warm and soft lighting works really well under bright sunlight as it gives a well-lit condition for shooting

Photo by me

Silver Reflector

Before

Photos by me

After

Natural light coming through the adjacent window bounces off the reflector onto the subject

light fixed the shadows on the subject’s face, balancing the distribution of light

Me photographing

A balmy, natural effect, immensely enhanced the quality of the photograph Front lighting, coming in from behind me, the photographer The silver reflector creates a luminescent, bright effect unnatural lighting appears too artificial and subject is over-exposed - it is unflattering and creates the opposite effect (for example, the dark rings under the subject’s eyes are even more accentuated)

Photo by me

Gold Reflector

Before

Photos by me

After

the lighting deteriorates the viewer’s focus away from the subject, more towards the shadows behind the subject, which would not be advantageous to what I would want to portray (since the importance of the image lies in the expression of the subject) makes the photograph look more interesting in terms of appearing surreal or out of this world gold reflector function similarly to how the silver reflector works (in terms of the lighting effect it creates)

Photo by me

Photos by me

A lot of shadows behind the subject is still created, but the essential part is that the face of subject remains free from odd-shadows.

In order to compensate for that, a higher shutter speed setting could be used to darken the picture, experimenting with the aperture and ISO setting could also work. More experimentations with a different background colour could be done (black for example) to get rid of obvious shadows and different angles could be used to create a different atmosphere in the final photographs.

"Greg Gorman - HOHMANN". Hohmannfineart.com. N.p., 2016. Web. 8 May 2016.

"How To Use Reflectors: A Beginner’S Guide To Lighting A Photo With A Reflector". Shaw Academy Blog. N.p., 2015. Web. 7 May 2016.

"Portrait Photography". Wikipedia. N.p., 2016. Web. 8 May 2016.

An important feature used in Photography are light reflectors - tools which reflects light (by redirecting the direction of surrounding light, unlike flash/external lighting). In portrait photography, reflectors serve the purpose of ‘fixing’ odd shadows on the face and even preventing a backlit subject from becoming a mere silhouette. Since they come in different types and colours, they are versatile in terms of what effects the photographer wants to create from them. For example, when in flat lighting, reflectors can be used to manipulate lighting in order to produce more dramatic and balanced shots.

White Reflector

Skills and Techniques

Indoor Photography

Greg Gorman, “Leonardo DiCaprio”, 1994.

Archival pigment print, 61cm x 51cm. http://www.hohmannfineart.com/artist! item.php?itemId=2411658&title=Leonardo+Di +Caprio&artistId=145348&artist=Greg +Gorman&o"set=17

Experimentations with different light reflectors

Still luminescent, the lighting is still too artificial to be good for portrait shots, yet what I like about this type of reflector is the colour of the lighting - gives the photograph a glowing, almost angelic and dramatic characteristic, resembles the lighting of a setting sun

Techniques and Process: Pre-Production

The Makeup: Girl to Boy/Androgynous Photo by me

Blending in and adding lighter powder to accentuate contouring

Contouring (adding bronze) - for cheekbone definition

The Makeup kit and tools

Pre-Production: Makeup

One of the biggest parts in the pre-production shooting was deciding on the makeup for the models. Since the first shot was planned to be my focal photograph of the gender fluid curation, the makeup had to match the theme of this particular piece, which was androgyny. My model, Galek, naturally has the androgynous ‘look’, which meant that she required only slight makeup to create a more masculine effect on her facial features. In my second female model Sophie’s case, her eyebrows had to be darkened and filled in more in order to draw the viewer’s attention away from her feminine complexion and instead focus on her slight aggressive look (which is stereotypically described as a masculine feature).

The Makeup: Boy to Girl/Feminine

Accentuating eyebrows by colouring them darker - adding darker eye shadow

Photo by me

The Androgynous Look Makeup Design Thin eyeliner for more eye emphasis

Photos by me

Dark grey eyeshadow for dramatic effect

Drawing by me

Pre-Production: The Setup, Further Experimentation with angles and lighting

Gloss and colour for plump lips

For my male model Jonah, who naturally has a more masculine complexion, more blush and powder was needed to soften up his cheekbones. Lip gloss has been added to make his lips appear fuller as well as give it a light sensual and feminine note. The other male model, Josh, on the other hand, only needed delicate makeup since his complexion was more effeminate - foundation and blush was used to accentuate his feminine qualities, while his lips were painted with a light magenta colour to keep his ‘look’ delicate.

For Josh’s two photographs, I needed a solid white background since I only needed a closeup shot of his face and expression. His photoshoot was the only one that required a tripod (see ‘The Setup’ images). For Galek’s photoshoot, the same white background was used, this time with the utilisation of a chair as a prop. Jonah’s and Sophie’s photoshoot, the two who would have the complementary photographs reflecting the themes cisgender and transgenderism, was done on the balcony where there would more optimal lighting (unfortunately on that day, the more ‘extremer’ reflectors were needed even outside due to poor weather conditions).

Camera on tripod is angled vertically for portrait shot of Josh

Me testing with gold and silver reflector the afternoon natural lighting was not enough (even with large windows)

Camera is placed on the tripod for more stability, as I had to work with a lower shutter speed to compensate the not-ideal lighting conditions

Different angles were used in all the models’ photoshoots (with the exception of Josh) in order to experiment with different dimensions and perspectives. A lot of these are evident in the contact sheets created for each model.

Me taking picture of ‘masculine/boy’ version of Sophie, taken from frontal perspective (depth created with the fence bars) and using the silver reflector

Techniques and Process: Production & Post-Production First Edits

Contact Sheets

Josh

Second Edits

The ‘Smoulder’ look - iconic expression seen as attractive in men Different angling of the face (slightly either to the left or the right), with the intention of having a clear shot of one side of the face more so that that particular angled side can be used as the spliced half in the final work.

Since there are more options of shots of feminine Josh with face angled to the left (viewer’s point), shots of masculine Josh angled to the left are excluded from the options for final work Feminine Josh - with bangs falling more in front of his Screenshots by me face to create the illusion of fuller hair - grinning/ smiling softens his already effeminate complexion Checkpoint for clarity and sharpness of a photo: always The first phase of post-production involved going through the After the contact sheets were formed, further selection and narrowing down of the zoom in on the eyes and even on the hair occasionally. abundance of photographic experimentations from the four final pieces was done using the contact sheets. More retouching and editing Feminine Josh’s face is mainly leaned towards the photoshoots and importing them into Adobe Lightroom. Those that occurred, turning the ‘male’ version of Jonah and the ‘female’ version of Sophie to opposite direction of where masculine Josh’s face is were neither sharp/focused or did not fulfill my expectations were black and white photographs. Galek’s full body shot was also turned into a black angled towards - will alleviate the process of splicing deleted immediately. Automatic retouches and slight editing was done and white photograph. Once the final pieces were chosen, they were all retouched and adjusting for a final image. on each photo, as well as exposure correction were immediately done. and previewed one last time before the images were exported for later printing.

Contact sheets were then developed for better overview.

Hair pulled back and experimentation with different, more subtle expressions - slightly open lips, ‘smiling’ through the eyes, etc.

Galek

Contact Sheets

NOTE: blue circles = final choices Masculine Josh: his brows are more furrowed, the smoulder look is more subtle than in the others (micro-expression), his eye on the left half of his face is more ‘clear’.

Feminine Josh: his smile is subtle (corner of the mouth on the right half is raised) which gives off an overall warm expression, his eyes are clearer as well, his hair is pulled back and more dynamic compared to his masculine counterpart.

Galek’s portraiture was a body shot, where I experimented more with different angles to create different ‘moods’ and add dynamism to the photographs. During the production point, I would also ask her to change her position, her posture, her body language etc. and combine that with multiple angles to experiment in terms of what would enhance her portrayal of a gender-fluid person, expressed in one single pose within the photograph.

While her pose determined the expression, message and even atmosphere of the photograph, the angle/perspective would serve the purpose of enhancing the mood of the overall photograph. The choice for her final photograph was mainly due to the confidence she radiates as well as the frog’s view perspective (shooting from low angle) which gives the subject a sense of dominance over the given situation (‘owning’ the photograph).

Jonah Different sideways glances and angles were experimented with - these initial shots did not create the desired effect facial expressions were too neutral

Photos by me Bold expression, confident pose and a slight seductive expression (open lips, gazing down towards the camera) - embodies both masculine and feminine qualities

“Look more vulnerable” - hostile expressions, too masculine (aggressiveness is often brought into associations with a masculine trait) Different experimentations in Jonah’s photoshoot were done through the use of different angles and poses. The challenge came with trying to make his whole style and mannerism more feminine, as he is characteristically the ‘typical’ depiction of masculinity. Letting him try different poses including a lot of hand gestures, different expressions and states of emotions, was a starting point. However, the struggle was communicating the type of expression I as the photographer was looking for to the model, so a lot of trial and error was needed in order to get my message and intent across to him.

For example, my depiction and understanding of vulnerability would look and be expressed differently than how a man would express it (this paved way for a conversation where Jonah stated that if he were to realistically act vulnerable, it would have been more hostile and slightly aggressive).

Therefore I had to learn in the process of shooting these photos to communicate the type of expression, mimic or mannerism I had wanted, even the smallest things like smiling softer, thinking of a specific situation, etc, to create the mood I wanted.

After choosing the final photos, both photos were cropped to only show the face and part of the neck (as well as hair), and their proportions adjusted so that they align with one another. Slight editing in terms of vibrance, colour saturation and highlights were done in the develop section of Lightroom.

Feminine Josh’s face is more angled while masculine Josh’s face is a frontal shot, it was difficult to make them align with each other in the proper proportions. They look mismatched, but once the photographs are printed and cut to reveal only half of the masculine and half of the feminine side, the photographs will naturally be placed on opposite sides, framing the other photographs so that the slight difference in alignment can be overlooked by the viewer.

Manual work on cutting the print photograph would still need to be done for the curation.

Alternative ‘finalist’ - fits the androgynous theme, yet more masculine expression-wise (hair falling in front of face, blunt gaze, darker exposure and the black-and-white aspect only makes the photograph more intense)

Sophie

Photos by me

#1

Photos by me

Photos by me

‘Female’ Sophie - experimenting with the ‘panoramic’ landscape feature for the curation later. Also experimenting with different micro-expressions which leaves room for audience interpretation

#2

‘Female’ Sophie Finalist: the ‘dreamy’ wondering look - slight smile, gazing into the distance, slight angling of the face, hair perfectly frames her face, ambiguous expression that still appears very feminine.

Looking upwards to add more atmosphere to the photograph also the questioning look, which indicates at the questioning of one’s true gender Looking towards the camera form a sideways perspective - directly questioning the viewer

Choosing ‘Male’ Sophie Finalist: I struggled the most with choosing the final piece for this. During shooting, it was clear that it was harder to cache Sophie’s naturally feminine features, and even though masculine expressions were used, she still appeared very feminine. More makeup could have been used to cache that, but with the given time frame it was already too late. Instead, I went with the photograph that would best complement More feminine now - hand caressing chin and The ‘knowing’ look - prospective, smiling, frontal shot, makes him look more warm and Sophie’s ‘female’ shot. #1 has her looking more frustrated, which is not the intention of this piece, so #2 was the as if she knows something that better fit since the subject is directly gazing at the camera, with an expression that is assertive and serious approachable, focus on the lips, juxtaposing with audience doesn’t (implying that she is more certain in terms of her gender choice), contrasting with her ‘female’ counterpart). the focus of the ‘male’ Jonah (piercing eyes)

Communication of Ideas and Intentions The headwear is a significant component to traditional costume wear - each one is designed and crafted differently for each member of an ethnic tribe in Laos

Idea #3 Elaborate head ornaments worn during special festive occasions such as weddings

The Queen’s Centurion. Wonderland series. Kirsty Mitchell, 2012. Archival pigment print. 120cm x 85cm. Source: https:// www.kirstymitchellphotography.com/portfolio/queens-centurion/ (Detail)

Photograph of bridal headwear of a bride from the Yao tribe - Photograph by me, March 2016

Idea #4

These are all my own initial designs for the headpiece, sketched on Paper 53, before constructing a box made of mirrors - I ended up combining the 3rd and 4th ideas together since they represent the visual attributes part of my cultural identity (the aluminum flowers add a touch of personal identity to the costume/ sculpture)

Idea #2

During the beginning of my art-making process with the headpiece, I was greatly inspired by Kirsty Mitchell’s elaborate photographs and costume designs and deeply moved by her search for her own identity in the process of healing after her mother’s death. Her thematic use and unique costume designs influenced me to create a piece that is a reflection (literally) of my own culture and how my surrounding environment and people have shaped the person I have become since my childhood, including my knowledge of gender. My search for my own gender identity became a pursuit on the side during this two-year art course, leading me to question on numerous occasions why gender is the way it is, why we even label ourselves in the first place and where did our earliest notion of gender roles and perceived norms originate from. My resulting piece, Gender Shapes Culture, is an introspective view on one’s own cultural roots and how the contemporary definitions of gender have literally reflected back on it - it is society’s ‘healing’ process in redefining gender norms and rules.

Photos from my art journal

The completed head piece, before it was photographed with my subject for the background of Dance of the Queer Femme Fairy and eventually became the main piece of Gender Shapes Culture

I had originally planned to use paper clips, fabric and attach metal wires for the crown area.

This option did not work so I sought out a different method to increase the surface area on the headband (the base/ foundation) The technique I opted for resulted in a heavy headband, however it did not reduce its flexibility and made it more durable - key requirements for this design

7 Photo from my art journal

Photos from my art journal

Photos from my art journal Photos from my art journal

I first actually experimented with 5-strand braiding technique for this part although it created a ‘cleaner’ and more intricate look, the procedure became too timeconsuming for making longer pieces Colored threaded bracelets used in Lao Baci ceremonies were added for the jaw/ neck area, to add an element of the Lao Loum ethnicity my ancestors are perceived as

Photos from my art journal

Photos from my art journal

Process for Gender Shapes Culture

The subject would be looking at a cultural site, such as a temple, dressed as a woman - men are not allowed to dress as women when entering a religious site in Lao culture, so this image would be interpreted as either defiant against tradition or integration into a contemporary society (as young Lao people are moving away from the conventional opinions and views on matters like transgenderism) Candid shot with petals flying

On a motorbike typical Lao transport vehicle in everyday life

Quite moment subject stares out a window

Communication of Ideas and Intentions

My initial idea was to document snapshots of events that would tell the life story of my transgendered or transsexual subject in the city of Vientiane, Laos.

I would have a large, blown-up photograph of the subject’s face cut in half - her gender identity in full expression

Everything is in blackand-white photography Subject staring at a mirror

#1 Design

Design by me

Samantha Box

#2 Design

Design by me

As an alternative to the documentation style, I contemplated whether I could juxtapose two gender identities again, similar to the style of my piece The Dual Existence of being both Androgynous and Gender Fluid. Advantage of Design #3 = communicates stronger visual and thematic link to my previous works

#3 Design

Similar transitions to my previous work, alternating between boy-girl-boy depictions

Design by me

Since my subject is transgendered, the photographs will show her dressed in the way she feels accurately represent her gender identity (a woman) and how she would normally dress in everyday life (as a boy)

Finalizing Design

Inspired by the visual and thematic style of Samantha Box, who documents the lives of LGBTQ+ young adult community members in New York, I initially wanted to produce documentary-style images myself with this design.

Design #2 is an alternative to formatting the photographs from Design #1 - the concept remains the same

This ‘Communication of Ideas and Intention’ intends to show my process in designing the content of my photographs and how my photographs will be displayed for my piece Gender is a Spectrum that Transcends any Boundaries.

Background for Boy Images: the That Luang’s status as a national, historical symbol of my country would make it the ideal setting that reflects the rich culture and with it the traditions of Laos I wanted to use a more triangular shape since from my comparative study, I was inspired by Judy Chicago’s use of the triangle shape to symbolize feminism and equality - this prompted me to format my photographs from Design #3 this way Photographs are unbalanced there Final set up - colorful Lao Baci bracelets are attached to the photographs of my subject as a woman

Unknown title - Part of her series INVISIBLE, Samantha Box, 2010-2016.

Source: http://station-station.com/ newyork/samantha-box/

Would be hung with washing clips on fishing lines - a more interesting, casual way of displaying it for the audience, would reflect my theme in the sense that the photographs appear to have just been taken and hung up to investigate, a documentation that requires closer inspection Designs by me

First Trial Location: Pha That Luang

Pha That Luang by Night, photo by me, 2016.

The location was used for both my pieces Glimpses of a Life Foretold and Gender is a Spectrum that Transcends any Boundaries This was my first attempt at doing the test photoshoot late in the afternoon. The test shooting was done at the That Luang stupa, Laos’ Buddhist national monument located in the center of Vientiane. The stupa was beautiful lit up and I had envisioned to take photos after sunset.

Final Trial Location: Lake in the city’s marshland area

What wasn’t expected was the traffic, we arrived late to the location - the sun was down. We decided to proceed in the dark anyways and use the silver and gold sides of the reflector (the strongest ones) to reflect the artificial light on sight onto my model, Ae. Shooting manual, the IOS was adjusted to an extremely high number, shutter speed was slowed down and the aperture was at the lowest setting to make sure that a lot of light entered the camera.

My cousin holding the reflector Ae, my model, holding the reflector for a change, so light is angled to reflect on her face Experimentation Result Sample

High IOS made the photo’s resolution ‘grainy’ Extremely low shutter speed (for a brighter photo when shooting in the dark) made the photos blurry and the model’s features are rather unclear

Techniques and Processes

Me doing test shots on manual mode and readjusting the shutter speed and aperture Me taking the picture from a lower angle (frog’s perspective) to create a dramatic shot of Ae and the background Photograph by me

A test shot of Ae putting on makeup - too much of a high aperture, the sky and sunset are barely visible

Component from my piece Glimpses of a Life Foretold, August 2016.

Result of shooting from slightly higher than frog’s perspective dramatic background was slightly highlighted in photoshop Me directing my model to angle her body in a more expressive way Laying a grid onto the photograph and adjusting the photograph according to the rule of thirds - the hand is on the grid so the viewer’s gaze automatically leads to it

I learnt how to become more skilled with this program by using Photograph by me its various features to create only small but evident changes Slight adjustments, increasing the white level and lessening the shadows around the facial area of the subject - her features are clearer and the Increasing the white areas and clarity of the photograph, edit gives her more of a luminous, glowing appearance slightly raising the intensity to brighten the photograph up and bring out the healthy glow and color of her skin

Editing Final Results in Adobe Lightroom

NOTE:

The artificial light makes the photographs The That Luang area will be the location overall unflattering - most of her features for my second set of photographs (Ae as are cast in the shadow and the reflector a boy) for my piece ‘Gender is a did not help at all to counterbalance the Spectrum that Transcends any light that came from above her head. We Boundaries’. However, I did not return to decided to shoot the final photographs of the location Vientiane because of my her as a woman on another day and arrive travels until early January, when the earlier at the real location. artwork was completed.

Screenshots of photographs by me

Initial Brainstorming

Close-up shot of Ae, photo taken by me

Critical Investigation

A photograph of the Creation of Adam could not be taken due to the Sistine Chapel’s rules!

Developing from my previous art piece, I wanted to develop a work that explores a motif that stood out in the photographs. During the post"production process of going over the contact sheets, the closeup shots of Ae stood out to me, in particular her hands. What started o! as a spontaneous idea of having her hands framing her face became a defining feature of the last artwork. In particular, Ae chose to have her hands slightly bent to resemble a dance gesture that is traditional to Laos and Southern Asia, demonstrating an ingrained cultural norm. From this idea, I created a brainstorm that reflects the many di!erent paths I could take with creating a new artwork that involves hand gestures and how these can be used to enhance the concept of gender performativity.

Sistine Chapel Visit April 2016 While I lived in Italy for a few months, I had the chance to visit the Vatican Museums in Rome, which highlight the epitome of Italian Renaissance art.

Creation of Adam, Michelangelo, 1512, Fresco.

Sistine Chapel Ceiling, Vatican, Rome. Dimensions: 280 cm x 570 cm Source: https://en.wikipedia.org/wiki/ The_Creation_of_Adam

Humanism and Artists Buddhism and Culture My Brainstorm

Mudras are hand gestures and positions which are used for non" verbal communication and self"expression. A highly stylised form of body language, they are symbolic signs used to evoke in the mind concepts of divine powers or Buddhist deities. When applied properly, they are considered more powerful than the spoken word #as demonstrated in Buddhist mythology$. Mudras are used in spiritual exercises such as meditation and can be found in Buddhist sculptures and paintings in Southern and Eastern Asia. The conscious performance of mudras allow individuals to become more aware of their inner energy and thus leads them to acquire a sense of understanding and enlightenment.

Classical Indian dance involves various compositions of mudras, some of which are translated into Thai and Lao dance. These mudras are simplified to a couple of basic hand gestures which are combined with dance movements. This combination allows for the portrayal of actions and moods of various characters. Since mudras are graceful in their gestures and have a significant religious connotation in my culture, I would want to replicate simplified versions of them that is found in traditional dance and use it in my artwork to create a still performance of gender expression.

The right hand of the statue depicts Abhayamudra, the gesture of fearlessness. It also represents protection, peace and benevolence. https://en.wikipedia.org/wiki/ Abhayamudra

https:// www.pinterest. com/ estreladalva/ mudras/ Abhayamudra

http://www.lotussculpture.com/mudras.html http://www.xip.fi/atd/thailand/thai-classical-dance.html

Guanyin: Androgyny in Religion A prominent figure in Buddhism is Guanyin, a Bodhisattva #a person motivated by great compassion$ commonly known as the “Goddess of Mercy”. However, she is often depicted as both female and male in order to portray “the figure’s transcendence beyond gender“. In literature, she is sometimes depicted as androgynous or without gender, which makes her a crucial figure in religion who demonstrates the ambiguity of gender. What fascinates me is the ambiguity behind the di"erent interpretations of Guanyin’s gender, even within a conservative, religious context.

This makes me question the existence of gender fluidity in my own conservative culture, which I want to explore more in!depth as well as the transgression of gender boundaries within Buddhism.

The bodhisattva Kuanyan (Guan Yin), c. 1025, wood. Northern Sung dynasty, China. Honolulu Academy of Arts

The monumental works of Michelangelo ornamented the Sistine Chapel’s ceilings, clearly illustrating his characteristic style; a muscular precision and reality combined with an almost lyrical beauty.

Upon viewing the frescos, I was struck by how Michelangelo incorporated Christian symbology, prophecy and humanist principles in his masterpieces. This is epitomised by the imminent touch alone in the iconic “Creation of Adam”. The touch symbolises God giving life to Adam as well as the birth of mankind.

Michelangelo’s usage of symbolism through a hand gesture motif inspires me to create an artwork that incorporates multiple symbolisms through the use of a motif, namely in the context of gender in Lao culture.

Buddhist statue from Goguryeo, c. 531. National Treasure of South Korea 119.

Mudras

Inside the Sistine Chapel:

Praying Hands, Albrecht Dürer, 1508, Drawing.

Albertina, Vienna, 29.1 cm x 19.7 cm Source: http:// totallyhistory.com/ praying-hands/

Humanism in Art Humanism was an intellectual movement in the 14th and early 15th century Italy, its themes and techniques woven deeply into the cultivation of Italian Renaissance art. The movement focused on the renewal of classical antiquity paired with the realistic technique of portraying perceived phenomena. It challenged the medieval society’s view on scholars, bringing attention to artists being more than mere servants and craftspeople. In my TOK class and our excursion to the Medici Temple in Florence, we learned about the Medici family and their significant role in the Italian Renaissance.

The patronage of Italian artists became a significant activity during that time, prominent patrons like Cosimo de Medici took budding artists like Michelangelo under his wing. The commissions contributed greatly to the growing artistic production of both religious and secular subject matters, embedded with the underlying humanistic philosophy emphasising human experiences and virtues. Furthermore, the treatment of elements such as perspective and depiction of light became a crucial feature in humanist paintings.

Albrecht Dürer’s “Praying Hands” Praying Hands is a study of hands for a painted altarpiece created in the early 14th century. While the original work was destroyed by a fire, the copy of the hands went on to become a pop"culture icon and the most enduring work of famous draftsman and German Renaissance artist Albrecht Dürer. The brush"and"ink sketch, done on blue"washed paper which was made by the artist himself, is rumoured to depict the unadorned hands of Dürer’s brother who worked in the mines in order to provide financial aid for his brother’s studies and pursuance of the arts.

In terms of Praying Hand ’s appeal, National Gallery of Washington curator Andrew Robison states in an interview with the “Wall Street Journal” that it is due to the abstract quality of the image. According to him, “They've come to stand for a kind of religious piety, especially in the context of ordinary, working people, because the hands are rough (1).” The idea of using symbolism , the religious allusion and the story of sacrifice behind the depiction of hands is what makes it attractive for me to use a similar motif for my artwork.

1. https://global.britannica.com/topic/humanism/Humanism-and-the-visual-arts 2. https://www.boundless.com/art-history/textbooks/boundless-art-history-textbook/ the-italian-renaissance-23/the-italian-renaissance-150/humanism-589-5750/

Da Vinci’s “Study of Hands”

Leonardo da Vinci, Study of Hands, 1474. Silverpoint and white highlights on pink prepared paper. 8.43 x 5.91 in. Royal Library, Windsor, UK. Source: http://arthistory.about.com/ od/medievalarthistory/fl/Leonardo-daVincis-Study-of-Hands.htm

https://en.wikipedia.org/wiki/ Guanyin (1) http://www.wsj.com/articles/SB10001424127887324323904578370721797296696

Next to Michelangelo, Leonardo Da Vinci was one of the most influential artist of the Renaissance. His Study of Hands depicts his precision and immaculate attention to anatomical correctness and the relative e!ect of light and shadow. The two hands drawn are an example of Da Vinci’s aim in precision in the depiction of human form, with the dark crosshatchings and white chalk highlights creating a notion of mass and depth. The Study of Hands thus reflects the Humanist principle of careful observation and the accurate simulation of a perceived phenomena that is human anatomy.

http://arthistory.about.com/od/medievalarthistory/fl/Leonardo-da-Vincis-Study-of-Hands.htm

My original idea

#1 Design

Communication of Ideas and Intention I had no photograph of the That Luang at the time, so the image was obtained online: http:// www.tourismlaos.org/show_province.php?Cont_ID=78 1

The Lotus Flower

The lotus flower represents a symbol of fortune in Buddhism - it grows in the muddy water and it is the environment that unravels one aspect of the flower’s meaning: the literal and figurative rebirth, emerging and blooming from the murky water to achieve enlightenment Relevant cultural symbolism of the lotus used in my work: the acceptance of Buddha and religion, a renaissance of beliefs and trust, the light of hope after a dark period in one’s life and the ability of forgiveness and letting go.

Tests on what flower structure would work with the stupa in the background Favorite Designs

Final design - this flower shape shows it in full bloom, emphasizing the intention of depicting an open lotus

#2 Design

The second design shows how individual hand drawings, a combination of mudras and Lao dance movements, would be hung from the ceiling as one body of work My hand drawing and photographs I took layered on top of each other in Adobe Photoshop to see how they would look like

Favorite designs - the outlines of the flower makes the stupa in the background more visible

An open lotus in bloom is significant in representing maximum enlightenment and self-awareness

#3 Design

Circular shape cut in half mimics Ying and Yang concept from Design #1

Colour also bears meaning for the flower - pink lotus represents the rich historical legends of Buddha WEAKNESS: flower design blocks the entire stupa

Background of That Luang darkened in Photoshop to see what e!ect it would bring when black paint or oil pastels are applied

Final Design

3D lotus petals cut out and layered on top of That Luang stupa

Sources for lotus flowers: 1. https://www.pinterest.com/pin/135178426285337901/ 2. https:// pixabay.com/en/lotus-flower-summer-zen-lake-978659/ 3. http://www.landofpyramids.org/lotussymbol.htm 4. https://openclipart.org/detail/231778/colorful-lotus-flower-circles-3

From my critical investigation, I decided to develop an artwork that uses relevant motifs from my own Lao culture for symbolistic use. Through this, I would create a metaphoric piece demonstrating the transgression of gender boundaries within a Buddhist culture, a gender “performance” using hands to express gender identity that moves away from traditional gender-limited roles.

Size: 100cm x 68cm

One hand goes here…

Hand designs to be used in the Final Design Better to have lotus flower on the side so the stupa can still be fully seen A study of hands from my sketchbook

…The other hand here

Inspirations and Skill Development

Detail of the hand movement

These hand experimentations were done to see what kind of ‘look’ is the one I would want to recreate in my final piece and which combination of mediums would work best for my intentions

Hand drawing inspired from Lao hand gestures in dancing - from my sketchbook

Photo of my hand mimicking gesture

Learning how to shade hands with curved lines - from my sketchbook

Lao women dancing a traditional Lao choreography Image source: http:// www.aseantourism.travel/media/images/ ckeditor/images/dancing-laos.jpg

I used different mediums for the hand drawings (acrylic paint, charcoal pencils and oil pastel) to test which one works best with the hand motif for my final piece. I have not used much of the oil pastel, but I like working with this medium and will use it in combo with acrylic paint

Skills and Techniques Comparison of Hands If I were to use the same hand gesture for the two hands on my final piece instead of a different gesture and use different mediums instead as the ‘distinction’ or uniqueness between the hands

Hand drawing from my sketchbook

Learning how to shade ‘turning points’ on the hand to create the three-dimensional look because I wanted to learn how to draw hands proportionately and realistically for my final piece Hand drawing on thin card paper - black charcoal pencil and soft white charcoal pencil were used for shading The card color makes the hand appear realistic, the two color shades creates interesting texture and makes the overall drawing appear visually pleasing

Although intricate tiny lines can be created with white charcoal pencil, they appear too light and are barely visible

White oil pastel applied on joints and fingernails - medium makes them appear luminous and stand out more

Hand experimentations from my sketchbook

Comparing the backgrounds - gold on gold (spraypainted onto paper) so that the drawing morphs with the background, the outlines emerging from it or the more tangible-looking one My hand experimentations resembling real skin color on black I painted one hand white and colored in the surface of it on the background, which background black, to see the effect it would create having the shadows stands out more behind - the size of the hand drawing is slightly smaller but relatively proportionate to my own hand in all of these experimentations The white hand appears unnatural and too clinical despite the cool shadow effect

Hand experimentations from my sketchbook

I really like the white on black look in this piece, as it appears ghostly and the white shading creates a luring presence of the hands, which can effectively communicate my gender performance concept - it is ambiguous, intangible and constantly shape-shifting

I would use oil pastel instead of white charcoal since the color with that medium ‘sticks’ better and is more lucid - the hand drawings on the final piece will be double the size of my own hand

Here I use choppy brush strokes to apply black acrylic paint - the rough texture gives it a sketched look White charcoal pencil and white acrylic paint on black paper

Hand experimentation from my sketchbook

Drawing the That Luang

I used a cardboard material for my base to draw on since it was more unconventional

Me painting the second coat of gold acrylic paint onto the cardboard so the color becomes more intense

Techniques and Processes

Refining the Drawing

The idea was to etch the outline of the That Luang onto the cardboard after black paint was added, like in this experimentation

The Lotus Flower

Me using a thinner, flat brush to add in smaller details and shadows onto the That Luang Acrylic paint was the best medium here as it would cover the entire surface if enough paint was applied to the cardboard material

It would take a long process to do this and I would have to work quickly so the paint does not dry out and crumble - would have been difficult to draw a realistic stupa with its details

I used a small, flat brush to paint the multiple layers of the lotus flower since it was the most convenient tool for me to paint lines with on this material

Instead the final design image was projected onto the cardboard and black oil pastel was used to draw all of the shadows in its ‘right’ places - it turned out to be the most effective and efficient method

The finished lotus containing creamy yellow and turquoise hues to make it appear more realistic

Painting dark to light red hues were added and left to dry before pink and white areas were added as the second and third layers

Black markers were used to draw the outlines of the more detailed parts (i.e. the multiple mini towers) Black paint was applied to the darkest areas within the drawing since the oil pastel would not cover all of the square-like surface of the cardboard Instead, the oil pastel was great for adding pattern-like texture in some background areas of the drawing

The different hues and tones of colors I used for painting the lotus

The Hand

Drawing the outlines of where the first hand would be on the drawing, before adding black paint which was then left to dry

Oil pastel was also used to create more uneven and coarse visual textures in other areas

Dark outlines on the background for where the lotus would be painted on

White oil pastel on black paint creates a ghost-like, ethereal look - adding more depth and atmosphere to the drawing

Photo by me

CRITICAL INVESTIGATION

From my past artwork on hand gesture, I wanted to elaborate on the use of body language and movement to convey emotions and meaning, this time focusing on gender identity through performance. When I was little, I used to attend several dance classes, including contemporary dance and hip hop. But what fascinated me was the graceful choreography of ballet, and what ultimately inspired me to use the dance motif in my next artwork was after seeing “The Nutcracker” performance by the San Francisco Ballet. By combining the A scene from “The Nutcracker” Edgar Degas. Image source: femme theme with a dance motif, I can create a piece that expresses gender performativity s o u rc e : h t t p : / / http://www.biography.com/ figuratively and hopefully extend it to the abstract realm through a second artwork. www.roh.org.uk/productions/

Inspirations and Intentions

A sketch of Ae from my previous photographic works While working on my photographs of transgenderism in Laos, I tried to highlight the naturally feminine side of my model to show her confidence in her gender identity.

Yet the term ‘femininity’ in itself has had a negative ring to it for many career-oriented women while patriotic society find it THE desirable trait in women. A term that has been exploited by media who feed into this system with incredibly misogynistic, sexist advertisements of women represented as sexualised objects.

What started out as an idea to redefine society’s values and understanding of femininity turned into a project where I aim to do so in combination with showing the values of a particular queer identity I came upon hearing during my visit to the Castro district within San Francisco in November. Femme.

“No form of gender equity can ever truly be achieved until we first work to e m p o w e r femininity itself.”

- Julia Serano

“Little Dancer Aged Fourteen”, Edgar Degas, 1878-1881. pigmented beeswax, clay, human hair, silk and linen ribbon, cotton faille bodice, cotton and silk tutu, etc. overall without wooden base: 98.9 x 34.7 x 35.2 cm, weight:22.226 kg http://www.nga.gov/content/ ngaweb/Collection/highlights/ highlight110292.html#

Edgar Degas and Ballet

the-nutcracker-by-peter-wright

people/edgar-degas-9269770

The artist Edgar Degas painted scenes from the theatre and ballet in the 1860s. He was an avid observer of the everyday scene, analysing positions, gestures and movement of urban subjects. He was later recruited by Edouard Manet to join the founding members of the Impressionism movement in France. He considers himself more of Realist which distinguishes him from the Impressionists - partly due to his depictions of the simple things which happen ‘behind the scene’ in ballet. His unconventional work on the ballet and his study of movement are what I find fascinating. http://www.nga.gov/content/ngaweb/Collection/highlights/highlight110292.html#

“Little Dancer Aged Fourteen” was Degas’s only exhibited sculpture. It depicts an “opera rat”, a young dancer at the Parisian Opera ballet. The sculptor shines a light on the troubles of the working-class, as shown in the sculptor’s expression and slightly deformed head (caused by malnutrition), her bony figure and worn clothes. Yet she stands poised and dignified, her body is shaped by hard training and she looks both vulnerable and proud. It is this quality that inspires me to represent these traits in my own artwork, as well as the fact that critics of Degas’s time shunned it due to the choice of subject matter - a parallel to my subject matter, the femme community, who have been marginalised and are widely unrecognised.

A crucial development in France during 1860s, The subject is the launching the a courtesan concept of named Nana modern art.

Nana dominates Theme is the painting, her focused on how gaze directed at appearance the viewer changes under A man, her c h a n g i n g caller, is only c o n d i t i o n s . half shown - d e c r e a s e d unimportant in importance in the composition o u t l i n e in A courtesan as f a v o u r Photo taken by me of a subject who is colour, as most “Nana”, Edouard Manet, 1877.

Oil paint. p o w e r f u l artists painted “Just Love Ballet”, Sera 1.54 m x 1.15 m.. Hamburger Kunsthalle. caused quite a Knight.

Watercolour, outdoors in The visit allowed me to navigate through stir in modest different light 35cm x 52cm. h t t p : / / the different eras within art history and French society c o n d i t i o n s . www.seraknight.co.uk Impressionism, especially Manet’s work, Hamburg Characterised / d a n c i n g - p i c t u re s / were entitled to a special exhibition. A Kunsthalle b y short l o n d o n - d a n c e - a r t - beguiling curation and the Impressionists’ Visit Summer brushstrokes. gallery-love-ballet.htm determination impressed me.

2016

Dance & Watercolour Sera Knight’s work of dancers painted with watercolour inspired me to use this medium in my own artwork.

Street art in SF’s Mission D i s t r i c t supporting the L G B T Q + community and movement - photo by me

FEMME: A queer person who identifies him/herself as feminine and beliefs in non-binary gender and combining modern feminist ideas with self-empowering actions. Many femmeidentified women feel invisible (referred to “Femme Invisibility”) even within the LGBTQ+ community, as their queerness is questioned and often placed in society’s hegemonic schema. http://genderqueerid.com/gq-terms http://www.dailydot.com/irl/femme-invisibility-queer-community/

Impressionism Movement

First Design Design by me

The first design I tried to model the outlines of a dancing figure. Hands poised, arms outstretched and feet pointed, the figure is reaching for its tallest form. The body language indicates openness and determination, which rings familiar with the idea of a femme who strives for acceptance and is fearless in her expression.

Design by me

Communication of Ideas & Intentions FINAL SETUP - when producing the piece, things can go wrong with having four pieces of paper (i.e. watercolour runs off before drying and creates unwanted patterns/mixing of colours in the creases between papers). Only one (or two, depending on availability) will be used.

FINAL Design

Design by me

The third design was my favourite design since it expresses my ideal version of portraying the femme gender as powerful and jubilant. Next up, I had to conceptualise the way it could be exhibited.

Primary Layout

Design by me

Third Design

A4 paper attached loosely together to form a larger rectangle.

Abstract butterfly motif in the background, design and motif inspired by Judy Chicago’s “The Dinner Party” ceramic plates

Creating the illusion of the painting falling apart.

A4 papers can be detached from the static background which is the second art piece that is complementary to the ‘femme & femininity’ theme.

The second design shows a figure coquettishly dancing, her hands loose yet still elegant. The pose expresses assertive confidence and hints at sensuality, which adds weight to the performance. The deep passion with which the figure dances is an astute reflection of the feminine qualities a femme possesses.

Design by me

Alternative Layout Design

Design by me

My first idea brainstorm, after being inspired by “The Nutcracker” performance of the sugar plum fairy.

Her complex dance sequence is considered difficult and requires a highrange skill, which inspired me to use the ballet and dance motif in my art piece as it reflects the difficulty of femme people being recognised and socially accepted for who they are.

The third design is adapted from a ballerina figure, her leg raised in a high arabesque and her arms open and fingers poised. This design shows the subject at her most expressive carefreeness and demonstrates her fearless confidence in her identity. She is not afraid to expose herself to the world and her performance reflects that, her dance a manifestation of her gender performance.

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Second Design

FINAL Layout The background in this setup uses one large paper instead of 4 smaller ones - less of a hassle to tear it off in one go. The corners are all shaded darker and grow lighter in its tint as the fragments extend closer towards the dancer. The light the dancer radiates represents her fearlessness and determination. The dancer’s costume here is more abstract and fluid. However, the background does not communicate the message explicitly, it is not strong enough.

Design by me

FINAL LAYOUT - I will pin the large paper onto the back of the second artwork’s base (see image above). The butterfly motif is extended with acrylic paint onto the collage of ripped photos on the base - this shows how gender identity transcends beyond the cultural boundaries placed by the term femininity.

The artworks will be hung from the ceiling in the final exhibition, allowing both sides to be viewed. The first art piece is attached onto the second one to complete my exploration of the terms femme-ness and femininity and the complexity behind this non-binary gender that doesn’t conform to society’s definition. Femme doesn’t fit in conventional gender boxes,

COSTUME - the subject’s tutu will be in form of lotus petals, inspired by the Buddhist symbol of the lotus flower which c o n n o t e s enlightenment or awakening(lotus motif was used in a previous a r t w o r k ) .

BACKGROUND uses the abstract butterfly motif as it symbolises the vagina, so the overall message is more powerful.

Drawing

Dynamic pose drawing from my sketchbook

Drawing and sketching is the most primary form of art to exist. It dates back to as early as the sketches and paintings on cave walls.

Instruments used for making markings range from graphite pencils to ink pens to charcoal. With pencils, the lead can range in its darkness and thickness. A darker pencil, such as a 6B for example, has a softer lead than an HB pencil. In my final artwork, I plan to use the skill of drawing with pencils as a guiding outline for later mediums such as watercolour and acrylic paint.

Arms overhead drawing (with black charcoal tracing) by me

"Fiery Dance” by Andrew Atroshenko. hand embellished giclee on stretched canvas, 40" x 24”. http:// www.lamantiagallery.com/ atroshenko/

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#2

Experimentations from my sketchbook

Watercolour

Learning to draw according to proportions

After attending “The Nutcracker” ballet in San Francisco, I was intrigued by the performers who ooze of beauty, grace and elegance. I was especially fascinated by the fluidity and dynamic “Chocolate” dance which incorporated flamenco moves.

Painters like Leonid Afremov and Sera Knight are skilled at capturing the emotion and ethereal beauty of a dancer’s movement. Here I attempt to eyeball Atroshenko’s painting of a graceful dancer in a sketch. In terms of proportions, I made a mistake by elongating the arms which now appear longer than the legs. I tried to counterbalance this disproportion by adding loose lines that indicate a flowing dress and a sense of movement.

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Dancer drawings from my sketchbook

Abstract dancer using charcoal to enhance lines + smudging to highlight Learning the basics first sketching the torso

I experimented with different hues of blue by mixing the colour with another primary colour as well as changing the tint or lightness of ultramarine blue in practice paintings to gain a better understanding of colour values and its effect on the overall look of a painting.

Watercolour painting is something I have immensely enjoyed doing since Kindergarten days. This particular method involves paint that appears luminous and translucent as it is made of pure pigments that suspend in water Unfinished “Lapis” solution. Before working on this project, I have never learnt how to properly watercolour painting by me work with this medium. Thus, in my initial exploration during lessons, I learnt how to gradually apply Making “blooms” - a second watercolour more effectively through layer added before the first tips from my art teacher and trial and one dries - a typical amateur error (such as the watercolour face watercolour mistake shown below). From this, I attempted to work more loosely and with more patience in painting to avoid common Water puddle - can be fixed mistakes that can be critical (i.e. by blotting with paper towel damaging the paper and ruining the work). I focused Erasing the outlines on painting skin tones to avoid obtrusive layer by layer, from lighter pencil lines when to darker by increasing adding watercolour the pigment content in ratio to water. I ended up with more successful attempts (i.e. with “Lapis”).

S k i l l s

Too many blooms and shaved paper left by excess water and rushed work on different layers + the “mud” look created by mixing opaque (some staining) colours

Studies of male and female anatomy from my sketchbook

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Source: http://www.marionb.com/index.php?/ paintings/sneak-peek/

Combining both skills: from

I have always been interested in the depiction of the human drawing to painting by me form and allusions to movement in art, whether realistic or slightly abstract. By doing these sketches, I learnt the general outline of shapes and forms which make up the anatomy of a person. While I focused on sketching the back of a male figure, I learnt how to manipulate lines to evoke a sense of musculature in the broad shoulder, arms, strong thighs and tight glutes (see the distinction of #1 from #2, #1 being a more effeminate form). From the drawing of the dancer before, I decided to study the torso of a female form to improve and drew the figure in different poses to practice getting the proportions right. I discovered that by Marion Bolognesi’s using smooth curved lines, I could evoke the standard Watercolour Faces feminine form of the torso, and how drawing (from her Art Watercolour face by me - stylistically the torso determines the direction of a movement. inspired by Marion Bolognesi’s works Portfolio Collection).

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Cherry Hood’s technique in painting composite portraits with watercolor are fascinating because of the depth and expressiveness she achieves with this medium alone. It has inspired me to use her artworks as a reference point for painting skin tones.

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Cherry Hood: 1. “Jamie”, 2007. Watercolour on paper. 76cm x 56cm.

2. “Simon Tedeschi Unplugged”, 2002. Watercolour on Canvas. 320cm x 190cm Source: http://www.olsenirwin.com/pages/enlargement_by_artist2.php? current=5&work_id=4269&artist_id=277

Skin color was mixed using hues of bright yellow, ochre and fire red - I wanted the color to be darker and more yellow-tinged to mimic mine than the light skin tone Shyu used and not as rosy as Hood’s paintings.

Photos of paintings by me

The final design from my sketchbook was used as the basis for experimenting with techniques

Ching Shyu is a Chinese painter who captures the essence of dynamic movement and energy in his paintings of dancers. His technique of infusing aesthetic meaning into his lines and strokes is inspiring to me as he is able to communicate complex human feelings through this, with an emphasis on creating an unfinished look (See 2. “Fan Ching Shyu: 1.“Flamenco Passion”, 2008. Watercolour on paper, 81 cm x 56 Dancer”) which gives the audience a cm. 2. “Fan Dancer”, 2009. Watercolour on paper, 76 cm x 53 cm. Celebration chance to use their own imagination.

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of Fine Arts. http://celebrationfineart.com/ching/aa_index.html

Experimentations Paper towel was used to blot excess water and to soften dark colors - however, I kept doing this because I was unsatisfied with how a particular shape or color tone turned out and the paper became soft, which made it prone for blooms as more layers were added. Instead, I should have used a darker tone of color and avoided diluting it too much in the first place.

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Photos of paintings by me

Light rose mix was applied for the skirt and bust area. Too much water was used trying to darken the shade of the color, leading to a bloom - a typical watercolor mistake

Photo of paintings by me

Techniqu!

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I experimented with blue hair to see how it would look like in contrast with the costume - the hue was too bright, distracting from the overall subject. The hair flowing upwards adds dynamism but is too abstract to be considered realistic here (the angle makes it look like the subject just vertically fell onto her pointe shoe - not graceful).

Painting the skirt as petals was unrealistic - the color tones are too opaque, too much pigment and little water were used. The painting is thus not transparent enough and the watercolor medium was not used to bring out its full effect. The lines were too obvious and no white or ‘empty’ spaces were left here - something Shyu mastered with his technique to leave space for the viewer to incorporate their own imagination into the piece.

I will attempt to work with lighter, more translucent colors by using more water and leave more white spaces to create highlights

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After the bloom, I worked slower and allowed time for the layers to dry properly before adding a new one.

I had intended to paint the bust in petal forms to mimic a flower, but ended up outlining the petals too darkly, which was a mistake as they now look clumsily ‘drawn’ and thus appear unrealistic.

First Attempt

Size 2 brush created thin lines, like thin aster petals - would look enchanting if a variety of colors were used

Photo of paintings by me

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Inspirations

A toothbrush was used to flick paint on to see how it would look like with the subject - turn out that it left a ‘messy’ look, not fitting to my concept at all

With a size 4 brush more surface area could be covered and the skirt form looks more abstract and ‘flowery’ - a closer mimic of lotus petals It was difficult trying to create a lotuslike effect with the skirt using watercolor - the overlapping of colors were not aesthetically pleasing and visually it just looked unnatural.

Experimentation Hot water results in stronger colour Photos by me

Pouring hot water into a metal basin - mixed with cold water to make it bearable for handling dye

Po u r i n g p ow d e r dye, mix ing ( we a r i n g p l a s t i c bag) and adding more dye and salt to get a more intense, darker colour Pleating the cloth piece a n d t i g h t ly wrapping rubber bands i n re g u l a r intervals

RESULT - one rubber band for each interval was not effective, the dye still l e a k e d through and dyed the whole cloth

Pleating c re a t e s t h e pattern t h e rubber bands p reve n t t h e section to be dye d , creating stripes

Dipping it into the dye bath and letting it soak for 30 minutes Solution: Double rubber bands wrap two around the same interval

Solution #2: Use a different type of rubber band (and wrap 2 rubber bands for one interval as well)

Photos by me

Photos by me

Using plastic bags to handle dye avoid staining hands

Techniques & Processes PART 1. The Making Of “Femme society is watching you”

1. Cutting Fabric

P r o c e s s

Photos by me

Multiple l a y e r e d pieces cut by using a layer as guideline

DIAGONAL PLEAT

Photos by me

Yellow D y e Pattern

By cutting individual pieces first and dyeing them later in their assigned colour category, I can create more distinct patterns on each fabric piece and save wasting fabric.

THE RESULT: line pattern is more clearer however, colour is more washed out due to rinsing and not being soaked long enough in the dye

Photos by me

DYEING FABRIC - soaking the fabric in solution for approx. 20-30 minutes, depending on colour intensity desired.

Pleating to create a pattern - the blue stripes are where the rubber bands were wrapped - two c o l o u r s we re used in this tester sample The colour doesn’t get to where the rubber bands are tied - only one dye colour was used for each colour section on the rainbow design as two colours would be too time consuming and difficult to attain when using the water bath method

G re e n D y e Pattern

I started out tracing the outlines from the first one but it grew tedious that I reverted to folding the fabric and cutting layers of 2 and 3 pieces at a time.

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D y e i n g

2. Making patterns

S ke t c h i n g outlines for individual c o t t o n f a b r i c pieces and cutting them out

Photos by me

I experimented with different folding techniques that I learned from grade 9 a challenge with this rough cotton fabric plus working with a small surface.

Orange Dye Pattern Cool colours (blue, green a n d b u r g u n d y ) w e re Always handling hot dye mixed using the same solution with plastic gloves water bath, while warm or bags, avoiding directly colours (yellow, orange, touching the dye and red) were mixed in a Adding salt to intensify separate one - purple the dye colour, stirring received its own water to let it dissolve into the bath as red and blue had solution Photo by me to be mixed together After removing thee fabric from dye (since burgundy alone solution, it was washed with cold water to let c a m e o u t m o re m u d excess dye wash out and a sharp knife was coloured than expected in one of the dye mix). used to carefully remove rubber bands.

Photos by me

Final Look

Preparation

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Photos by me

The traced photocopied version was flipped around to make a print onto the watercolor paper - pencil was used to add pressure so the traced outlines would actually print

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The outlines turned out darker and thicker, so they were retraced with a thinner lead mechanical pencil.

The outlines were then gently erased as to only leave a hint of the tracings, in preparation for adding watercolor.

Watercoloring

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The butterfly motif was outlined with the core (which represents a vagina) - not too obvious and the color intensity was rather weak Painting with the usual round brush (size 4) was not ideal for this part, so a thin round paintbrush (size 2) was used to accentuate small details.

Photos by me

Tones of yellow and red were mixed and diluted with water to create the skin color. White spaces were left to create the effect of shadows, a second layer of color was added once the paper dried to emphasize the dark points in the painting (where the light is not shining on her).

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Photos by me

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More color and less water was added for the shoes, thin brush was used to paint individual strands of hair on the head part.

Hues of rose, blue and purple were separately applied to the painting - a paper towel was used to blot away excess water and paint to make the painted area appear translucent.

Beginning Process of creating the Background

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The photocopied version was traced with a 4B pencil (only the rough outlines of the body was traced)

Process PART 1. Watercolor Process of “Dance of The Queer Femme Fairy�

The third design was photocopied and enlarged on 3A paper.

Photo by me

Painting and photos by me

Blue was diluted with water and added onto the shadow areas to highlight the skin tone (since real skin c o l o r contains blue or g r e e n tones) .

2 The vulva area was elaborated upon by darkening the outlines of the inner core and painting further sections around it to evoke the image of the labia and making more visually explicit to the viewer that this represents a vagina.

The green and purple lines were (which indicate flowers or plants) within the core were added to make the vagina appear more abstract.

1 Photos by me

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Photos by me

4. Me pasting the photographs onto the base.

5. Adjusting the photographs to make each one overlap or fit together like puzzle pieces.

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Tracing the outlines where the painting will go. 2. printed photographs representing cultural identity (all of them from my own photography) 3. Me tearing the photographs into different pieces for collage

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PROCESS TO BE CONTINUED‌

PART 2. Making the Background for “Dance of the Queer Femme Fairy”

Samples of the fabrics used in “Femme society is watching you”

Photos of my work by me

Process

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1 1. Adjusting the size of the photographs and tearing them according to fit.

PART 2. The Making Of “Femme society is watching you”

2. The finished collage with empty space left for the 3. The photographs were arranged in a way where the viewer’s attention could diverge painting (it was glued on). from the painting to the subject’s face in the bottom half the ‘triangle’ (which was not part of my original intention).

By slightly my The wrong brush modifying I could size was used, plan, the evident by the a m p l i f y clumsy outlines. significance of the context More paint needs cultural embedded in the to applied since the colors appear piece. The subject transparent and in my photographs communicates this not vibrant. by alternating 4. One solid color (yellow) was applied between revealing for the surface part of the wings to add and hiding herself the first ‘priming’ layer. However, the 4. Extending the butterfly and her ‘identity’. color was too light to obscure the motif by using acrylic photograph areas so I decided to use a paint to outline the wings. different color and more paint.

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Photos of painting by me

The two artworks, “Dance of the Queer Femme Fairy” and “Femme society is watching you”,, are complimentary pieces. They both are the products of my exploration of the femme identity expression in a reserved cultural setting.

After dyeing individual pieces according to their assigned color, the fabrics were assembled before attaching them onto the thick base with individual pins. Since the ends of the pins would poke out on the other side of the base, the backside of the base could not be used for the background of “Dance of the Queer Femme Fairy.” In this case, I used a different base for the other artwork that is made of a similar material. The two artworks would now be attached back to back instead and hung up together during the final exhibition.

Applying the “Makeup” with real Photo by me eye- and lipliner

5. Tones of purple were used instead to block out and prime areas for later painting. I decided to not overlap the subject’s faces because I realized that by encompassing them instead of painting over them, their presence in the piece is more accentuated (and as a result, the cultural context too).

6. I applied sections of various pastel colors. These are like the softer version of the hues used in my dyed fabric piece “Femme society is watching you”.

Me laying out the pieces according to the plan

Using pins to attach the fabric on - stapler was not used because the base material was too thick

Drawing the eye outlines

6 Photos of painting by me Photo by me

Using different tones of lipliners for drawing the iris Drawing eye lashes in two shades of blue, which contrasts with the orange and red fabric

Photos by me

Comparative Study IB Visual Arts I chose the three artworks for my comparative study because of their overarching themes of women empowerment and emancipation, feminism and gender equality. All of them were created using different mediums and are visually explicit, the strong messages of their works left a deep impression on me as they have inspired me to create art as a result of my understanding of how society and culture influence gender manifestations.

Judy Chicago, “The Dinner Party”, 1974–79. Ceramic, porcelain, textile, 576 × 576 in.

(1463 × 1463 cm). Brooklyn Museum, Gift of the Elizabeth A. Sackler Foundation. http://artofthemooc.org/wiki/judy-chicagos-the-dinner-party/

Robert Mapplethorpe, “Lisa Lyon”, 1982.

Gelatin silver print, 15 1/8 x 15 3/8 in. (38.4 x 39.1 cm). Robert Mapplethorpe Foundation. http://www.anothermag.com/art-photography/4237/mapplethorpes-muses

Vanessa Beecroft, “VB70” Performance, 2011. Galleria Lia Rumma, Milano / Photos by Vanessa clxxxv Beecroft and Genarro Navarra Source: http://purple.fr/magazine/fw-2011-issue-16/vanessa-beecroft/

Analysis of Formal Qualities: Lisa Lyon

Robert Mapplethorpe was an American photographer from New York. Influenced by artists like Joseph Cornell and Marcel Duchamp, he experimented with mixed-media collages in his earlier works before venturing into photography, which became his choice of medium as it conveyed his artistic statements the best. His developing signature style, passion for portraiture and technical mastery of black-and-white photography translates into his works of bodybuilder Lisa Lyon. Lisa Lyon is one of the immaculate 112 portrait photographs that focus exclusively on the female form, taken in 1982.

Mapplethorpe was interested in honing and presenting the formal qualities within a photograph, including composition, texture and balance.

“Lisa Lyon” is a highly-stylised black-and-white photograph. The medium allows for the modulation of black and white tones, drawing attention to the texture, lines and shape of Lyon’s muscular physique. My first impression of it was how striking Lyon’s female form was, as it defies the standard depiction of the female human anatomy. The monochrome medium enhances her features in a way that is expressive and makes it appear abstract, like a painting, an effect which would not have been achieved had Mapplethorpe use colour photography. Chiaroscuro, a technique typically found in drawings and paintings, is evident here, as the tonal contrasts between light and shadow emphasise the subject’s athletic décolletage and the definition of her flexed muscles, creating a dramatic effect.

Composition: the subject forms a diamond-shape with her arms, which are slightly tilted sideways, exposing part of the contours of her forearms.

Symmetry occurs as there is a dark line running down the middle of her chest, her slightly-crossed legs forming the end of the line. Her right hand is Robert Mapplethorpe, “Lisa Lyon”, 1982. clutching her clenched left fist with considerable force. This position allows the subject to flex her muscles, the photograph highlights the veins on Gelatin silver print, 15 1/8 x 15 3/8 in. (38.4 x 39.1 cm). Robert Mapplethorpe Foundation. http:// both her forearms, which are strained from physical exertion. Her hands also form a triangle, as if to mimic the outline of her vulva, which she is www.anothermag.com/art-photography/4237/ covering in the photograph. The scale of the work is neither small nor large, the compositional elements, symmetry, the harmony of lines, texture and mapplethorpes-muses tones create a visually-pleasing photograph with the black-and-white medium adding an additional aesthetic flair to it.

It is very likely that Mapplethorpe used his medium-format Hasselblad camera to capture Lisa Lyon, as this was the camera he used to capture all of his prominent subjects.

The photograph was taken in Mapplethorpe’s studio, it is most likely that the artist worked alone with his subject Lyon. Since this photograph was taken in an atelier, a staged lighting source was used overhead flash exposure coming from above, positioned centrally in front of the subject. Since the backdrop would be a matt wall, reflectors must be standing on either side of the subject, aligned with her body and angled to bounce the light onto the subject’s forearms.

Her lower torso area and lower body is thus cast into shadow as no light touches them - this creates an effect of her body disappearing, almost dissolving into the background. The manipulation of staged lighting effectively exposes the subtle nuances of the photograph.

Dark outlines under her breast - makes the organic shape of her breasts stand out more Hands are clenched with folds and creases of her skin accentuated by the staged lighting, creating surface texture and adding depth to the photograph Through manipulating tonal contrasts of light and dark, Mapplethorpe accentuates certain parts of Lyon’s body, which appear etched like a sculptural piece, with the aim to celebrate her physical strength and the aesthetics of her muscular, well-defined anatomy.

Through the omission of the subject’s head and lower limb area, there exists an equal distribution of visual weight - thus, the photograph is balanced. Balance within the frame is also achieved by the symmetrical alignment and distribution of the subject’s emphasized body parts (i.e. where the staged lighting is directed at).

Darkest points of the photograph = her upper abdomen and the shadow at the lower part of her triangular vulva - this places the primary focus on the subject’s body parts highlighted by the light The tonal value range present in the monochromatic photograph creates its overall dramatic presentation and evokes a sense of a three-dimensional figure Smooth contours of her lower body reminiscent of shading on a drawing, creates a marmot-like look as well as being an example of the Chiaroscuro effect Matted, gray background, as not to distract the viewer from the strong Robert Mapplethorpe, “Lisa Lyon”, 1982.

Gelatin silver print, 15 1/8 x 15 3/8 in. (38.4 x 39.1 cm). Robert Mapplethorpe physical presence of the subject Foundation. http://www.anothermag.com/art-photography/4237/mapplethorpes-muses

1. http://www.encyclopedia.com/people/literature-and-arts/photography-biographies/robert-mapplethorpe 2. https://www.artsy.net/article/artsy-editorial-11-artists-who-helped-pave-the-way-to-marriage-equality 3. http://www.lacourart.com/ ArtHistorySurvey/00-pdfs/web-pdfs/maplethorpe/www-tech.mit.edu--V110--N31--mapple.31a.html.pdf 4. http://www.masters-of-photography.com/M/mapplethorpe/mapplethorpe_articles3.html

Function and Purpose: Lisa Lyon The function and purpose of Lisa Lyon are intertwined to a certain extent. Mapplethorpe had been obsessed with the idea of beauty, seeking to express the aesthetics concept through his artworks. Fascinated by how Lyon’s muscular body defied traditional beauty ideals and perceptions regarding the female body, Mapplethorpe explored themes of classical art and its stylization, sexuality, anatomy, gender and androgyny.

The photograph in itself functions as a study of the aesthetics of a woman’s physique that has been altered and shaped by hard work. In other words, it pays homage to a woman whose body has attained the maximum level of ideal physical perfection - a depiction that resembles how Michelangelo chiseled every anatomical groove and ridges of David. For example, the ridges on Lyon’s shoulder blades and her sculpted arms and chest evoke this image of an aesthetically-pleasing sculpture. Her bicep muscles are flexed and multiple vein lines are highlighted on her forearm, which indicate physical exertion and demonstrates her hard-work in achieving her chiseled appearance. Her breasts are the only obvious indicator of her sex, their presence and overall shape adding a touch of softness and vulnerability which expresses her femininity - this juxtaposes her athletic physique.

On the other hand, her female genitalia is censored by the way she clenches her fists in front of her vulva, depicting both power and control over her sexuality. The Chiaroscuro effect is present in the overall photograph - it triggers the viewer to connote the 1. Rober Mapplethorpe, “Lisa Lyon”,1982. photograph with a classical painting or again, a sculpture of a Greek model cast in ambiguous lighting. This highlights Mapplethorpe’s distinct approach to photography, showing his purpose of encouraging the audience to experience and accept Gelatin silver print, flush-mounted. the medium as a different method of conveying beauty and being of equal critical and aesthetic importance as traditional art 15 1/8 x 15 1/4 in. (38.4 x 38.7 cm). https://www.phillips.com/detail/ROBERT- mediums.

MAPPLETHORPE/NY040209/2

The photographic series as a whole functions as an exploration of different representations of women within the history of art, with the included juxtaposition of Lyon’s muscular physique (photographs 1 and 2 shown here are part of the series, with Lyon ‘masqueraded’ in different roles, including “the bride”). Mapplethorpe depicts Lyon in various roles and character transformations, depicting a range of identities that are not limited by gender-imposed stereotypes. Furthermore, Mapplethorpe extends beyond the depiction of the aesthetics behind Lyon’s physique, thus resists the objectification of her and instead choses to demonstrate the enigmatic relationship between power and vulnerability, masculinity and femininity - the purpose of his artwork. In the end effect, Mapplethorpe challenges the conventional interplay between the powerful viewer (in this case, a heterosexual viewer) and the powerless nude (a woman). Specifically, by framing the photograph Lisa Lyon in his compositional choice as to not show Lyon’s head, Mapplethorpe intentionally directs the viewer’s gaze solely onto her body confronting the viewer’s prevalence to objectify her, but instead find themselves struck with the graceful and dominant presence the subject in the image emits. By covering her vulva, the subject reclaims her subjectivity and refuses to be ‘owned’ by the viewer.

Furthermore, while his work of sadomasochism garnered mainstream attention on previously-unknown aspects of the homosexual community, his photographic series of Lyon functions as a testament to the relatively small community of female bodybuilders in the 1980s in the U.S. The general society viewed these bodybuilders as existent somewhere in between the boundaries of male and female. Mapplethorpe glorifies the female body, his portraiture of a nude Lyon proposes a counter2. Rober Mapplethorpe, “Lisa Lyon”,1982. image to female subjectivity imposed by a hegemonic male society. Thus, the conceptual function of his photographs is to Gelatin silver print. deconstruct gender for the mainstream and its purpose is to destabilize the patriarchal order that remains persistent 50.80 x 40.60 cm. © Robert throughout history.

Mapplethorpe Foundation. https://art.nationalgalleries.org/art-andartists/90662

1. http://www.masters-of-photography.com/M/mapplethorpe/mapplethorpe_articles3.html 2. https://www.artsy.net/artist/robert-mapplethorpe/articles 3. http://www.telegraph.co.uk/women/womens-life/10184705/How-much-does-gender-influence-the-art-world.html 3. http://serendip.brynmawr.edu/ sci_cult/courses/knowbody/f04/web2/dsosower.htm 4. http://www.raco.cat/index.php/CLR/article/viewFile/106018/147996 5. http:// www.encyclopedia.com/people/literature-and-arts/photography-biographies/robert-mapplethorpe

Cultural Significance: Lisa Lyon The Cultural Context

“What is freedom of expression? Without the freedom to offend, it ceases to exist.” ― Salman Rushdie

In the era of the colloquially called sexual revolution and the second-wave feminism movement in New York during the late 1970s, sexual liberation became increasingly accepted by the wider U.S. public. Mapplethorpe was critically aware of the social and aesthetic issues ubiquitous in both the ‘70s and early ‘80s. The community of female body builders, a relative minority in the U.S. demography of the time, were viewed upon by society as existent somewhere between the boundaries of male and female. Their bodies were different from the predominant female body ideals, rather more, they were considered manifestations of classical statues, such as those of Michelangelo which marries feminine curves and masculine musculature. The idea of their body types being viewed upon as graceful and beautiful was still an abstract thought in the late 70s, which Mapplethorpe changed as he published the photograph essay of Lisa Lyon (the first World Women’s Bodybuilding champion).

At the time, photography was mainly used as a documentary medium and remained largely unexplored as an art form in terms of techniques and aesthetics. By infusing his work with arresting subject matters and meticulous attention to formal qualities, Mapplethorpe produced compositionally-balanced photographs that are daring, electrifying and unique to his cultural context an achievement only a few artists during his time attempted because of the market and media-favored paintings and sculptures of contemporary art. His ability to harness beauty - such as in the form of aesthetics behind the human body - catapulted him to being one of the most popular photographers in the second half of the 20th century.

The Cultural Significance of the Artist’s Artwork The political power of his work of Lyon are aligned with the second-feminist principle of females reclaiming their sexuality and resisting the objectification of their bodies, which Lisa Lyon does by unflinchingly confronting the viewer by exposing the model’s athletic physique. This has garnered the artist multiple criticism from various oppositional groups (i.e. anti-obscenity groups). Jesse Helms led his censorship campaign as a Republican at the time and pro-censorship feminists have condemned Mapplethorpe’s photographs for their explicit and supposed pornographic imagery.

Art critic, Ingrid Sischy, argues that this negates the cultural complexity of his works, stating that his series of Lyon breaks the traditional views of female bodybuilders and lets him emphasize formal qualities which were shunned as shameful and erotic by his society - highlighting the deconstructive power of his work.

Robert Mapplethorpe, “Lisa Lyon”, 1981.

Gelatin silver print, 19 1/16 x 15 3/16 inches (48.4 x 38.6 cm).

Robert Mapplethorpe Foundation. https:// www.guggenheim.org/ artwork/2697 (Detail)

Woman at a march for women’s liberation during the second-wave feminism.

Title, date and photographer unknown.

Source: http://womencivilright.weebly.com/ significant-figures-of-the-feministmovement-in-usa.html

Significant is also that Mapplethorpe was homosexual, which means he was further culturally marginalized as a queer artist. He embraces this and works from within the dominant, misogynist power structure that objectifies marginalized communities within his contemporary society, to which homosexuals and women belong. He does so by appropriating the dominant power roles and re-determining them by giving these roles to the oppressed - like bodybuilder women. Therefore, they are liberated from social barriers and can reclaim their subjectivity.

This was aligned with the growing empowerment of women during the 80s as well (“Wonder Woman” became popular in media then) - what makes his artworks of Lyon still so compelling today (and to me personally) is how he had pushed the boundaries placed by conventional gender identity definitions, his interest in gender ambiguity, the combination of traditional masculine and feminine features and androgyny evident in his photographs.

1. http://www.encyclopedia.com/people/literature-and-arts/photography-biographies/robert-mapplethorpe 2. https://www.theguardian.com/artanddesign/2010/sep/21/ robert-mapplethorpe 3. https://www.nytimes.com/2016/04/01/arts/design/why-mapplethorpe-still-matters.html 4. http://www.bbc.com/culture/story/20140425-mapplethorpe-shock-of-the-nude 5. http://serendip.brynmawr.edu/sci_cult/courses/knowbody/f04/web2/dsosower.html

Analysis ofFormal Qualities: The Dinner Party American artist Judy Chicago created The Dinner Party project, a milestone artwork that took 5-6 years to complete and curate. She worked alone for 2 years before she was joined successively by women and men specialized in a range of disciplines (by the end of 1979 the number was 400 in total), who were inspired by her ideas and collaborated with her in designing and creating features that make up The Dinner Party.

The Dinner Party is a mega-installation measuring an impressive 14.63 by 14.63 meters and it is permanently displayed in the Elizabeth A. Sackler Center for Feminist Art at the Brooklyn Museum. The curation of the artwork consists of Entryway Banners, a ceremonial banquet table with 39 ceramic plates that individually serve as an allegory for 39 historical female figures, the Heritage Panels which illuminate the contributions of 999 women whose name appear on the Heritage Floor, and an Acknowledgment Panel has been set up to celebrate the contributions made by Chicago’s collaborators.

Composition The composition of The Dinner Party is of uttermost importance to the value of the piece. Upon entering the exhibition hall, viewers first walk past six woven banners, containing words from Chicago’s poem, and enters a space where they find an open triangular table.

The overall dimensions of the table is 14.63 by 14.63 meters, the scale of the work crucial since it adds authenticity to the artwork as it resembles a real life-sized banquet. The size of the work makes a great impression on the viewer as it reflects the tremendous amount of work and effort that poured into the making of the installation. Furthermore, the equality between the lengths of the dimensions add a sense of balance to the composition of the piece.

Judy Chicago, “The Dinner Party”, 1974–79. Ceramic, porcelain, textile, 576 × 576 in. (1463 × 1463 cm). Brooklyn Museum, Gift of the Elizabeth A. Sackler Foundation. https://www.brooklynmuseum.org/exhibitions/dinner_party/

A series of 39 place settings are set on the table, each of them representing 39 influential women figures. The table decorations are assembled in the same way for all place settings, all the chalices and silverware are arranged in the same positions, evoking a sense of ritualism. There are three wings to the table, each divided into important periods of history. 13 place settings are on each wing, appropriating the 13 disciples of The Last Supper by Leonardo Da Vinci. The geometric triangle table is equilateral in shape, the three wings are symmetrical to one another, which creates a sense of uniformity and equality between all place settings represented. The equality between all place settings further adds to the compositional balance of the installation.

The whole table is situated on a triangular floor composed of 2,300 hand-cast porcelain tiles upon which the names of 999 women are written in elaborate cursive letters, names which correspond to the information provided by the Heritage Floor. The names are inscribed in gold lustrous colour, which when viewed upon from a position right above the artwork, appear as intricate calligraphy which induces a sense of pattern since the names stream in a grouped form from every single place setting. For example, the longest finger of names are those of history’s greatest woman rulers that are grouped under Queen Elizabeth’s place setting.

Image Caption: “Installation view, Entryway Banners from The Dinner Party, 1979, Elizabeth A. Sackler Center for Feminist Art, Collection of the Brooklyn Museum.” © Judy Chicago. Source: http://www.judychicago.com/gallery/the-dinner-party/dp-artwork/#

Judy Chicago, “The Dinner Party (Theodora plate)”, 1974–79.

Porcelain with overglaze enamel (China paint) and gold glaze. 35.6 × 35.6 × 3 cm. Source: https:// www.brooklynmuseum. org/eascfa/ dinner_party/ place_settings/theodora

Medium

1. https://www.youtube.com/watch?v=9yMtdWxAc60 2. https://www.brooklynmuseum.org/eascfa/dinner_party/ curatorial_overview/ 3. http://www.theartstory.org/artist-chicago-judy.htm 4. http://www.visual-arts-cork.com/ceramics.htm

Chicago utilizes multiple mediums, mainly ceramics, porcelain and textile, to display the complexity and careful attention to detail that went into the creation of each individual component of the body of work. Ceramic art utilizes the firing method in a kiln, and Theodora’s (Byzantine Empress) plate for example, repeatedly cracked in the kiln due to its meticulous, mosaic pattern before Chicago and her ceramics team developed a method after months of failed attempts, which eventually involved laying a slab on the plate and cutting the tiny “tiles” into it which were then reworked with carving tools. To achieve the intensity and vibrancy of the colors, five firings with China paint were required for the plate.

The ceramic plates are enameled with China painting, which is customarily used in the decorative arts, each design unique and containing abstract butterfly and flower motifs that resemble a woman’s vulva. According to Chicago, it took her a long time before she could transform this technique into a malleable painting method, as she wanted to use the technique since it was traditionally done by women.

Chicago mixed colors and distinctive forms that are symbolic and authentic in relation to the context the represented woman lived in.

The colors and form used in Hatshepsut’s (Egyptian Pharaoh) plate for example, originates from Egyptian tomb paintings. The plates are the only dynamic features of the artwork (the composition of everything else is symmetrical and equally balanced), as they alternate in structure and form since some plates are more dimensional and texturized than others.

Place Setting Example

Analysis of Formal Qualities

The formal qualities of each component of The Dinner Party go hand in hand with Chicago’s purpose and the functions of the piece.

In order to show the grand scope of the intricate details and complexity of thought that went into making The Dinner Party, I chose to focus on an example of a place setting that resonated with me due to the woman’s courage in pursuing her profession (given her time period), as well as the fact that I heard of her for the first time when I lived in Italy in April 2016. She lived during the Renaissance, an era which offered abundant opportunities for male artists. Her name was Christine de Pisan (b. 1364) and she was an Italian medieval writer who advocated for women’s equality.

The woman is represented as an abstract butterfly shape on the plate.

Painted in swirling, vibrant hues of red and green.

Core of the butterfly resembles a woman’s vulva One ‘wing’ is raised, as if in a gesture of defense The name ‘Christine de Pisan' is stitched in gold lettering onto the front of the runner BARGELLO - Chicago and her team The runner utilises transformed this technique since tones from the same it has traditionally been used in colour palette as the making chairs and waste baskets plate, creating harmony between the Material here is a porcelain with overglaze enamel, done in China painting. The tones and the patterns plasticity of porcelain makes it tough and impermeable due to vitrification.

Spiky, jagged lines which Chicago has apprenticed herself with various plastic art forms and I believe she chose this medium in particular due to the rich historical application of it resemble flames (porcelain was developed 2,000 years ago in China). It is a medium that was ornament its edges done primarily by women, an affirmation to the ‘femaleness’ of her work.

Judy Chicago, “The Dinner Party (Christine de Pisan place setting)”, 1974–79. Mixed media: ceramic, porcelain, textile. Brooklyn Museum, Gift of the Elizabeth A. Sackler Foundation. https://www.brooklynmuseum.org/eascfa/dinner_party/place_settings/christine_de_pisan

An intricate scene from a manuscript is incorporated into the design of the luminescent capital ‘C’. The ‘C’ depicts a miniature noble woman handing over a volume of work to another woman who seems to be her client/patron.

The book symbolizing her gift of knowledge and feminism to the world of her time.

The curly pattern design, embroidered in medieval Bargello needlepoint known as “flame stitch”, represents the oppression of women during the Renaissance era.

The three corners of the triangle are draped with white work cloths called Millennium Runners. They mark the transition point to the next wing. White work refers to any embroidery technique where the colour of the stitching (typically white) is the same shade of colour as the foundation fabric (usually white linen).

Chicago executed the embroidery in white silk thread on white silk using 18 different embroidery stitches - Chicago uses slant and texture in the stitching technique so that the light can clearly capture the pattern, making it convenient for the viewer to distinguish these from the cloth’s surface. Different white work techniques are used on each of the runner, but the geometric pattern of triangles remains the same.

1. https://www.youtube.com/watch?v=9yMtdWxAc60 2. https://www.brooklynmuseum.org/eascfa/dinner_party/core_imagery/ 3. https:// www.brooklynmuseum.org/eascfa/dinner_party/genesis/ 4. https://www.brooklynmuseum.org/eascfa/dinner_party/place_settings/christine_de_pisan

Image source: http://kaykeys.net/passions/thedinnerparty/triangles.html

Function and Purpose: The Dinner Party

Wing 2: Christianity to the Reformation

The Dinner Party functions as a commemoration of heroic women figures whose significant achievements have been lost throughout history. By introducing women’s achievements and representing their containment throughout a patriarchal history, Chicago hopes to create an artwork for the purpose of integrating the lost experiences of women back into Western civilization which will have the power to enrich the overall human experience of the future.

The uniformity of the object decorations (the chalice and co.) represent the fact that no matter how unique the women were, they were all treated the same because of their sex

Plates become more dimensional with each wing - functions as metaphor for women’s strive for freedom and a decrease in their containment (i.e. through class, race or life circumstances.

Each of the women is represented by a ceramic plate, which rests on an embroidered runner that was done in the needlework craft of that specific woman’s time.

First six place settings show how the originally positive image of benevolent female power (as represented by a goddess) gradually changed into a negative concept as men became more dominant in society

There are deliberate contrast between the place settings that are next to each other - such as between those of Theodora and Roswitha - in order to emphasize the difference between the women

Heritage floor - each name on the floor is a symbol for thousands of women whose achievements have been lost in history Final place setting - Georgia O’Keeffe, who represents the creative genius and the regaining of feminine power through art

Millenium Runner

Wing 3: American Revolution to Women’s Revolution Judy Chicago, “The Dinner Party”, 1974–79. Ceramic, porcelain, textile, 576 × 576 in.

(1463 × 1463 cm). Brooklyn Museum, Gift of the Elizabeth A. Sackler Foundation. http://artofthemooc.org/wiki/judy-chicagos-the-dinner-party/

‘M’ stands for Millenium - when women will be respected and women’s experience finally be incorporated into our cultural heritage

Image source: http://kaykeys.net/ passions/thedinnerparty/triangles.html

Whitework is affiliated with ecclesiastical embroidery used to glorify the male hierarchy in the past - here, she uses the technique to honor women instead (those who have used the same technique to sew clothes for men to wear)

Chicago uses the letter ‘M’ since it is the 13th letter in the alphabet (an allusion to the 13 disciples). Chicago intentionally had designed the letter on each white work to become more or less distinct with each successive corner as it corresponds to the different levels of freedom or oppression experienced by the women in different time periods in history.

Wing 1: Prehistory to Classical period First place setting - represents the primordial goddess who marks the earliest point of human civilisation the earth itself is feminine (alludes to Mother Nature)

Nascent butterfly form - the butterfly motif is seen in ALL ceramic plates - it has a distinct core, like the hot centre of the Earth or as Chicago phrases it, “the centre of women from which all life emerges” - the vagina

Chicago’s use of an equilateral triangle as the overall form for the table is due to it being the earliest sign of a woman as well as an ancient symbol for the goddess. As the audience move along the table, they will begin to notice that the patterns and design on the runners, upon which the ceramic plates rest, start to encroach upon the plate - these serve the function of being metaphors for the relationship between the woman represented and her environment (in some cases, you can witness a great deal of tension between the plate and its respective runner - for example, when a woman lived within a strict, religious context).

1. https://www.youtube.com/watch?v=9yMtdWxAc60 2. https://www.brooklynmuseum.org/eascfa/dinner_party/curatorial_overview/ 3. http://www.theartstory.org/ artist-chicago-judy.htm 4. https://www.brooklynmuseum.org/eascfa/dinner_party/core_imagery/ 5. https://www.brooklynmuseum.org/eascfa/dinner_party/genesis/

Cultural Significance: The Dinner Party 1. https://www.youtube.com/watch?v=9yMtdWxAc60 2. https://www.brooklynmuseum.org/eascfa/dinner_party/curatorial_overview/ 3. http://www.theartstory.org/artist-chicagojudy.htm 4. http://www.throughtheflower.org/projects/the_dinner_party 5. http://people.com/archive/sassy-judy-chicago-throws-a-dinner-party-but-the-art-world-mostly-sendsregrets-vol-14-no-23/ 6. https://www.theguardian.com/artanddesign/2012/nov/04/judy-chicago-art-feminism-britain 7. https://www.youtube.com/watch?v=UA9cp9jqHZE

The cultural context

The Dinner Party was completed after 5 years, between 1974 and 1979, its production marking a change in history and a shift in the paradigm of Chicago’s time. In the late ‘60s and mid ‘70s era, the United States was flooded with various movements, including the significant Feminist movement and with it the liberation of women’s ability to work openly from their own experiences. During this time frame, it was still considered dangerous for a woman artist to express her own content, especially in the macho Los Angeles art environment of the ‘60s. Chicago began her artistic endeavor in the late ‘60s and by growing up in an environment where women’s studies was practically non-existent and female content and perspectives were not considered acceptable, her artworks derived from her desire to break apart from the conventional male experience that dominated the art world in her society.

The impact of Chicago’s work As a response to her cultural context, Chicago created The Dinner Party which is a symbolic tour of the history of significant women figures in Western civilization, told through a woman’s point of view. In a time where there was a scarcity in information on female perceptions and experiences throughout history, Chicago commemorated the countless of women who have left a mark on history in her work, demonstrating that a women's experience can be just as much a metaphor for the human experience as the male perspective is. Her project is even more so notable and multifaceted in the sense that Chicago went on to publish essays and books about the discoveries she made in her research of the historical women she represents in The Dinner Party.

The Dinner Party left a critical impact on the younger generation of her time who felt deeply moved by the content and message of her work.

Reaching up to a million viewers, it was exhibited in 16 venues in six countries before being permanently housed in the Elizabeth A. Sackler Center for Feminist Art (at the Brooklyn Museum). Her work addressed a critical aspect of the political issues of her time which were aligned with the change that was happening - the shifting cultural paradigm through the introduction of second-wave Feminism. The phrase on the Entryway Banners leading to her exhibition of the artwork for example, were extracted from a poem Chicago wrote herself, a poem that reflects her dream of a world made whole by the introduction of feminine value through art.

Image Caption: “Judy Chicago working on the Entryway However, Chicago’s installation was cast as controversial by numerous major art critics of her time. New York Times’s Hilton Kramer criticized her work as “vulgar”, “crass”, “single-minded” and art that “fails to capture any independent artistic life of its own”, while Robert Hughes dismissed the work as “cliche” and her use of colors as resembling objects that came out of a “Taiwanese souvenir factory”. On the other hand, critic Lucy Lippard’s reception of Chicago’s work was more enthusiastic; she applauded it for being “one of the most ambitious works of art made in the postwar period.” The differing responses of both the mass, critics and even institutions (several art museums have rejected exhibiting The Dinner Party) show how divided the opinions on Chicago’s work are, especially in the midst of a fastpaced, modernizing political and social situation.

Banners for The Dinner Party. Photo courtesy: Through the Flower Archive” Source: http://www.judychicago.com/ gallery/the-dinner-party/dp-installations/

Relevance to contemporary culture The reality of celebrating women’s achievement in all range of fields in the 21st century would not have been attainable without the contribution of artists like Judy Chicago. As an artist, Chicago challenged the conventions of her contemporary art world by using mediums which were looked down upon by the ideal standards of fine arts and acknowledging her many collaborators in producing The Dinner Party (a gesture that was considered unusual, most artists referred to other people as ‘assistants’). Her development of the subject matter in her work in juxtaposition with a traditional presentation (through embroidery and needlework, traditionally considered as women’s handicraft) and portraying her “girls” (the 39 plates) as heroes, she truly become a pivotal figure in propelling feminist art forwards and giving it its definition as we understand it today.

Image Caption: “The Dinner Party Needlework Loft, Santa Monica, California. Photo courtesy: Through the Flower Archive.” Source: http://www.judychicago.com/gallery/the-dinner-party/dp-installations/

Vanessa Beecroft, “VB70” Performance, 2011. Galleria Lia Rumma, Milano / Photos by Vanessa Beecroft and Genarro Navarra Source: http://purple.fr/magazine/fw-2011-issue-16/vanessabeecroft/

Analysis ofFormal Qualities: VB 70

Vanessa Beecroft is a conceptual artist who is well-known for her performance art, each one titled VB followed by a number that marks its order of appearance. From this, I can safely assume that VB 70 is her 70th staged performance.

COMPOSITION: The group of female models are presented in a single tableau (still, not moving). The models are relatively spread out in the exhibition space, occupying an entire room. Altogether they are contained within a loose circular shape.

THE SUBJECTS: The nude models are sitting or standing motionless, as if to imitate the marble stone statues. Their curved, soft and organic human form juxtaposes the cold, hard and smooth texture and rigid shape of the marbles.

COMPOSITION: Marbles are colorful, some are carved and some left as white - they are rich in texture. Some marble sculptures are randomly placed in-between different models. These are typically in form of busts and depict a female human, some are amputated fragments which show the rigidity of the rock structures and how breakable they are compared to the human bodies. When viewed from a point further away, one can see how the distinction between these sculptures and the women are blurred as the women blend into their environment, becoming aestheticallypleasing statues themselves.

Vanessa Beecroft, “VB70” Performance, 2011. Galleria Lia Rumma, Milano / Photos by Vanessa Beecroft and Genarro Navarra Source: http://purple.fr/magazine/fw-2011-issue-16/vanessa-beecroft/

The blue-painted model sits on a large chunk of marble (in a crouched position), with an expressionless face and eyes staring horizontally straight ahead - as if she were morphing into a sculpture herself, becoming part of the marble

The rough edges and the array of colors sprinkled here and there (this one contains lapis lazuli) in the marble gives it an organic, natural form - shows how untouched it is by the hands of humans

THE MEDIUM: white marble used since classical times - a soft but durable stone, penetrable to light (by a few millimeters), giving “life” to sculptures as it creates a waxy look effect. Traditionally not used sculpting figures like the human form, but here it sets a unique atmosphere to the artwork, as the models are depicted on pedestals and appear as immortal.

THE SUBJECTS: They are each painted in a vibrant monochromatic color in hues of green, pink, blue, black and burnt sienna. The green color for example, is unnatural and may appear appalling to the viewer, as it strongly contrasts with the softer, naturally-derived colors of the marble.

BALANCE: all models appear as relatively proportionate in size to one another. The artwork evokes a sense of harmony between marble stone and humans, as it plays on the tactility of the women (since humans like to physically touch marble and other people).

Vanessa Beecroft, “VB70” Performance, 2011. Galleria Lia Rumma, Milano / Photos by Vanessa Beecroft and Genarro Navarra Source: http://purple.fr/magazine/fw-2011-issue-16/vanessa-beecroft/

1. http://purple.fr/magazine/fw-2011-issue-16/vanessabeecroft/ 2. https://www.artforum.com/picks/ id=28712&view=print 3. https://etd.ohiolink.edu/! etd.send_file?accession=kent1416591151&disposition=inline

Function and Purpose: VB 70 The overarching function of Beecroft’s “VB 70” and majority of her work is to examine the physical constructs which make up the perfect human body. The body is also a reoccurring theme in her works, as all of her significant works involve performance art which uses the body as the main tool for communicating her artistic intentions. The body becomes an instrument or art medium in itself.

Her artwork function as an exploration of how context influences the complex relationship between the viewer (audience) and the viewed (the naked models). The purpose of her artwork is to reclaim the female sexuality through means of exposure.

Vanessa Beecroft, “VB70,” 2011. Lia Rumma Gallery, Milan. Source: http://www.nytimes.com/slideshow/ 2016/05/19/t-magazine/the-very-best-of-vanessa-beecroft/s/19tmag-beecroft-slide-35AL.html

According to Beecroft, the girls function as a self-portrait and reflection of her younger self. They are diary entries which are “translated to a safely distant, removed canvas of space and anonymous flesh.”

Vanessa Beecroft, “VB70” Performance, 2011. Galleria Lia Rumma, Milano / Photos by Vanessa Beecroft and Genarro Navarra Source: http://purple.fr/magazine/fw-2011-issue-16/vanessa-beecroft/

The models represent Beecroft’s anxieties, shame and self-hatred during the extreme episode of her eating disorder. Some of the girls Beecroft chose as her models have been diagnosed with an eating disorder themselves, making them authentic representations of Beecroft’s own emotional turmoil. The girls purposefully vary in their physical appearance (some are heavyweighted, tattooed, skinny or model-looking).

Elaborating on the purpose of Beecroft’s artwork, her models are depicted as nude which suggests an explicit amount of sexual imagery. Sexual imagery, propagated by the contemporary media, is powerful and when applied to how the artist uses it, can intimidate the male gazer. From a feminine point of view, the girls all look stern, cold and emotionless in the tableau, the opposite of being seductive, weak and vulnerable (how the media likes to portray female figures). Here, the girls reclaim their sexuality and dominate their “space”. The fact that they are in various poses and positioned on marble pedestals, they appear as out of this world and “godly” to a certain extent.

Vanessa Beecroft, “VB70” Performance, 2011. Galleria Lia Rumma, Milano / Photos by Vanessa Beecroft and Genarro Navarra Source: http://purple.fr/magazine/fw-2011-issue-16/vanessa-beecroft/

1. http://purple.fr/magazine/fw-2011-issue-16/vanessabeecroft/ 2. https://www.artforum.com/picks/ id=28712&view=print 3. https://etd.ohiolink.edu/! etd.send_file?accession=kent1416591151&disposition=inline

Cultural Significance: VB 70 Vanessa Beecroft’s body of works have consisted mainly of performances, featuring models (often female) who are presented as art pieces which exist between a figure and an object. Her artworks are largely influenced by her personal struggle with eating disorders (a homage she pays to with her exhibition work “Despair” - colloquially known as the “Book of Food”). The themes of feminism, femininity in a modern culture and obsession with body image are reoccurring in her work. According to art historian Maria Elena Buszek, Beecroft is a member of artists who are part of the current third wave feminist art movement. An ambivalence exists in her work, which focuses on the internalized, individualized feminist goals and identity rather than political changes.

Vanessa Beecroft, “VB70,” 2011. Lia Rumma Gallery, Milan. Source: http:// www.nytimes.com/slideshow/2016/05/19/t-magazine/the-very-best-ofvanessa-beecroft/s/19tmag-beecroft-slide-35AL.html

New York art dealer Jeffrey Deitch, who propelled Beecroft in to the international platform, called her artworks as having sourced influence from the tradition of classical Italian painting and sculpture - Italian Mannerist, Baroque painting and sculptors like Canova being one of them. This is evident in “VB 70”, which contains marble sculptures in many variations while some of her models are painted to look like marble - classical sculpture element is alluded to, as attention is drawn on the human female form and the models become real life sculptures themselves.

“Keeping up with the Kardashians” - a popular reality TV show Image source: https:// www.pogdesign.co.uk/ cat/Keeping-Up-with-theKardashians-summary

Kim Kardashian’s husband Kanye West has also collaborated with Beecroft on numerous occasions.

Another foundation Beecroft draws inspiration from is the traditions of radical performance art and live art. Yves Klein and Gilbert and George are cited by Deitch to be some of them. A third element to her influences is the contemporary world - the modern culture with all its reality TV, celebrity gossip and fashion shows. The theme of consumerism and eating disorders are prevalent, which has subjected her to criticism. Some criticise the work’s superficiality, her strict treatment of her models, claiming that it goes against the ethics of what the work is supposed to represent. Some claim that she sexualises her models in the process, but Vanessa Beecroft denounces this, claiming that her installations were never meant to be erotic - if the audience did then they would automatically become the perpetrators of the abuse.

Beecroft’s artworks reflect the contemporary culture we live in now - a media-obsessed, digital era where feminism is being redefined and political correctness is thrown around pedantically. Her works may seem obscene, yet they almost mock the advertising and entertainment industry and Image Caption: “VANESSA BEECROFT, Lia Rumma Gallery, Milan. June 7, 2011 their sexualization of women - the significance of her work reflects women’s capability to reclaim Performance VB70 / Photocredit Luca Forcignanò Serri” Source: http:// the right to their own sexuality.

1. https://www.theguardian.com/artanddesign/2005/mar/13/art 2. https://www.artsy.net/artwork/vanessafrancescotramontano.blogspot.com/2011/06/vanessa-beecroft.html

beecroft-untitled-vb35 3. http://www.itsnicethat.com/features/vanessa-beecroft-kanye-west-090216

Cultural Significance: VB 70 Vanessa Beecroft’s body of works have consisted mainly of performances, featuring models (often female) who are presented as art pieces which exist between a figure and an object. Her artworks are largely influenced by her personal struggle with eating disorders (a homage she pays to with her exhibition work “Despair” - colloquially known as the “Book of Food”). The themes of feminism, femininity in a modern culture and obsession with body image are reoccurring in her work. According to art historian Maria Elena Buszek, Beecroft is a member of artists who are part of the current third wave feminist art movement. An ambivalence exists in her work, which focuses on the internalized, individualized feminist goals and identity rather than political changes.

Vanessa Beecroft, “VB70,” 2011. Lia Rumma Gallery, Milan. Source: http:// www.nytimes.com/slideshow/2016/05/19/t-magazine/the-very-best-ofvanessa-beecroft/s/19tmag-beecroft-slide-35AL.html

New York art dealer Jeffrey Deitch, who propelled Beecroft in to the international platform, called her artworks as having sourced influence from the tradition of classical Italian painting and sculpture - Italian Mannerist, Baroque painting and sculptors like Canova being one of them. This is evident in “VB 70”, which contains marble sculptures in many variations while some of her models are painted to look like marble - classical sculpture element is alluded to, as attention is drawn on the human female form and the models become real life sculptures themselves.

“Keeping up with the Kardashians” - a popular reality TV show Image source: https:// www.pogdesign.co.uk/ cat/Keeping-Up-with-theKardashians-summary

Kim Kardashian’s husband Kanye West has also collaborated with Beecroft on numerous occasions.

Another foundation Beecroft draws inspiration from is the traditions of radical performance art and live art. Yves Klein and Gilbert and George are cited by Deitch to be some of them. A third element to her influences is the contemporary world - the modern culture with all its reality TV, celebrity gossip and fashion shows. The theme of consumerism and eating disorders are prevalent, which has subjected her to criticism. Some criticise the work’s superficiality, her strict treatment of her models, claiming that it goes against the ethics of what the work is supposed to represent. Some claim that she sexualises her models in the process, but Vanessa Beecroft denounces this, claiming that her installations were never meant to be erotic - if the audience did then they would automatically become the perpetrators of the abuse.

Beecroft’s artworks reflect the contemporary culture we live in now - a media-obsessed, digital era where feminism is being redefined and political correctness is thrown around pedantically. Her works may seem obscene, yet they almost mock the advertising and entertainment industry and Image Caption: “VANESSA BEECROFT, Lia Rumma Gallery, Milan. June 7, 2011 their sexualization of women - the significance of her work reflects women’s capability to reclaim Performance VB70 / Photocredit Luca Forcignanò Serri” Source: http:// the right to their own sexuality.

1. https://www.theguardian.com/artanddesign/2005/mar/13/art 2. https://www.artsy.net/artwork/vanessafrancescotramontano.blogspot.com/2011/06/vanessa-beecroft.html

beecroft-untitled-vb35 3. http://www.itsnicethat.com/features/vanessa-beecroft-kanye-west-090216

Cultural Significance: VB 70 Vanessa Beecroft’s body of works have consisted mainly of performances, featuring models (often female) who are presented as art pieces which exist between a figure and an object. Her artworks are largely influenced by her personal struggle with eating disorders (a homage she pays to with her exhibition work “Despair” - colloquially known as the “Book of Food”). The themes of feminism, femininity in a modern culture and obsession with body image are reoccurring in her work. According to art historian Maria Elena Buszek, Beecroft is a member of artists who are part of the current third wave feminist art movement. An ambivalence exists in her work, which focuses on the internalized, individualized feminist goals and identity rather than political changes.

Vanessa Beecroft, “VB70,” 2011. Lia Rumma Gallery, Milan. Source: http:// www.nytimes.com/slideshow/2016/05/19/t-magazine/the-very-best-ofvanessa-beecroft/s/19tmag-beecroft-slide-35AL.html

New York art dealer Jeffrey Deitch, who propelled Beecroft in to the international platform, called her artworks as having sourced influence from the tradition of classical Italian painting and sculpture - Italian Mannerist, Baroque painting and sculptors like Canova being one of them. This is evident in “VB 70”, which contains marble sculptures in many variations while some of her models are painted to look like marble - classical sculpture element is alluded to, as attention is drawn on the human female form and the models become real life sculptures themselves.

“Keeping up with the Kardashians” - a popular reality TV show Image source: https:// www.pogdesign.co.uk/ cat/Keeping-Up-with-theKardashians-summary

Kim Kardashian’s husband Kanye West has also collaborated with Beecroft on numerous occasions.

Another foundation Beecroft draws inspiration from is the traditions of radical performance art and live art. Yves Klein and Gilbert and George are cited by Deitch to be some of them. A third element to her influences is the contemporary world - the modern culture with all its reality TV, celebrity gossip and fashion shows. The theme of consumerism and eating disorders are prevalent, which has subjected her to criticism. Some criticise the work’s superficiality, her strict treatment of her models, claiming that it goes against the ethics of what the work is supposed to represent. Some claim that she sexualises her models in the process, but Vanessa Beecroft denounces this, claiming that her installations were never meant to be erotic - if the audience did then they would automatically become the perpetrators of the abuse.

Beecroft’s artworks reflect the contemporary culture we live in now - a media-obsessed, digital era where feminism is being redefined and political correctness is thrown around pedantically. Her works may seem obscene, yet they almost mock the advertising and entertainment industry and Image Caption: “VANESSA BEECROFT, Lia Rumma Gallery, Milan. June 7, 2011 their sexualization of women - the significance of her work reflects women’s capability to reclaim Performance VB70 / Photocredit Luca Forcignanò Serri” Source: http:// the right to their own sexuality.

1. https://www.theguardian.com/artanddesign/2005/mar/13/art 2. https://www.artsy.net/artwork/vanessafrancescotramontano.blogspot.com/2011/06/vanessa-beecroft.html

beecroft-untitled-vb35 3. http://www.itsnicethat.com/features/vanessa-beecroft-kanye-west-090216

Analysis of Formal Qualities

Both involve a form of elevated presentation: The Dinner Party women are represented on plates (which grow in structure with each setting) in a ceremonial banquet while in VB 70 women are on marble pedestals.

Used mediums that were unconventional to their time period - both Mapplethorpe and Chicago made their preferred art medium their own and each had a distinctive style Both incorporate triangular shapes (arms form a diamond shape while hands form triangle in Lisa Lyon) The composition of both are very symmetrical Both display the technical mastery of the skills the artists worked with

Judy Chicago, “The Dinner Party”, 1974–79. Ceramic, porcelain, textile, 576 × 576 in. (1463 × 1463 cm). Brooklyn Museum, Gift of the Elizabeth A. Sackler Foundation. http://artofthemooc.org/wiki/judy-chicagos-the-dinner-party/

A sense of female affirmation in all of the works (either figurative in The Dinner Party or visually explicit as in the other two works) All are made using different mediums: photography, installation and performance art

Multiple subjects are represented - all “look” similar (the human bodies are similar in size and the plates in shape) but differ from one another in terms of physical appearance and colors Both incorporate a mix of rich and vibrant colors Both are in 3D - the size and scale of both artworks give them their authenticity and monumental effect that leaves viewers deeply impressed

The organic human forms are the main focal point of the artworks Involve female nude subjects and the manipulation of the human body (flexing, sitting, lying down)

Robert Mapplethorpe, “Lisa Lyon”, 1982.

Gelatin silver print, 15 1/8 x 15 3/8 in. (38.4 x 39.1 cm). Robert Mapplethorpe Foundation. http://www.anothermag.com/artphotography/4237/mapplethorpes-muses

One is a photography work, the other a tableau performance art both demand of the subjects to remain still, frozen in a moment

Vanessa Beecroft, “VB70” Performance, 2011. Galleria Lia Rumma, Milano / Photos by Vanessa Beecroft and Genarro Navarra Source: http://purple.fr/magazine/fw-2011-issue-16/vanessa-beecroft/

Functions and Purposes

Women are glorified on a heroic, immortal scale Both have strong themes and the use of multiple figures emphasize the significance and enormity of their work

The visual impact of both artworks are very powerful as the dominant presence of the subject matter is emphasized (while in VB 70, the subjects blend in with their environment, the marbles) Both function as commemorations to those who have been oppressed (women throughout history and female bodybuilders in the ‘80s)

The distinctive physical appearances the subjects take form as represents their uniqueness and individuality as human beings Judy Chicago, “The Dinner Party”, 1974–79. Ceramic, porcelain, textile, 576 × 576 in. (1463 × 1463 cm). Brooklyn Museum, Gift of the Elizabeth A. Sackler Foundation. http://artofthemooc.org/wiki/judy-chicagos-the-dinner-party/

The artists paid attention to meticulous details and aimed for aesthetic perfection (muscular definition in Lisa Lyon and unique intricate design of each place setting in The Dinner Party)

All serve a greater purpose than what they visually depict underlying, embedded messages All contain themes of female empowerment and advocacy for gender equality

The sameness (the girls in VB 70 all struggle with eating disorders and resemble the artist in terms of “looks” and the arrangement of place settings in The Dinner Party) in both function as a metaphor for equality and how all of the subjects have been oppressed in the same way (united by being female)

All involve the reclamation of female sexuality and their bodies All artists incorporate their radical ideals and personal interpretation of the subject matter and themes into their works Examine what constitutes a perfect human body Reclaiming the subjectivity and sexuality of women by directly confronting the viewer

Robert Mapplethorpe, “Lisa Lyon”, 1982.

Gelatin silver print, 15 1/8 x 15 3/8 in. (38.4 x 39.1 cm). Robert Mapplethorpe Foundation. http://www.anothermag.com/artphotography/4237/mapplethorpes-muses

Both artists resist the objectification of their subjects - subjects have a dominant presence in both works

Vanessa Beecroft, “VB70” Performance, 2011. Galleria Lia Rumma, Milano / Photos by Vanessa Beecroft and Genarro Navarra Source: http://purple.fr/magazine/fw-2011-issue-16/vanessa-beecroft/

Cultural Significance

Integration of vaginal imagery (“central core” imagery in The Dinner Party, women in VB 70 are completely nude while Lisa Lyon covers her vagina) - a political gesture

Both were targets of procensorship campaigns and criticized for obscene content Both garnered heavy criticism from multiple people (including politicians) - as a result, both artworks were rejected by several museums who refused to show their artworks Both were created during the era of the sexual revolution and secondwave feminism - influenced by the same feminist principles

Judy Chicago, “The Dinner Party”, 1974–79. Ceramic, porcelain, textile, 576 × 576 in. (1463 × 1463 cm). Brooklyn Museum, Gift of the Elizabeth A. Sackler Foundation. http://artofthemooc.org/wiki/judy-chicagos-the-dinner-party/

All incorporate feminist ideologies All were influenced by the contemporary issues of their time during the production of the artworks

All contain explicit imagery that resonates with female audience members

Created by feminist female artists who merged various untraditional art forms together and created elaborate artworks (sculptures and shows) - Beecroft is a critical member of the current third wave feminism art movement while Chicago was a pioneering artist in the second wave feminism art scene in the late ‘70s

All received polar responses from viewers and art critics, including ambiguous interpretations

Both were criticized for involving pornographic content Both were criticized for involving pornographic content

Robert Mapplethorpe, “Lisa Lyon”, 1982.

Gelatin silver print, 15 1/8 x 15 3/8 in. (38.4 x 39.1 cm). Robert Mapplethorpe Foundation. http://www.anothermag.com/artphotography/4237/mapplethorpes-muses

Both celebrate the aesthetics of the human figure and the variety in which female bodies can manifest themselves as (bending traditional beauty standards)

Vanessa Beecroft, “VB70” Performance, 2011. Galleria Lia Rumma, Milano / Photos by Vanessa Beecroft and Genarro Navarra Source: http://purple.fr/magazine/fw-2011-issue-16/vanessa-beecroft/

Comparison to my own Works Regarding my comparative study and my own artworks, there exists both thematic and visual connections. My photographic exploration involve human subjects and is an exploration of identity through expressions and gestures, much like how Robert Mapplethorpe explored themes of identity and the ambiguity in gender roles through his works. Mapplethorpe was incredibly influential for me during my own art-making process and investigation of different aspects of gender identity. His highly-stylized technique, his mastery of black-and-white photography and attention to immaculate details were highly inspirational to me. It pushed me to become a better photographer, to develop and consistently refine my own style and take on portraiture.

Mapplethorpe’s portrait photography have especially struck me in awe of his technical mastery and his ability to capture the essence of his subject’s personality and identity. Just like Mapplethorpe’s authentic collaboration with Lisa Lyon, I eventually found my subject whose story I wanted to share through the medium of photography. A reoccurring subject in my artworks is a transgendered young adult, who is considered part of a minority group in my reserved culture which parallels the female bodybuilder community during the ‘80s.

Robert Mapplethorpe, “Lisa Lyon”, 1982.

Gelatin silver print, Robert Mapplethorpe Foundation. (Details)

Individual components from my piece “Glimpses of a Life Foretold”, 2016.

Digital photography on matte cardstock, 72cm x 40cm (Details)

My Glimpses of a Life Foretold and Gender is a Spectrum that Transcends any Boundaries pieces are explorations of masculine and feminine representations of gender in my own contemporary Lao culture. Like Mapplethorpe’s works of Lyon where the face of the subject is not shown, Glimpses of a Life Foretold appropriates this artistic choice and relies on feminine body language gestures (a stark contrast to the masculine depiction of Lyon’s muscular physique).

Because of the omission, the message of an ambiguous gender identity is more stronger as it plays on our conventional understanding of how gender is supposed to “look” like (masculine body = male in Mapplethorpe’s case, feminine body = female in my pieces).

Comparison to my own Works Mapplethorpe’s journey in finding the perfect shot and bringing out the beauty of his subjects to a physical, aesthetic level influenced my own journey as an artist, even within the short period of the IB Visual Arts course. I believe that I was able to improve upon my photographic skills of human subjects because I was so passionate about the concept of “gender is a social construct”, a concept which I sought to depict as my very own interpretation of it. I started with my The Dual Existence of Being Both Androgynous and Gender Fluid piece, which looks at the multiple forms gender identity can manifest as.

A component of my piece“The Dual Existence in Being Both Androgynous and Gender Fluid”, 2016. Digital photography on matte paper, 88cm x 30cm. (Detail)

Dynamic hair movement that creates texture because of black-and-white medium

Both these components of The Dual Existence of Being Both Androgynous and Gender Fluid were staged and shot using reflectors (since I was outdoors) to balance the lighting on the subject. The monochromatic color of the photographs highlight the textures of the background, different to the matte background of Lisa Lyon. The black-and-white medium allows for the subjects’ features to be accentuated to appear as surreal and highly dramatized, creating an atmospheric mood.

This resembles Mapplethorpe’s stylistic choice of creating highly-stylized photographs where the subject appears abstract.

A component of my piece“The Dual Existence in Being Both Androgynous and Gender Fluid”, 2016. Digital photography on matte paper, 88cm x 30cm. (Detail)

The feminine gender depicted through a contemplative, nostalgic moment frozen in time - similar to Mapplethorpe’s concept of capturing the different personalities and gender roles in his Lisa Lyon series

Vanessa Beecroft and her work

Although I don’t incorporate performance art into my bodies of work, Beecroft’s artworks still influenced me on a thematic level. Her works are contemporary and still make clear that conceptions of gender identity being binary is still present. I chose the gender identity theme because I want to challenge the labels and stereotypes imposed by society. This strongly links to Beecroft’s works which draw inspiration from people’s reality-tv and social media obsessions which further enforces gender labels. By challenging and breaking them, we can reclaim Vanessa Beecroft, “VB70” Performance, 2011. Galleria Lia Rumma, Milano / Photos by Vanessa our subjectivity and right to self-assertion.

Beecroft and Genarro Navarra Source: http://purple.fr/magazine/fw-2011-issue-16/vanessa-beecroft/

Rober Mapplethorpe, “Lisa Lyon”,1982.

Gelatin silver print, flush-mounted.

38.4 x 38.7 cm. https://www.phillips.com/detail/ ROBERT-MAPPLETHORPE/NY040209/2

Comparison to my own Works I chose the artworks for my comparative study because of their overlapping themes of women empowerment and emancipation, feminism and gender equality. All three artworks are connected in one way or another to the pieces I have created. Judy Chicago’s The Dinner Party struck me on an emotional level because I consider myself a feminist woman. Visually, her work impacted my choice in using the powerful symbolism of the triangle form. Most notably is my piece Dance of the Queer Femme Fairy which draws heavily from Chicago’s use of floral and butterfly motifs to represent a vagina.

Georgia O’Keeffe

Saint Bridget

Judy Chicago, “The Dinner Party” plates, 1974–79. Porcelain with overglaze enamel. https:// www.brooklynmuseum.org/eascfa/ dinner_party/place_settings

My piece “Dance of the Queer Femme Fairy”, 2017. Watercolor, photo collage and acrylic paint, 79cm x 110cm (Details)

My artwork appropriates Chicago’s use of vagina representations while adding my own component, the dancing “fairy” into the center core, as if the subject were to emerge from the source of all life. My piece explores the significance of culture in gender development and the emerging figure represents the emancipation of the neglected femme identity and the LGBTQ+ community as a whole, those who have been culturally marginalized by the traditional customs and rules of Lao society. This resembles Chicago’s purpose of celebrating significant women whose achievements have been lost throughout history.

My piece “Femme Society is Watching You”, 2017. cotton fabric, dye chemicals, eye- and lip-liner, 79cm x 110cm.

The Women's Building in San Francisco, photos taken by me in December 2016

While visiting the Women’s Building, an all-women's non-profit organization in San Francisco, I encountered a different type of commemoration to historical women figures (through murals). This artwork made me think of The Dinner Party, and both of these pieces influenced my decision in creating two artworks designated to celebrate the power of femininity and the femme identity emerging from within a difficult cultural context. Inspired by Chicago’s use of multiple mediums that were considered “beneath” the standards of fine arts, I resolved to using more unconventional mediums in my pieces, such as rough cotton fabric, color dyes and makeup in Femme Society is Watching You and watercolor and photo collages in Dance of the Queer Femme Fairy.

List of Resources: Robert Mapplethorpe

Judy Chicago

Vanessa Beecroft Videos

https://www.artsy.net/article/artsy-editorial-11-artists-who-helped-pave-the-way-to-marriage-equality http://www.lacourart.com/ArtHistorySurvey/00-pdfs/web-pdfs/maplethorpe/www-tech.mit.edu--V110--N31--mapple.31a.html.pdf http://www.anothermag.com/art-photography/4237/mapplethorpes-muses https://www.phillips.com/detail/ROBERT-MAPPLETHORPE/NY040209/2 https://art.nationalgalleries.org/art-and-artists/90662 http://www.masters-of-photography.com/M/mapplethorpe/mapplethorpe_articles3.html https://www.artsy.net/artist/robert-mapplethorpe/articles http://www.telegraph.co.uk/women/womens-life/10184705/How-much-does-gender-influence-the-art-world.html http://www.raco.cat/index.php/CLR/article/viewFile/106018/147996 https://www.guggenheim.org/artwork/2697 http://womencivilright.weebly.com/significant-figures-of-the-feminist-movement-in-usa.html http://www.encyclopedia.com/people/literature-and-arts/photography-biographies/robert-mapplethorpe https://www.theguardian.com/artanddesign/2010/sep/21/robert-mapplethorpe https://www.nytimes.com/2016/04/01/arts/design/why-mapplethorpe-still-matters.html http://www.bbc.com/culture/story/20140425-mapplethorpe-shock-of-the-nude http://serendip.brynmawr.edu/sci_cult/courses/knowbody/f04/web2/dsosower.html https://www.brooklynmuseum.org/exhibitions/dinner_party/ http://www.judychicago.com/gallery/the-dinner-party/dp-artwork/ www.judychicago.com/gallery/the-dinner-party/dp-artwork/# https://www.brooklynmuseum.org/eascfa/dinner_party/place_settings/christine_de_pisan https://www.brooklynmuseum.org/eascfa/dinner_party/place_settings/theodora https://www.brooklynmuseum.org/eascfa/dinner_party/genesis/ https://www.brooklynmuseum.org/eascfa/dinner_party/curatorial_overview/ http://www.judychicago.com/gallery/the-dinner-party/dp-installations/ http://people.com/archive/sassy-judy-chicago-throws-a-dinner-party-but-the-art-world-mostly-sends-regrets-vol-14-no-23/ https://www.theguardian.com/artanddesign/2012/nov/04/judy-chicago-art-feminism-britain http://kaykeys.net/passions/thedinnerparty/triangles.html http://www.throughtheflower.org/projects/the_dinner_party http://www.theartstory.org/artist-chicago-judy.htm http://artofthemooc.org/wiki/judy-chicagos-the-dinner-party/ http://www.nytimes.com/slideshow/2016/05/19/t-magazine/the-very-best-of-vanessa-beecroft/s/19tmag-beecroft-slide-35AL.html http://purple.fr/magazine/fw-2011-issue-16/vanessa-beecroft/ https://www.artforum.com/picks/id=28712&view=print https://etd.ohiolink.edu/!etd.send_file?accession=kent1416591151&disposition=inline https://www.theguardian.com/artanddesign/2005/mar/13/art https://www.artsy.net/artwork/vanessa-beecroft-untitled-vb35 http://www.itsnicethat.com/features/vanessa-beecroft-kanye-west-090216 http://francescotramontano.blogspot.com/2011/06/vanessa-beecroft.html https://www.pogdesign.co.uk/cat/Keeping-Up-with-the-Kardashians-summary Judy Chicago. The Dinner Party A Tour Of The Exhibition. 2012. Web. 1 Feb. 2017. https://www.youtube.com/watch?v=9yMtdWxAc60 http://www.visual-arts-cork.com/ceramics.htm San Francisco Museum of Modern Art,. Judy Chicago On Feminist Art. 2010. Web. 1 Feb. 2017. https://www.youtube.com/watch? v=UA9cp9jqHZE

MARIA

Concretizing the theme of my body of work was challenging. The works in my exhibition all relate to show human emotions and transformation. Whether it is about external circumstances or from chemical changes inside the body, we are constantly experiencing changes in emotion which influence our mental state and the way we perceive the world. I purposely chose humans to be the subjects of all of my artworks. Partly because I wanted to express human transformation, and partly because my interest of human life roots from the question ‘what it means to be human’. I used art to explore the different aspects of human emotions and transformation.

Before the start of this course, I wanted to solely work on drawing skills, but throughout the process I learnt how to express emo-

Mother of the Gone, Charcoal, digital Collage printed on gloss paper, 101cm x 73cm, January 2017

Errands, Hand-drawn stop motion animation, 20 sec, April 2016

Hold Me, digital photography on gloss paper, 34.5cm x 210cm, Feb 2017

Hold Me (Detail), digital photography on gloss paper, 34.5cm x 210cm, Feb 2017

Hold Me On a Loop, stop-motion animation, 1min (played on loop), February 2017

1

I Will Carry You, Sharpie, felt tip permanent markers, , cartridge paper , 66cm x 100.5cm , March 2017

Frustration and Relief, Mirrors, charcoal and white pencil on cartridge paper 122cm x 85cm, January 2017

Human, Modelling air-dry clay, acrylic paint, and Sharpie pen, 39 cm x 45 cm x 8 cm, February 2017

Human, Modelling air-dry clay, acrylic paint, and Sharpie pen, 39 cm x 45 cm x 8 cm, February 2017

#relatable , Sharpie pen felt ip permanent markers on cartridge paper, February 2017

#relatable , Sharpie pen felt ip permanent markers on cartridge paper, February 2017

Images Images are very powerful in the sense that they can invoke emotions through how and why the subject of the photographs are presented to the audiences.

Pictures in particular are powerful images because people believe what they see. Visual journalism educates and informs in a way that politicians and articles. According to war photographer James Nachtwey “it [visual photography] puts a human face on issues which from afar can appear abstract or ideological or monumental in the global impact. What happens to ground level… happens to ordinary citizens one by one.” He also believes that “every story doesn’t have to sell something” it can also be about giving and nothing more.

Images and story telling The purpose of art and images is to tell a story, to send a message, to communicate both implicit and explicit thoughts and ideas that otherwise couldn’t be express. Through images, art aims to open dialogues and spark a train of thought. Images of people are particularly powerful because as people we can relate on a basic human level with other people. However, there are times when relating is harder because not two single human experiences will ever be the same, no matter how similar, everyone has their own story.

Iconic photograph For example, Alfred Eisenstaedt’s photograph of an American sailor kissing a woman in Times Square at the end of World War II became a symbol of the excitement and joy brought by the end of war. It is remarkable how a very vague story about two people showing affection can symbolize something so big like the relief of ending human conflict between nations. The picture shows a body shot of the man holding the woman and passionately kissing her.

The audience doesn’t know anything about the subjects (the people), we only know that he is a sailor, they are in Times Square and war has ended. It is now known that the two people were strangers of each other and that the sailor’s gesture “wasn’t much of a kiss. It was more of a jubilant act that he didn’t have to go back [to war].” (Greta Zimmer Friedman, the woman the picture). His gesture evoked a feeling of excitement and gratefulness towards the end of war. Looking back, the black and white picture gives a sense of historical significance to the picture and lets us remember that the end of World War II was definitely and unarguably a cause of joy for Americans at the time. It is a subtle reminder that we humans on a personal level are better off without war

Antonia, Julian Opie, 2011

Baroque Tower No. 1, Julian Opie , 1997

Julian Opie Antonia, 2011 Julian Opie is known for his faceless human figures and thick outlines that make up human shapes. This artwork in particular stood out to me because of the use of fabric, or illusion of fabric, with the clothes that the No story subject is wearing, the Although there marble column and the are many curtain behind it. Within details found its simple skin color and in Opie’s work, Antonia, the background color, this qualities are emphasized artwork itself doesn’t really thus bringing attention to tell a story. It is the clothes. up to the

Julian Opie In Bosnia, we went TO A PLACE I DONT REMEMBER THE NAME OF PLS CORRECT THIS LATER, and saw this artwork of his. His simplistic style captured my attention so I started investigating more of his artworks.

audience to interpret what the different elements of the piece represent.

Story telling through images can insight change in the world because stories almost always have a lesson behind it.

http://rarehistoricalphotos.com/v-jday-kiss-times-square-1945/

Photograph by Alfred Eisenstaedt

Critical Investigation

Thoughts and connections to my own art-making process I want to tell stories through my artworks. How can I achieve an engaging collection of work through story telling? Some of the artworks could be clear, have some sort of beginning middle and end. Others can be more opened to interpretation like those of Julian Opie.

Flight attendant. 2., Julian Opie 2015

Movement Images are powerful because of the elements there are to an image. One of those elements is the movement going on inside the frame. Flight attendant.

2 is a good example of how the movement inside the frame has an effect on the way the image is perceived.

It feels more engaging and more real sinceccxvii the subject (human figure) is not posing.

Critical Investigation

War Against Bosnia

This are my notes and thoughts on “The Galerija 11/07/95”, an exhibition found in Sarajevo about Srebrenica and the genocide. From visiting this gallery I learnt more about the logic behind curating artworks. Some were hanging from the ceilings next to each other creating a little passage for the audience. There was also a room covered in pictures of the victims, it felt as if the room was closing in on you.

Section of my artwork Errands

Eventually the research and knowledge acquired during my time in Bosnia led me to creating Errands.

Stories of individuals I encountered while living there inspired me to look at the aspects people who don’t live a zone of conflict never think about. From there I also created Mother of the Gone that looks into the lives of the women who lost their sons in the Srebrenica genocide. When parents have children they never think that they will outlive them. Howler that wasn’t the case for these mothers.

While we were in Bosnia, we learnt about the War that occurred only two decades ago. The wounds and losses of the war were very much felt in Sarajevo, and when with my school we visited Srebrenica (where the genocide occurred) it was more evident that the environment was heavy on emotion and sadness. Here are my notes on a talk given by Amir Duranovik titled “War Against Bosnia”.

ERRANDS Inspiration for the piece The idea came to me during a school event, a talk given by Amir Duranovik titled “War Against Bosnia”. During the presentation he showed us a picture of a group of people huddled behind a bus seeking for protection and covering each other. Amir told us the story behind the civilians that were hiding, there was a sniper in the area targeting civil soldiers. In the photo one of them, the soldier from the improvised Bosnian army, was carrying a gun and trying to shoot the sniper. One of the civilians kneeling in the ground was carrying a bag of groceries.

The Story The story is simple; a citizen is walking home after grocery onping, a shell falls from the sky near the person, so they drop the bags and run the other direction. Still startled tries to run and trips and falls then covers their head. The body language makes it clear that it is frightened and the way it hold its head suggests that they don’t know what to do next. Thus the person stays in the ground, shaking.

Why a direct reference to what used to be a zone of conflict?

After living in Sarajevo for a few weeks and learning about the war in Bosnia (1992-1995) I decided to do an artwork telling a somewhat generic story of a citizen trying to live an ordinary life amongst chaos.

doodling Here are some of the doodles I did when deciding how I wanted the human figure to look like.

Tripping Originally I thought of having the human figure trip with a rock, but then decided I wanted it to trip with itself. That way the fear of being under attack or feeling threatened would be more obvious.

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orignial sketches

Ideas and intentions

Collecting Ideas from other artworks Julian Opie’s Flight attendant 2 shows a woman’s right side profile running in shorts, similarly my Errands animation shows a somewhat proportional human walking. Drawing inspiration from originally the outlined faceless humans Julian Opie is known for and later on from my own artwork I intend to create a more expressionist piece through the distortion of proportions. By magnifying certain aspect of my human drawing I’m moving away from a neutral figure to a edgy and angsty figure. The intention behind this transition is to show the transformation from an messy figure which expresses frustration to a smooth calmer one which expresses relief.

NUMBER OF FRAMES - 8 When thinking of the number of frames I considered the following; enough to show transition, not too many so that the viewer can view them all without having to move from the first frame to the last one. I considered doing 7, because 7 is a number I feel fond of. Then I thought that If I were to do 8, 4 in the top and four in the bottom, there would be a visually pleasing symmetry to the artwork that 7 frames couldn’t provide with. There is a double meaning to 8, as it is the number of triangles in my sun tattoo, a tattoo I got when I was experiencing change and acceptance in my life, something that resonates on a personal level with this piece.

FRUSTRATION AND RELIEF • • •

Ideas Once the skin or outer layer of the subject is removed, which is to be black, the inner layer will show to be white. Black ! white Once the skin or outer layer of the subject is removed, which is to be white, the inner layer will shoe to be black. White ! black Only the color of the torso and legs will change from black to white, while the color of the arms and feet will stay the same.

That way the human figure can remain a somewhat stick figure.

Otherwise the legs and arms would have to be wider which would defeat the purpose of using charcoal.

#1 human mostly black kneeling and holding the skin in its back

#2 human turns into an arc while struggling to peel skin from the back and head

#3 the arc reaches a peak while the arms a r e i n t h e fl o o r pulling on the skin that has almost come off. Torso is white now. What about legs? white, keep them black?

#4 most m o v e m e n t expressed. The skin finally comes off, so the body jerks off a bit stares at the skin on floor

#5 human sits up, staring at the skin

#6 human picks up the skin at eye level a n d inspects it

#7 human sites there, legs circa cross and hands to the side (not quite meditating, but almost) RELIEF

#8 skin, looks like a shadow, lays on the floor

Why charcoal?

I feel comfortable with manipulating charcoal, it is familiar to me and I’ve experimented enough to know how to use it. It will help me achieve that angsty, edgy yet blurry visual effect I’m looking to create. Some parts of the body will have to be sharp and others not so much. With charcoal I can fade some of the blackness or use the led to harden the blackness.

The skin that is being removed will have a more edgy look to it, I’ll achieve that look by using straight lines and rough edges.

The skin underneath will be more smooth and not as hard as the skin removed. doodles This is the first story board I came up with when developing my ideas. At first I didn’t have a completely clear picture of what I wanted the piece to look like. However, after drawing this I decided to base the rest of my art piece on these doodles. 8 frames, 4 on top and 4 on the bottom. And in 7 of them the human figure shows, in the last one nothing but the skin.

doodles This are the my first sketches when creating this artwork. The idea originated from the sketch in the middle.

Images of artworks & storytelling During my comparative study I analyzed this artwork and it inspired me to create an sculpture. She focuses on genetics and what makes up humans. She explores the possibilities of genetic modifications and the social and cultural effects of unwanted results. This artwork in particular is about rejection and vulnerability. A baby looking creature with huge eyes, small nose, wrinkled and hairy skin. It raises the question of what do we love and humans emotions when faced with rejection in those early days. This creature needs to be loved but it clearly has been neglected, it is vulnerable. Although Piccinini is using a hyper realistic approach to this artwork, that is not my intent with my own. However, I do want to create that vulnerable tone portrayed by the artwork. That sense of delicacy and smallness.

https://www.ted.com/talks/ brene_brown_on_vulnerability#t-3708

Vulnerability as a recurring theme After watching Brené Brown’s ted talk on vulnerability, I decided I wanted to weave in the sentiment into my collection.

The main ideas I took from the speaker are the following: - the happiest humans are the ones more willing to be vulnerable - vulnerability is scary because we fear we aren’t good enough - being vulnerable can be uncomfortable, but it is necessary

Vulnerability and art Often artists use their art as a gateway to express themselves. It is more often than not that artist open themselves up and reveal their strongest most secret emotions through their work. An example of this is Kathe Kollwitz.

Kathe Kollwitz Kollwitz captured the lives and harsh reality of the working class. Main mediums include drawings, paintings, and prints.

Themes of war and poverty are recurring throughout her paintings. Images of mother’s grieving their children are a reflection of her personal experience of losing her son during WWI. Her lost also influenced her decision to become a Socialist. She, too, was targeted by the Nazi party and her art was labeled as “degenerate”.

KÄTHE KOLLWITZ Self-Portrait , 1924 Lithograph

Kathe Kollwitz was an artist that took part in the German Expressionism movement.

Critical Investigation

Vulnerability as a recurring theme After looking at Foundling and various works of K. Kollwtiz, I decided that vulnerability was going to be a recurring theme in my collection. For example, Human, the sculpture in my collection is meant to capture and represent the risk of being vulnerable (which Brené talks about in her TedTalk).

KÄTHE KOLLWITZ Woman with Dead Child, 1903 Etching

KÄTHE KOLLWITZ Boy with Arms Around Mother's Neck, 1931 Lithograph 15 15/16 ! 11 1/4 in

KÄTHE KOLLWITZ Mother with Child in Her Arms (Mutter mit Kind auf Dem Arm), 1916 Lithograph 13 1/8 ! 7 1/2 in 33.3 ! 19.1 cm

Similarities in body language Chest to chest.

Hands and arms holding/carrying the baby Kids’ body language recognize woman as mother Messy buns = working class dirty faces = working class

In a survey sent to students and teachers I asked the question: Who makes you feel the safest? Why?

A - My mom. Because she is always there for me.

A - My mom. Her smell, her hugs, the comfort of her voice, etc.

A - My mom.

Her smell, her hugs, the comfort of her voice, etc.

Human by myself unfinished

Patricia Piccinini, Foundling 2008

Motherhood + Srebrenica K. Kollwitz’s Women With Dead Child reminded me of my time in Bosnia and Herzegovina wasn’t limited to Sarajevo.

During our last week, a group of students went to Srebrenica to learn about the genocide. We learnt that all the boys and men aged 14 and above were brutally slaughtered while the females and children were taken out of the town. The mothers, sisters, and wives of those men didn’t know of their deaths until they returned to the Srebrenica. They had formed a group called the Mothers of Srebrenica, and from the moment they returned till today they have been fighting for justice, even if justice is just recognition of what happened or a public apology or space for their children to be burried. Twenty years have past and the grief of their loss is felt in the air from the moment you step into town, and even after we left I carried that feeling with me.

How to incorporate vulnerability and protection in my collection? ! MOTHERHOOD After investigating and asking questions to the people around me, reflecting on my travel experience, and analyzed different artworks by distinguished artists (mainly Foundling by Patricia Piccinini and Women With Dead Child

by K. Kollwitz) I decided that I wanted to incorporate that in my piece. Eventually this idea led me to create Mother of the Gone (sketches and experimentation seen below).

A - my ma because she's the strongest person I know

I used charcoal during this stage of experimentation because I wanted to in a way appropriate Kollwitz artworks. However, later on my artwork changed so much it can’t really be considered an appropriation.

Process

Mothers of Srebrenica - After deciding that I wanted to make an artwork that incorporated aspects of my travels, I focused on the group Mothers of Srebrenica.

MOTHER OF THE GONE Experimentation (picture taken by me)

After sketching and brainstorming different body positions which involve a mother and a child, I decided to imitate the same body position I used for Errands (my first artwork). A crouching position, a human kneeling and it’s back arched over its own body. However, the two sentiments of the two artworks are completely opposite. In one the human is seeking for protection and in the other the mother is giving protection.

Experimentation (picture taken by me) Experimenting with charcoal Here I was experimenting shading with charcoal. I drew out a position similar to the one of the final art piece and used charcoal to color it.

Below is an image of more practicing with foldings of clothes.

Experimentation (picture taken by me)

Experimentation (picture taken by me)

Using a model For my large scale drawing I took a picture of a friend kneeling and crouching over her legs. I projected that on to paper and using charcoal traced the outline of her shape. I had to spray on the charcoal to make sure that it wouldn’t smudge in the future.

Charcoal clothing Originally the artwork was going to be presented in big blank paper. However, during the art-making process I printed out a picture of the charcoal drawing and cut it out, then realized it looked better that way. The end product had a charcoal dress, representative flowers (Mothers of Srebrenica), the forest of Srebrenica in the background and the arm part of the picture of my model.

Final artwork

ERRANDS

SKILLS AND TECHNIQUES

After deciding I wanted to make an animation using pen and paper. I was aware of the basic concept of animation, displaying frame after frame in a stop motion where each frames changes slightly from the prior want to create the illusion of movement.

Because of that I had to plan out exactly how many frames would go into specific movements and fractions of the stop motion.

These are screenshots of a video of myself falling the way I wanted my animation to fall. I stopped at the moments that were crucial to the change in body language and used them as reference to draw the frames in between them.

“City Night Crowd” = the only audio included in the animation. After trying different background audios, I decided this one fit the animation the best.

“City Night Crowd” - the background audio - will only be playing for the first section of the stop motion when the human figure is walking. Once the shell is thrown and hits the ground, the audio becomes silent.

After realizing I needed more planning, for each frame I drew the first and last slide first. Then I put a blank slide over the slide that came before it and both of them over the last slide of the frame. That way I knew exactly how I had to draw each figure.

First I began by outlining a human figure and then from there I made it walk as the frames changed. Initially, I started before planning the frames and time that it would take for the human figure to complete each action, so I stopped drawing and came up with a plan. To understand the chart it is important to know that 24 slides = 1 sec. There will be 4 different frames each composed of a different number of slides and repetitions.

Ultimately I made it so the human figure would end up crouching in this position (this is the original sketch).

The blackness would eventually take over all of the frame including the human figure.

Why? The audio of the video wasn’t decided on my ideas and development stage of the artwork. In fact, I didn’t think of the audio at the time. While putting the frames together I though that the audio would give the animation an extra element.

It creates some sort of ambient, a feeling of a crowded city where many people are moving around. “City Night Crowd”, followed by silence, is a subtle reference to the shock experienced during traumatic events.

Speed The first part of the stop motion, the seconds given to each frame (00:01) is half the time than that given to the frames in the second part (00:02). The reason behind this change is because I wanted more emphasize on the drop and impact of the shell. I didn’t decide this on the planning stages. It was a decision made during post-production while I was experimenting with the durations of the frames.

Creating an artwork that is expressive The style of this piece was never meant to be realistic. However, distorted body figures can be distorted in countless different ways.

Below are images of when I was experimenting with shapes and different body positions.

Hips I looked at different ways to draw hips. I could make them really slim, like stick figures or really thick, similar to what they really are. Eventually I decided to stick to thicker hips because when the outer layer/skin was taken off there had

Arms and legs The body has three major parts to it. Legs, torso, and head. I was ignoring the neck and the realistic thickness of the arms and calfs to bring the viewers attention to this major parts.

SKILLS, TECHNIQUES, and PROCESS

FRUSTRATION AND RELIEF

These are some of my original Colors sketches and practices with charcoal Originally I was experimenting with black charcoal only. I knew how to shade with it and how to create dark folds using This sketch in charcoal. However, after a few tryouts with particular was a white pencil I decided to color in the inner breakthrough due to layer of the human figure with white to the shading contrast even further the idea of peeling technique and the off insecurities and revealing a true self. white in the inner body layer. I based the final human figures on the shape and style of this one.

Back Spine Here I was experimenting with shapes and different body positions. I wanted to portray how hard it was for the figure to peel off that black layer of skin. Eventually I decided to use an exaggerated arc to represent that struggle.

Final artwork *The final artwork is horizontal instead of vertical meaning that the first column is an upper row and the second column is a lower row*

Final artwork after a lot of practicing and deciding what positions I wanted to portray, these are the 8 final frames that create the artwork.

Text The text inside this artwork was inspired by an artwork I did a long time ago. The sentences were taken out of a news paper, and put into a drawing. *picture missing because artwork was lost before taking a picture of it*

Your body is a battleground Kruger created this artwork for the Women’s March on Washington in support of reproductive freedom. It contributed to the protest in a very artistic way. The split in positive and negative exposures, and obscured by text, marks a clear divide, thus portraying this ‘battleground’ she refers to. However, when I first saw this artwork (before further investigation of it’s function and purpose), I could relate to it in that having depression and struggling with suicidal thoughts can often feel as if ‘your body is a battleground’.

Untitled (I Shop Therefore I Am) Barbara Kruger (1987)

Text inside an artwork Art accompanied by words can be very powerful as shown by Barbara Kruger’s Your body is a battleground. For my next artwork I want to incorporate words, thoughts, and ideas to further explore human emotional stability.

Untitled (I Shop Therefore I Am) The use of personal pronouns in Kruger’s Untitled (Your body is a battleground) Barbara Kruger 1989 work resonates with the audience on a deeper level. When people see this artwork they read it in their heads and “We’re still looking how to rise, creep back up, the consequentially question the meaning of way the world does” & “The Show Never Stops” the piece. The sentence “I shop therefore I am” differs from “Your body is a battleground” because one is a IDEAS & PERSONAL CONNECTION TO VULNERABILITY Critical description from an outside source and Where I come from, depression, suicide, anxiety, medication or the other disguises as a description from anything related with mental illness is badly view upon. There is an Investigation the inside.

assumption that if something mental disorders mean there is something wrong with you. That you were beaten or abused when you were little, that you didn’t received enough love, or that someone who was supposed to take care of you did poorly at it.

Thus speaking about mental disorders isn’t common unless you’ve got one. Opening up and letting the people around you know what you’re going through is wrong unless what you’re going through is a blessing. Going to see a therapist is misinterpreted as being an attention seeker. Not everyone thinks like that, but a lot do. So I wonder, if we could let everyone know what we’re feeling by just looking at us would we let them?

Experimentation - collage of magazine cut outs done by me

Experimentation After creating an artwork (which I left out of the exhibition) using magazine cutouts and some text, I had the idea to keep those elements in my next artwork.

Critical Investigation

Erhobene rote Hand Egon Schiele (1890-1918)

THE USUAL SUSPECTS (Collaboration between Wong and Eight other Artists; Signed by all Nine), 1996

GUSTAV KLIMT IN THE BLUE PAINTER 'S COAT, Egon Schiele, 1913

Egon Schiele During my investigation I looked at Schiele’s works and styles. Two of his artworks stood out the most: Erhobene rote Hand and GUSTAV KLIMT IN THE BLUE PAINTER 'S COAT, The first one was relevant to what I was looking to work with: hands. It shows a single hand being raised. It is skinny, colorful (the color of white skin), boney, and it isn’t a realistic representation of hands. He uses water color to get something as simple as hands and make them more expressive.

THE USUAL SUSPECTS This artwork made me want to incorporate hands into my own collection. A unique collaboration that was born in 1996 to benefit CRIA, Community Research Initiative on AIDS. Although it was the hand itself that caught my eye, the message of this artwork made me think about the ways one can be vulnerable in a physical way. Whether that is by holding hands or having sexual relations, humans have this constant need to feel other bodies next to theirs. Perhaps this is one of the benefits of vulnerability. Accepting someone in their rawest form and being accepted the same way is the outcome of risk. Eventually, the vulnerability we feel when we want to be feel connected can also turn into protection.

Egon Schiele GUSTAV KLIMT IN THE BLUE PAINTER 'S COAT, This artwork stood out because of how distorted the man’s body and face are. The hair in his head is drawn like doodles and scribbles, his hands look like scissors and the lines are crooked in a way that intrigues the audience

Ideas and intentions I Will Carry You

Experimentation Just like Schiele did, I used water colors to paint a blue hand, and then drew small doodles in it’s outside. I was trying to figure out how I wanted to position the hand. Where I wanted the fingers to extend and from what angle I wanted the audience to look at it.

After experimentation I decided that I will be using pens and markers instead of water colors or any sort of paint.

Words + scribbles Just like my previous artwork, I want to incorporate words and a literal meaning to the piece. Because of that I will be using Pens and markers to color in the hand through scribbles and sentences and thoughts on my own personal emotions and what it means to be vulnerable or feel protection or ultimately find protections and comfort wishing vulnerability.

Size For the purpose of this artwork I want the size to be bigger than all of my other artworks. 80cmx60cm, maybe even bigger. The more I think about it the bigger I want it to be. There is something about hands that interests me. Hands are relevant to most people. Even those who have lost their hands can relate to once having a hand. *update: after experimentation I’ve decided to go for a bigger size; 100x65cm

Possible materials Charcoal Pros - I know how to use it - Good for a realistic drawing - A sense of 3D - Easy to manipulate Cons ! Have used it for 2 artworks already - Takes longer when working with shapes - Easy to smudge all over the page - for the purpose of this artwork I want to keep the background as clean as possible Acrylic Pros ! Haven’t used it for the series yet - Have previous experience - Available Cons ! Acrylic paint is a fast drying paint - have to do the artwork in one sitting - Would only use black and white (maybe some blue) acrylic paint is usually more fitting for colorful paintings Pen Pros ! Match style - Know how to use Easy, I like using it Cons ! Don’t know how to use it to make it very expressive - No color inside

Pictures all taken by me of my drawings and my friend’s hand

Awkward pinky When I drew the outline I didn’t realize that my pinky proportions were off. All of the other finders started (meaning they were still attached to the palm) in a straight line. However, the pinky’s middle partition was on that line. It looked as if the pinky began in the middle of the hand, coming out from nowhere.

SKILLS, TECHNIQUES, and PROCESS

Using a hand model I began with drawing the outline of the hand on two A2 blank papers side by side. Before drawing it in the blank papers I practiced some smaller scale drawings using a picture I took of my friend’s hand as a reference.

Shading I scribbles and doodle the hand by sections. It was easy to divide it by fingers. I started by the side of the hand near the pinky. In order to shade the hand in a way that I would give shape to the hand I scribbled sentences from the outside to the inside. As I went along I left more space between the words thus there was more white color in the inside giving the illusion that light was giving that surface.

Smaller scribbles For the finger tips I used smaller scribbles. This technique helped me create more detailed textures. It took longer as I had to draw out each doodle, stop, take a step back to make sure I wasn’t over-shading certain areas. With the lines in the fingers I had to be careful not to make them to dark or they would look unnatural and the blackness all of a sudden would take away from the progression from black to white and the effort put into shading.

Awkward pinky *fixed* With Chung Man’s help I was able to fix the pinky by filling the empty space and scribbling over an area of the rectangular shaped part of the middle pinky. Although it looks a little awkward and the proportions aren’t perfect, it now makes more sense for the pinky to start where all the other fingers start.

Human When I started the piece, I planned on coloring the human with either marker or pen, to give it some depth and texture. However, halfway through the process I decided to leave it blank, to use the scribbles from the palm to shape and shade its surrounding.

I WILL CARRY YOU

Words After investigating Barbara Kruger’s artworks, I was inspired to incorporate more text and literary meaning into my artworks. This is more prominently shown in I Will Carry You and #relatable. The doodles aren’t random lines and curves, they are sentences and words and my own personal thoughts on what it means to be vulnerable, why we chose to open up and what is the emotional impact it has on us.

Curation: When drawing the hand, I didn’t have a particular angle in which I was working. I moved around the large scale drawing and although I knew that conceptually the light was hitting the inside of the palm from the side of the thumb, I didn’t have a position in which I wanted to place the artwork from the start. Once I finished I took time to try different layouts and eventually decided lay it out in the same position that my model’s hand was at when I took the picture; horizontal with the palm facing upwards.

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Idea 2 A hand is resting next to a hip and leg Not completely relax, almost as if it was expecting, hoping for another hand Almost out of nowhere another hand, hip and leg appear from the opposite side.

The new hand reaches out and holds the hand that’s been there The hold for a little bit, then the first hand lets go and the leg hip and hand removes themselves Loop it so that it looks that both hands are taking turns to leave and come back

Thoughts:The hands fall down naturally.

No extra effort is needed.

Thoughts: The way the hand on the right reaches for the hand on the left is very provoking and slightly emotional.

BRAINSTORM “HOLD ME”

*All photos of hands are borrowed from tumblr.com*

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Idea 1 One opened hand with palm facing up is on top of a white bed cover. The wrist and part f the arm can be seen No rings, no tattoos, no nail polish, no nothing, just skin A hand, palm facing down, slowly creeps from beneath and whilst touching the arm and wrist, reaches and holds the other hand The hand laying responds by holding the other hand tightly.

You can see the fingers go white, because of the tightness.

After a second both hands simultaneously release their grip.

The hand that creeped in creeps out just the same way.

Thoughts: the position makes it hard to k n o w w h a t ’ s going on.

Thoughts : The hands d o n ’ t s e e m relaxed.

Original sketch

Clothes Ayesha will be wearing blue jeans and a neutral colored short sleeve shirt. Hand #2 will be wearing a long sleeve with the sleeves rolled up shirt and skinny pants.

Thoughts: The actual holding is ver y clear and strong.

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After looking at different pictures online I’ve realized that idea #2 looks more natural than idea #1. Therefore, I will be using a more natural perspective by having my models standing up and making it clear that there are two people behind those hands rather than isolating the hands and making them look like an entity of their own.

Thoughts: Because of the nature of the angle the backgroun d is very static.

Thought s : Ve r y unnatura l looking.

Hand 1: Ayesha’s hand - black skin, slim fingers, short nails, boney hand Hand 2: TBD - possibilities are Keo, Samaya, Nico, Alicia, Oskar, Gillian

Ideas and intentions

Background Idea #1 - background is so unclear and unfocused that it really doesn’t matter Idea #2 - background is clearly a hotel room as if to give it an air of anonymity, it could be anyone in that room ! I like this idea better because the light can be soft and easy Idea #3 - use a wall as the background, maybe a white wall to follow the white and black pattern of my artworks

HOLD ME ON A LOOP

Stopmotion I want to create a stop motion that is an extension from my previous work Hold me. The idea behind the frames on a repeat is to represent our constant need to be touched. The loop would be boomerang style, meaning that the frames are presented from A-Z then from Z-A. Gif or video?

The final format of this artwork is to be determined. If it is a gif, the quality may decrease, put this format is appealing because the loop of gifs are never ending, which is what I want to portray. However, with a video I can keep the quality and set it to reproduce the video on repeat for the exhibition day.

Layout and Size: All the photographs are going to be on landscape, and they will be on a wall pasted on a row.

Why landscape and not portrait? It would be uncomfortable for the audience to have to bend down to see the pictures if the area of the artwork is too big from up to down.

28x35cm slightly bigger than the size of my computer screen

How many frames?

This will be decided in post production, depending on how many shots of the hand movements I have. If some frames are repeated in that not much in them change, then I’ll delete those. During production, I’ll make sure to not allow big time gaps between shots to ensure the slow progressive movement of the hands. There will probably be in between 25 and 26 shots.

1 - lonely hand

2 - lonely hand person #2 steps into the frame 3 - person #2 starts reaching for person #1’s hand

4 - they are holding hands

5 - person #1 starts to pull away

6 - same set up as frame 2

7 - person #1 steps out of the frame - lonely hand

Slabbing After building a wall around the outline, I used both the slabbing and pinching methods to create a roof to over the hollow insides. When doing so, it became challenging to keeping up and fit my hand inside the hollow structure to mold the clay. I was lacking resources so I got creative and using a handful of maps that were laying around I stuffed the structure with them. Doing that made it easier to mold the clay, and the upper part of the sculpture became more stable.

Coiling For my sculpture, I used a mix of different methods to build the clay into a human figure. I put a little bit of water on my palms before playing with the clay to make it softer and with both my hands I rubbed against the table to create a worm-like piece of clay ! I started of with the coiling method to draw the outline of the figure. Then, with the slabbing method I built a wall on top of the outline. I had to be very careful with the amount of water that I was using because the clay wasn’t very good in quality, thus the water kept it from sticking properly and could cause it to crack later on.

HUMAN

From under the sculpture you can see the wrinkled maps used to shape and fill up the hollow structure.

SKILLS, TECHNIQUES, and PROCESS Originally, the sculpture

Head and neck For the head, I round a big piece of clay and with my hands formed an egg-like shape. The head was the last part of the sculpture I made because I needed the arms and neck to be done first. However, the next day the neck cracked and it wasn’t sticking to the head nor the body. Because of that I used new clay to remodel the neck, and using the square technique (carving lines across the slightly wet clay of both sides and putting some water in between) I managed to fix it.

was only going to have one leg (to resemble the human figure in my previous artwork I Will Carry You) however I decided to add one more leg to make it look more relaxed rather than tense.

Self-Portrait of the Artist Worrying about His Next Book, Dr. Seuss 1959

It wasn’t part of the original idea to paint the clay after it was dry, however I made this decision when it finished drying and I realized I wanted it to look more interesting, I used acrylic paint.

After the molding was finished I used the hotel drier to dry it faster.

After painting it white, I shaded some areas of the sculpture using a thick permanent marker. The areas were carefully chosen ! the folds, the areas where the light doesn’t reach, at the sides, the back of the head and neck.

I was influenced to add this small lines and black details

by Dr. Seuss famous cartoons and drawing styles.

It gives the sculpture itself more personality and creates a friendlier kind of subject.

Ideas and intentions

http://www.healthline.com/health/depression/facts-statistics-infographic

Investigation aspect - 350 million people suffer from depression This piece of information inspired my artwork You are not alone. As someone who struggles with depression, I sometimes feel horribly lonely and hopeless. It is a feeling of despair, to think that the way you are feeling is not normal, or is not okay, and that there is something fundamentally wrong with you. Two people’s experiences with mental illnesses will never be the same, but there are aspects of depression that are shared by 350 million people, such as loneliness. I was inspired to make an artwork that would represent the feeling of helplessness and simultaneously capture this idea that we share our struggles with people we don’t know.

Idea = doodles I want to compile doodles and words to create a powerful piece on an important issue; depression.

Medium Idea #1 - plastic paper: layered on top of each other, the plastic paper will make it look as if it is one image throughout Idea #2 - cardboard/paper: use thick sharpie style pen to draw the human figures and cut around them.

Pros - I can be more free with the figure since the final result doesn’t overlay the way it would with the plastic - The cardboard is stronger thus easier to hand from the ceiling or stabilize on a table

cartoon like drawings and captions Eventually my idea developed into a compilation of cartoon-like drawings and captions describing in a way what was going on in the cartoon. Here is an example of such.

#relatable

Body Language My doodles attempt to be expressive through shapes and the distortion of physical characteristics.

These are all different ways in which I experimented distortion and exaggerated body language to portray sadness, loneliness, and depressive moments.

IDEAS & PERSONAL CONNECTION TO VULNERABILITY Where I come from, depression, suicide, anxiety, medication or anything related with mental illness is badly view upon.

There is an assumption that if something mental disorders mean there is something wrong with you. That you were beaten or abused when you were little, that you didn’t received enough love, or that someone who was supposed to take care of you did poorly at it. Thus speaking about mental disorders isn’t common unless you’ve got one. Opening up and letting the people around you know what you’re going through is wrong unless what you’re going through is a blessing. Going to see a therapist is misinterpreted as being an attention seeker. Not everyone thinks like that, but a lot do.

So I wonder, if we could let everyone know what we’re feeling by just looking at us would we let them?

Original Curatorial Idea Body Language From the beginning I wanted this to be an interactive piece, and after playing around with the materials I’ve decided that instead of being interactive through space it will be a more direct interaction, meaning that the artwork will ask something from its viewer, to slightly change it in order to reveal its true meaning.

These are my plans for the exhibition installation .

The viewer pulls on the string in a way that the layer that reads “are” moves and shows the layer under it that reads “not”

are

not

you

are

Facial Expressions Another way to show sadness and emotions is through facial expressions. Eye bags, messy hair, wide eyes, sad lips. These are the characteristics that I had in mind while developing my ideas. Particularly when I decided to not solely focus on body language but expand the ways in which I can portray emotion

Update on Curatorial Idea Due to the layout and exhibition space, it wasn’t possible for the piece to be interactive. At the end the piece consisted of 5 frames next to each other and not words were written and there was no audience interaction.

alone not

Bibliography •

https://www.google.com/search?q=hands +holding&source=lnms&tbm=isch&sa=X&ved=0ahUKEwi9yf787KXSAhVLXRoKHbALDjoQ_AUICCgB&biw=1417&bih=780 #tbm=isch&q=hands+holding+tumblr&imgrc=itf-jaEPUxmHTM:

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https://www.ted.com/talks/james_nachtwey_s_searing_pictures_of_war#t-3359 - war photographer ted talk

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https://www.ted.com/talks/brene_brown_on_vulnerability#t-3708

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http://www.christies.com/lotfinder/Lot/egon-schiele-1890-1918-erhobene-rote-hand-5406935-details.aspx

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http://www.artnet.com/artists/john-ahearn/the-usual-suspects-unique-collaboration-between-a-j_6C1JnLWfhh6RbiPoXuvQ2

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http://www.thebroad.org/art/barbara-kruger/untitled-your-body-battleground

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http://www.healthline.com/health/depression/facts-statistics-infographic

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http://www.internationalcrimesdatabase.org/case/769/mothers-of-srebrenica-v-the-netherlands-and-the-un/

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https://www.tumblr.com/search/hands+holding

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http://www.drseussart.com/secretandarchive/self-portrait-of-the-artist-worrying-about-his-next-book

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http://www.arthistoryarchive.com/arthistory/feminist/Barbara-Kruger.html

C O M PA R AT I V E S T U D Y The overarching theme or lens that is being looked through for these three pieces, is human vulnerability. Elements of vulnerability have been initiated from the early planning stages, and the pieces will be analyzed holistically and separately before the connections are drawn together in a comparison. Other overarching themes are protection, human emotions, and neglect.

F O U N D L I N G , 2 0 0 8 . PAT R I C I A P I C C I N I N I S I L I C O N E , H U M A N H A I R , P O LY E S T E R , N Y L O N , W O O L , G L A S S , P L A S T I C 41 X 66 X 37 CM P R I V AT E C O L L E C T I O N

THE HOLOCAUST,1982. GEORGE SEGAL PLASTER, WOOD, AND WIRE. D I M E N S I O N S VA R I A B L E I N S TA L L AT I O N I N L E G I O N O F H O N O R PA R K I N S A N F R A N C I S C O

YOUTH, 2009. RON MUECK M I X E D M E D I A : C L AY, S I L I C O N , PA I N T AND OTHERS 65 X 28 X 16 CM / 25 5/8 X 11 X 6 1/4 IN

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A N A LY S I S O F F O R M A L Q U A L I T I E S RON MUECK’S ARTISTIC PROCESS Artist and sculpture, Ron Mueck, starts all of his artworks by sculpting maquettes.

According to National Galleries Scotland, he experiments with different compositions and expressions until he find one that he wants to keep.

*samples of his sketches for his work Pregnant Woman

YOUTH, 2009. RON MUECK M I X E D M E D I A : C L AY, S I L I C O N , PA I N T A N D O T H E R S 65 X 28 X 16 CM / 25 5/8 X 11 X 6 1/4 IN

The eyes are individually crafted by Mueck.

Once the composition is determined, Mueck sketches the possible sizes and scales of the artwork with pencil on paper. For very large sculptures, he first creates a metal armature which is first covered covered in plaster strips before WHY SILICON being covered over with modeling clay. Then, he works with the clay By using silicon, Mueck can incorporate incorporating all the fine details of facial and corporal expressions and skin the smallest details such as eyelashes, textures. wrinkles, and body hair. This can’t be MATERIALS AND SIZE done with fiberglass. Hairs are Using resin, silicon, and other materials such as clothes and fake blood, Ron punctured into the silicon.

Mueck created a 65cm tall sculpture of a young black male wounded in the right side of his rib cage.

GENRE - His works, including this one, are considered to be hyper-realistic sculpture due to there uncanny similarity to real people. Some of his sculptures are large scaled, but this one is the size of two subway sandwiches. This represents the smallness and vulnerability of the subject.

R O N M U E C K , 2 0 0 3 D O C U M E N TA R Y B Y T H E N AT I O N A L G A L L E R Y

The young man is bare feet.

His clothing overall is very simple. A white shirt, a pair of underwear and a pair of jeans.

Ron Mueck puts emphasize in the tiniest details, for example the nail dirt under the nails.

For this particular sculpture, Youth, the next step was to mould the sculpture using silicon because of the size. Mueck uses different techniques depending on the size of the sculpture. This is a difficult task as the silicon can stretch and ruin the quality. For his larger sculptures, Mueck normally uses fiberglass instead of silicon to support the structure better by making it stronger. Mueck then paints the finer details, such as veins and blemishes on the surface. In Youth the details under the kid’s nails are particularly well done.

CURATING THE ARTWORK At the National Gallery of Victoria exhibition, the artwork wasn’t encircled in any way, which gave viewers the option to walk around the subject and get a close look.

The name of the artwork, the body, and the skin details indicates that the subject is a young black man.

“… what made me lose my head, though, was the suggestion of dirt under his neatly clipped toenails. This beautifully observed detail made me want to kiss his exquisitely modeled feet.” Sarah Kent

A N A LY S I S O F F O R M A L Q U A L I T I E S There is one public sculpture of “The Holocaust” in the Legion of Honor Park in San Francisco and another in the Jewish Museum. The one from below can be found in the Jewish Museum.

ARTISTIC PROCESS Segals’ first sculptures were made with wire, burlap, and plaster. However later on he changed his methods and used plaster exclusively. Using his friends and family as live models he achieved the human like figures by wrapping his models’ bodies in wet plaster limb-by-limb. The abstract or expressive qualities were achieved by adding and deleting plaster.

MATERIALS Plaster, wood, and wire. Plaster for the human sculptures, wood and wire for the fence.

The bodies piled in the ground are naked, while the man standing up is wearing a coat over a shirt, pants, and shoes. George Segal chose to also use plaster for the clothes.

The way the bodies are laid in the ground isn’t random. Several bodies can be found assembled in a “Christ-like” position, meaning torso and legs straightened in the ground with the arms opened to the sides.

CURATING THE ARTWORK The installation consists of several human figures stacked on top of each other. There is the figure of a man standing in front of the pile of people, facing away and holding one of the barbwires of the fence in front of him. The fence consists of two wooden poles that look like trow branches. The audience is not restricted to only looking at the artwork from away since there is walking space around the pile of bodies and between them and the fence.

It is visually challenging and physically engaging as the audience needs to walk around and through the artwork in order to view it fully. The expressions seen in the faces of the subjects evokes a great deal of emotional pathos.

A N A LY S I S O F FORMAL QUALITIES DESCRIPTION OF THE WORK A baby with wrinkles and covered with facial hair is in a well-worn bassinet that is too small for her. The left are cramped in order to fit. She is wearing a pink beanie, and a blanket. Facial features are generally disproportional, the eyes standout as they are big and a different texture from the skin.

FACIAL FEATURES Big, round eyes, wrinkled skin covered in long blonde hairs and a monkey-like nose. Overall the face of the baby seems human, a nose, pair of eyes, cheeks, lips, and ears,however there are several alterations to these features that create the illusion that the baby is not quite human.

EYES The eyes are big and staring out into the distance. It is hard to tell exactly what the eyes are staring at because they have no pupils. Therefore the viewer can’t really tell what is upsetting the baby and what she is looking at that makes her so sad. Although it has eyes, it suggests that it can’t see nor understand what is going on around it.

SUBJECT OF THE ARTWORK The sculpture shows an abandoned baby inside a bassinet. The bassinet is well worn and the color of the blankets, according to the traditional blue for boys and pink for girls standard, indicate that it is a baby girl in the bassinet. The legs of the baby are cramped and bent in order to fit. It is wearing a beanie suggesting the baby is cold.

CURATING THE WORK In the exhibition Foundling is placed next to Undivided and The Long Awaited. Both artworks look at the connection between two creatures that are genetically connected by the smallest of their similarities, yet their lives are so different from one another. One is human the other one is the Dugong, and endangered species. The relationship is similar to a grandmother grandson relationship.

MATERIALS Sculpture is made out of silicon, human hair, polyester, nylon, wool, glass, and plastic. To complete the artwork, Piccinini, has used a bassinet and blankets to place the human looking creature in the same environment a baby would be in.

COLORS The blanket covering the child is white. This color represent innocence and vulnerability. It is also a sign of purity. The beanie and the other side of the blanket are pink. Usually this color is associated with femininity and in most cases beauty as well. The colors contrast and reflect with the baby who seems to be sad, lost, and whose features aren’t conventionally beautiful.

F O U N D L I N G , 2 0 0 8 . PAT R I C I A P I C C I N I N I S I L I C O N E , H U M A N H A I R , P O LY E S T E R , N Y L O N , W O O L , GLASS, PLASTIC 41 X 66 X 37 CM P R I V AT E C O L L E C T I O N

I N T E R P R E TAT I O N O F F U N C T I O N A N D P U R P O S E CURATING THE ARTWORK The realistic features and humanness of Mueck’s sculptures draws the viewer in closer. Youth, like most of his artworks, isn’t encircled in any way during exhibitions. The delicacy of this piece discourages direct contact or touching from the viewer, but the unlimited space between the sculpture and the audience evokes a desire to feel the space of the work.

There is a religious illusion in the subject’s wound. The cut in his left chest cavity resemble the one of Jesus when he was crucified.

THE VIRGIN SHOWING THE MAN OF SORROWS, 1 4 7 5 . O I L O N PA N E L , 2 7 . 0 X 19.0 CM.

SKILLS AND TECHNIQUES Using a red mesh, and silicon for the details, Mueck has created a wound in the subject’s side. It suggests that he has been stabbed with a knife or something of the sort. The blood is on his skin as well as his shirt. The sculpture tells the story of a young black boy who was stabbed through his white shirt and didn’t notice it right away. Standing straight, feet next to each other, arms away from his torso and hands examining the wound, his posture is casual, relaxed, not alarmed despite the blood in his side.

THE SIZE OF THE SCULPTURE Mueck is known for his large-scale sculptures, however Youth is standing with only 65 cm. In comparison to his other sculptures, this one is small. The artist deliberately decided for this to happen so that the sculpture seems defenseless and delicate. It emphasizes the vulnerability of youth.

APPROPRIATION Muck appropriates the art subject from Hans Memling’s The Virgin Showing the Man of Sorrows, or more generally depictions of Christ’s stigmata. Although it is very subtle it evokes emotions in a subconscious level.

YOUTH, 2009. RON MUECK M I X E D M E D I A : C L AY, S I L I C O N , PA I N T A N D O T H E R S 65 X 28 X 16 CM / 25 5/8 X 11 X 6 1/4 IN

The body language and facial expression of the subject suggests he just realized that he’s been stabbed. The delicacy with which he contemplates his wound, running his fingers around the blood without directly touching it, it evokes a feeling of vulnerability and tenderness.

I N T E R P R E TAT I O N O F F U N C T I O N A N D P U R P O S E RELIGIOUS ALLUSION Earlier we looked at the body language of the people laying on the ground. It was noted that some of the bodies where in a “Christ-like” position. It is probable that Segal did this deliberately to question the relationship between Christians and Jews during the Holocaust. It is believed the Jesus Christ sacrificed his life for human’s sins, in this case it was the jews that were murdered in a brutal environment, and this can be seen as the sins of everyone who stood by and watched.

The pile of bodies itself shapes the figure of a star. Perhaps this is a reference to the David Star that was used to separate Jewish individuals from the rest of their community.

STYLE Although Segal uses casual depictions of contemporary culture and everyday calculations his style rejects the calculations of pop art as it’s more focused on the abstract features of the art.

REAL LIFE MODELS Segal’s method is unique in that he uses actual individuals and real props when creating the plaster casts. It adds on the haunting and becomes representational of human life.

EMOTIONS EVOKED The feelings that this artwork evoke are many. It depends on who the audience is, to some it could be shame and guilt, to others sadness and pity. However, aspects such as pain, vulnerability and the evil of man kind are evident in the artwork. For example, the naked bodies piled on top of each other show human vulnerability. The only subject wearing clothes is the man that is still alive standing in front of the fence. It is understood that jews in the concentration camps were ripped of all they had, except their clothes.

SYMBOLISM One of the woman in the pile of bodies is holding a a half-eaten apple. Is is likely that Segal was intentionally referencing to the story of Adam and Eve and the sin of the apple.

Just like the position of the bodies, the halfeaten apple explores the idea of sinful actions.

It is a victim that is holding the apple, not of her own sins, but the sins of others. Like the brutality and hatred that fueled the Holocaust.

THE EXECUTION,1967. GEORGE SEGAL

T H E H O L O C A U S T, 1 9 8 2 . G E O R G E S E G A L PLASTER, WOOD, AND WIRE. D I M E N S I O N S VA R I A B L E I N S TA L L AT I O N I N L E G I O N O F H O N O R PA R K I N S A N F R A N C I S C O

OTHER ARTWORKS The composition and function of the artwork relates to artistic sources, as the photographs and paintings previously mentioned, and Segal’s personal iconography. Not to mention the connection of his earlier works and his concept for the FDR memorial in Washington that opened in 1997; portraying stacks of corpses is a recurring function in Segal’s artworks. Such a motif can also be found Segal’s The Execution of 1967.

Artsy, the art website, describes his style by saying that he “conveys a sense that his figures are imprisoned within their exterior material”. He is also known for leaving his sculptures unpainted, which simultaneously give the subjects a ghostly appearance. A key element of his artworks exhibition is that their everyday environment, restaurants, parks, or domestic interiors, juxtaposes with the gestures and poses that express the fragility of human condition. The combination of the two achieve a familiar and emotionally resonant with the audience.

I N T E R P R E TAT I O N O F F U N C T I O N A N D P U R P O S E “One wonders how long it has been left in its bassinet” - art link, Patricia Piccinini: related individuals

F O U N D L I N G , 2 0 0 8 . PAT R I C I A PICCININI S I L I C O N E , H U M A N H A I R , P O LY E S T E R , NYLON, WOOL, GLASS, PLASTIC 41 X 66 X 37 CM P R I V AT E C O L L E C T I O N

ABOUT THE ARTIST In 1996 Piccinini was drawing in medical museums, meticulous pencil drawings of old specimens, pathologies and aberrations. She was constantly surrounded by ‘unnatural’ organisms. She was familiarized with medicine and technology, in her artist statement she speaks about where her interest lay during her artistic process, “my interest was in the way that the discipline and technology of medicine constructs our ideas of the normal and the natural”. Many of her ideas revolved around genetics. Through her works she explored the idea that genetics make who we, as humans and animals, are and it influences the way the world perceives us. Genetic mapping manipulation is something that our species is currently working on to improve the lives of our future generations, however, Piccinini raises the question of ‘what if’. What if it goes wrong and the outcomes are not the desired? Will we still accept the differences between us and our creations as our own?

EMOTIONS EVOKED The expression in the baby’s face asked to be nurtured, it is in need of attention. It’s position close to the ground, and its delicate size evoke vulnerability. An abandoned child, an outcast, different and unwanted. Add to that the aspect that the piece is 3 dimensional and thus the viewer experiences it knowing that it could be touched and felt, the eyes become larger than life. In some level there is a possibility for all viewers to experience a personal connection. It is an infant, we’ve all been infants. And the desire to be loved is one that makes us human. However this baby is not quite human, or so does it features make us wonder.

THEME: GENETICS Through her works, Piccinini, magnifies the genetic components that connects humans and other animals. What makes us different from them, and what makes us different from one another. What to we accept as ‘okay’ or ‘natural’, what do we reject because it’s appearance isn’t ‘human enough’, or rather ‘not like us’.

UNDIVIDED, 2004.

PAT R I C I A P I C C I N I N I

THE LONG AWAITED, 2008.

PAT R I C I A P I C C I N I N I

CURATING THE ARTWORK In one room there are three artworks, Undivided, The Long Awaited, and Foundling. Foundling is left on the floor to the side of the main gallery.

Purposely, Puccini places these three artworks together to contrast the innocence of children and their ability to love with the neglect and rejection of a baby from it’s parents because she is different, not quite human. It questions our changed and manipulated perception of what is natural. Before being exposed to information that is accepted as true, what do children accept as natural and are able to love? Adults, more often than children, are neglectful and reject what is different from themselves. Piccinini suggests that this is a learnt behavior.

E V A L U AT I O N O F C U LT U R A L S I G N I F I C A N C E Human Figure History of the art shows that representations of the human figure are some of the earliest subjects explored through drawings, paintings, and sculptures. A pattern that is seen across in a worldwide scale, from the Han Dynasty bombs in China to the nearly 30,000year-old wall drawings of the Chauvet Caves in southern France.

The subject has been central to Christian art for centuries, and through the Renaissance period the human figure was wildly explored as people started valuing the idea of human ingenuity and human life. However, for a long time the human figure was forgotten in the world of art and it wasn’t until the 80s that they started to reappear. Particularly in contemporary art, the human figure is used to express opinions and emotions about current significant issues, whether they be issues within a nation, our development as a global community, or our past.

CLOTHES In the context of a Western society, the fact that the subject’s skin is black and the ‘street clothes’ references to the ‘gangsta’ fashion associated with hiphop music. Add the wound and it is a reference to the black on black, and white on clack crime that has lead to movements such as ‘Black Lives Matter’.

THE SIZE OF THE SCULPTURE Mueck is known for his large-scale sculptures, however Youth is standing with only 65 cm. In comparison to his other sculptures, this one is small. The artist deliberately decided for this to happen so that the sculpture seems defenseless and delicate. It emphasizes the vulnerability of youth.

Another aspect, besides the age of the subject, is the color of it skin. The tiny size puts aside any sense of menace that the audience could very possible associate with a young Black man. Aside from the skin color, the ‘street’ clothes it is wearing, also known as ‘gangsta’ fashion, adds on to the sense of threat, however it cancels out because of it’s delicate size. Mueck uses the structure of the artwork to confront the viewers with the prejudice associated with race. If the sculpture were to be a large-scale sculpture, then perhaps the audience would perceive that the narrative told involved the subject provoking his attack. Due to the size, it is the audience’s unconscious response to assume that the subject is the victim rather than the perpetrator.

YOUTH, 2009. RON MUECK M I X E D M E D I A : C L AY, S I L I C O N , PA I N T AND OTHERS 65 X 28 X 16 CM / 25 5/8 X 11 X 6 1/4 IN

OTHER ARTWORKS Although Mueck is recognized for sculptures such as Youth, he is more commonly known for his large scale works such as Boy. Boy is a 4.5 meter artwork portraying a white young male in a crouching position. Besides the gender, the two works are complete opposites in structure. Unlike his usual work, Mueck’s Youth portrays a Black individual. This decision is of course intentional as it is not his usual artistic pattern. Perhaps it is not because he himself is white and thus in his creative process he might unconsciously view most of the subjects in his mind as caucasian. By making this subject Black he is representing a minority in the art world which is rarely the case for white artists.

E V A L U AT I O N O F C U LT U R A L SIGNIFICANCE

THE CHARNEL HOUSE, 1944-1945.

PA B L O P I C A S S O

Should these tragic events be conceived abstractly or realistically? The visual challenge and emotional pathos.

Tragic events such as the Holocaust can be conceived abstractly or realistically, and that’s a reason why artworks regarding such events have roved to spark discussions and debates. Segal’s The Holocaust has found a balance between the two movements through a hyperrealistic representation of the Holocaust victims.

ARTIST’S BACKGROUND George Segal was born in the Bronx in 1924 and was raised by his father who was a kosher butcher.

During WW2 he helped his father raising chickens in the family farm in New Jersey. He studied art in N e w Yo r k a t C o o p e r Union, the Pratt Institute of Design, Rutgers, and New York University and started his career as a painter. In 1961 he turned to sculpture because he wanted to create objects that he could touch and manipulate in a 3D platform.

For this particular artwork Segal drew inspiration from iconic photographers such as Margaret Bourke-White and Lee Miller. The images were direct sources taken shortly after the Allied liberation of the concentration camps. Similar to The Charnel House (1944-1945) by Pablo Picasso, Segal evokes deep emotions as a response to mass murder. According to Maurice Berger, Segal “was shocked by the notorious disregard for the usual sacred rituals of death”.

Pablo Picasso painted The Charnel House during the Spanish war, thus both artworks reference war and conflict.

[PHOTOGRAPH FROM THE HOLOCAUST] 1945,BURKE WHITE.

[PHOTOGRAPH FROM THE HOLOCAUST] 1945, LEE MILLER

THE HOLOCAUST,1982. GEORGE SEGAL PLASTER, WOOD, AND WIRE. D I M E N S I O N S VA R I A B L E I N S TA L L AT I O N I N L E G I O N O F H O N O R PA R K I N S A N F R A N C I S C O

There are direct references of t h e s e photographs in the artwork.

Including the two main elements; the pile of bodies and the man s t a n d i n g holding the wire.

CLOTHES

The only subject wearing clothes is the man that is still alive standing in front of the fence. It is understood that jews in the concentration camps were ripped of all they had, except their clothes. This is a reflection of the history of the Jew population in Europe at the time. Up to the time that each individual was executed their only physical possession was their clothes. In the gas chambers they were told to take those off since it was easier to cremate the bodies when they were naked. The man standing in the fence tells a more personal story, of the one who survived the executions and still stands in the world of the living

E V A L U AT I O N O F C U LT U R A L S I G N I F I C A N C E Through her works she magnifies the genetic components that connects humans and other animals. What makes us different from them, and what makes us different from one another. What to we accept as ‘okay’ or ‘natural’, what do we reject because it’s appearance isn’t ‘human enough’, or rather ‘not like us’.

EMOTIONS EVOKED The expression in the baby’s face asked to be nurtured, it is in need of attention. It’s position close to the ground, and its delicate size evoke vulnerability. An abandoned child, an outcast, different and unwanted. Add to that the aspect that the piece is 3 dimensional and thus the viewer experiences it knowing that it could be touched and felt, the eyes become larger than life. In some level there is a possibility for all viewers to experience a personal connection. It is an infant, we’ve all been infants. And the desire to be loved is one that makes us human.

However this baby is not quite human, or so does it features make us wonder.

Piccinini’s artworks generally make direct reference to day to day life, so it is relevant to contemporary life and technology. Foundling particularly is relevant to the experience of parenthood and infancy. The technology involved in our perception of what is natural is quickly developing, soon to be parents can chose to have blue eyed babies, children with an innate talent for sports, the options are becoming limitless. The Foundling questions how would a baby be received if the technology failed to achieve the desired goal?

“I try to create in my work a space that can pick up on a moment of compromised beauty, and enjoy the wonder of that without denying its flaws and fallacies.” - Piccinini Piccinini is interested in what society accepts as beautiful.

In a cultural context, natural beauty is always favored over constructed beauty. What if humans find a way of constructing beauty in such a way that it is indistinguishable from what is natural? Piccinini brings this to question by creating a piece that delves further into the concept of beauty from birth. The baby in the bassinet has been neglected because of it’s unnatural looks, however what defines ‘natural looks’ is questioned by the fact that this creature was born the way it was and thus by definition its features are natural.

WHEN This artworks was made in 2008. The beginning of a new era when technology is rapidly developing and soon biology (nature) and technology (nurture) will be one.

F O U N D L I N G , 2 0 0 8 . PAT R I C I A PICCININI S I L I C O N E , H U M A N H A I R , P O LY E S T E R , NYLON, WOOL, GLASS, PLASTIC 41 X 66 X 37 CM P R I V AT E C O L L E C T I O N

T H E H O L O C A U S T, 1 9 8 2 . G E O R G E S E G A L PLASTER, WOOD, AND WIRE. D I M E N S I O N S VA R I A B L E I N S TA L L AT I O N I N L E G I O N O F H O N O R PA R K I N S A N F R A N C I S C O

Similarities • Both pieces use a 3 dimensional medium • The color white is prominent in a l l o f t h e f i g u re s o f T h e Holocaust and so it in Foundling • The main subjects in both artworks are humans • Both main subjects are fully covered but clothing except for their faces Differences • The materials used for The Holocaust (cast, real humans as models) are very different from the ones used in Foundling (silicone, human hair, polyester) • Size: • The Holocaust is a large scale sculpture and occupies big areas of space (also why it is set up in a park • Foundling shows a human like baby, thus it makes sense that it is smaller in size and scale small enough to fit in a basinet • The subject in The Holocaust is a middle aged man, while the subject in Foundling is a young human like baby girl • The bodies in the background are fully naked

F O U N D L I N G , 2 0 0 8 . PAT R I C I A PICCININI S I L I C O N E , H U M A N H A I R , P O LY E S T E R , NYLON, WOOL, GLASS, PLASTIC 41 X 66 X 37 CM P R I V AT E C O L L E C T I O N

Similarities • Both pieces depict men standing up • Both men are facing the audience directly • Both men are wearing clothes, although in Youth, the young man is pulling up his shirt Differences • The skin color The Holocaust’s subject is unclear while the Youth’s skin color is clearly black • Youth focuses on solely one subject, while The Holocaust also includes several bodies behind the main subject

C O M PA R I S O N O F F O R M A L Q U A L I T I E S Similarities • All artworks are sculptures (three dimensional medium) • The subjects all are wearing clothing • The three subjects are human figures • White is a prominent color in all of the artworks, The Holocaust solely uses white as it is made out of plaster, the subject in Foundling is covered with a white blanket, and Youth whose subject is wearing a white shirt stained with blood Differences • The human subjects all vary in age from infancy, to teenage years, to mid adulthood.

• The skin color of the subjects vary, and so does their physical appearance • The curation of this artworks vary, from being displayed on the floor (The Holocaust and Foundling) to being displayed an eye height (again The Holocaust and Youth).

YOUTH, 2009. RON MUECK M I X E D M E D I A : C L AY, S I L I C O N , PA I N T AND OTHERS 65 X 28 X 16 CM / 25 5/8 X 11 X 6 1/4 IN

Similarities • Both pieces emphasized the facial expressions of their subjects, drawing attention to the eyes. Both facial features were extensively detailed, every wrinkle and every hair was placed with a purpose.

• The subjects in both pieces have a clear skin color, meaning their particular race and association with such is not opened to interpretation.

• Although theoretically the size in real life of the subjects would be different, they were both small scaled sculptures.

• The materials used for the clothing were similar, real clothes.

Differences • The skin color in one of the artworks is white and the other is black • The age of the subject varies, although it is debatable that this is more of a similarity since both depict youth.

T H E H O L O C A U S T, 1 9 8 2 . G E O R G E S E G A L PLASTER, WOOD, AND WIRE. D I M E N S I O N S VA R I A B L E I N S TA L L AT I O N I N L E G I O N O F H O N O R PA R K I N S A N F R A N C I S C O

Similarities • The Holocaust and Foundling use colors such as white to explain the innocence of their subjects. In both scenarios they are victims of neglect.

• The facial expressions of the humans in their works are showing the emotions of hopelessness. In The Holocaust that can also be interpreted from the dead faces who on the other side are expressionless.

Differences • The size of Foundling evokes a feeling of vulnerability and delicacy to the audience, while the size of The Holocaust installation provokes the audience to walk around the space and explore the different angles of the artwork.

• Foundling, although it has hyperrealistic qualities, the subject at hand doesn’t look completely human. It is the expression of an animal, one that has just been born. Unlike the main subject of Segal’s piece which is clearly a middle age man.

That is because Piccinini is trying to explore the possible outcasts and neglected groups of the future, while Segal is portraying the outcasts of the past.

F O U N D L I N G , 2 0 0 8 . PAT R I C I A PICCININI S I L I C O N E , H U M A N H A I R , P O LY E S T E R , NYLON, WOOL, GLASS, PLASTIC 41 X 66 X 37 CM P R I V AT E C O L L E C T I O N

Similarities • The main subject in both artworks are standing straight. Their physical position of confidence juxtaposes with their situation in which both have survived threat and danger.

Differences • In the exhibition, Youth stands in a platform that is eye leveled so that the audience can see the small sculpture without having to crouch.

• In the installation, The Holocaust requires no support since the figures are already human size.

The audience has more space to walk around when looking at the artwork.

• Youth uses more facial detailing.

C O M PA R I S O N O F F U N C T I O N A N D P U R P O S E Similarities • All artworks represent human figures in a situation where they have been neglected or threatened in order to portray vulnerability • The three artists have chosen a three dimensional figure in order to create a more.

• All artworks are meant to be exhibited in an open space where people can approach the artworks to take a closer look • The three artworks use human figures in a situation where they have been hurt in a way • Youth - the subject has been stabbed, thus it has been physically hurt • Foundling - the subject has been abandoned, thus emotional neglect • The Holocaust - the subject is a war survivor, thus it has experienced traumatic events Difference Curatorial space - the three artworks are meant to be displayed in different spaces depending on the level of engagement it aims to get from its audience. Foundling and Youth are small and encourage the audience to take a closer look. The Holocaust is large scaled and displayed in an outside space allowing viewers to walk around it.

YOUTH, 2009. RON MUECK M I X E D M E D I A : C L AY, S I L I C O N , PA I N T AND OTHERS 65 X 28 X 16 CM / 25 5/8 X 11 X 6 1/4 IN

Similarities • The size of both artworks is small in comparison the artist’s usual approach to their largescale works. This is intentional yo portray a sense of vulnerability and delicacy for both subjects. It encourages the audience to take a closer look while simultaneously discouraging the audience from touching them as they may easily e hurt or broken.

Differences • The skin color of the subjects is different, perhaps because Youth specifically focuses on black youth, while Foundling attempt to be more generic. In today’s world, representation of white people is more common than that of people of color, so it makes sense that if the representation is attempting to be generic it choses what could be considered a ‘neutral’ color.

Similarities • Both pieces are representing a wider group that has gone through oppression throughout history.

• The Holocaust focuses on the aftermath of a victim and survivor of war, similarly Youth looks into the story of a young male who has gone through a violent experience. They both capture the moment right after the event has happened. When the wounds are fresh.

Differences • The time period in which this artworks were released is apart by 27 years, meaning things have changed. Up until the end of the 20th century people were recovering from the world wars, whereas the context in which Youth was released was one where social justice movements have kept on growing and becoming more socially accepted

T H E H O L O C A U S T, 1 9 8 2 . G E O R G E S E G A L PLASTER, WOOD, AND WIRE. D I M E N S I O N S VA R I A B L E I N S TA L L AT I O N I N L E G I O N O F H O N O R PA R K I N S A N F R A N C I S C O

Similarities • Both subjects are present in a culture where they are rejected in their cultural context.

• The Holocaust, both the event

and the artwork tell the story of a whole group of people that were ignored by the world.

Their misery was gone unnoticed until the numbers of victims was too high to ignore.

Similarly, Foundling, tells the story of a child whose life is being neglected by those with the power to do something to help her.

Differences • Time period - Piccinini created Foundling in a time when genetic technology was being developed, whereas The Holocaust takes place 40 years after the event. One of the artwork focuses on contemporary technology and human relations while, the other is commemorating an event in history.

F O U N D L I N G , 2 0 0 8 . PAT R I C I A PICCININI S I L I C O N E , H U M A N H A I R , P O LY E S T E R , NYLON, WOOL, GLASS, PLASTIC 41 X 66 X 37 CM P R I V AT E C O L L E C T I O N

C O M PA R I S O N O F C U LT U R A L S I G N I F I C A N C E Similarities • The three artworks focus on a minority of some sort. Whether that be Black youth during

contemporary society, Jews in Europe during the World War, or genetically gone wrong modified babies in the future.

All three artworks incorporate characteristics of the realism movement: • Recognized as the first modern movement in art because of its conviction that the modern

world could be explored through art. Ordinary lives were a suitable subject for artists.

• The movement rejected that started in France in the 1840s midst the industrial revolution rejected traditional forms of art, literature, and social organizations.

• Choice to bring daily life into their work was a manifestation of the growing desire to merge art and life. Through the rejection of idealistic images and literary conceits of traditional art, artist started incorporating real-life allegories into their art.

YOUTH, 2009. RON MUECK M I X E D M E D I A : C L AY, S I L I C O N , PA I N T AND OTHERS 65 X 28 X 16 CM / 25 5/8 X 11 X 6 1/4 IN

Similarities • The context in which these artworks are produced is a contemporary context, meaning they seek to explore current happening issues such as racism and violence amongst youth and genetic modification, a fast advancing technology.

Whereas The Holocaust explores the experiences of a group of people in a particular time in history.

Differences • Mueck focuses on issues of social justice that persist in today societies, while Piccinini explores possible social issues that genetic technology may bring in the future.

M A K I N G C O N N E C T I O N S T O M Y O W N A R T- M A K I N G P R O C E S S Just like all of the artworks analyzed in this comparative study, all of my own artworks deal with human figures and human emotions similar to the ones the sculptures explore. Recurring theme in my artworks include vulnerability, delicacy, danger, protection, and threat.

Similarly, YouthI, The Holocaust, and Foundling explore the limitations of human control of their environment.

YOUTH, 2009. RON MUECK M I X E D M E D I A : C L AY, S I L I C O N , PA I N T AND OTHERS 65 X 28 X 16 CM / 25 5/8 X 11 X 6 1/4 IN

Frustration and relief was inspired by the human emotions that give the name to the piece. The frustration of feeling trapped in a skin that makes you feel miserable can be subtly seen in the three artworks analyzed. The subject in Youth experiences racism, the one in The Holocaust experiences persecution because of its ancestry, and the subject in Foundling is a genetic error. The reason why these subjects are experiences difficulties is not because of the skin itself, but what society has labeled their skin to be. That is what is different in my artwork. The skin I reference to in Frustration and relief is the subject’s own creation of that skin. The labels it has put on it, not society, but it’s own emotional self.

The vulnerability shown in Youth and the somewhat lack of awareness of the subject and it’s situation inspired me to create a small-scaled sculpture to portray a feeling of comfort and delicacy. Although the environments in which the subjects find themselves are s i g n i f i c a n t l y d i ff e re n t , a s Human is clearly protected while Youth has just gotten out of a dangerous situation, the sense of tininess is something that can be found in both artworks.

M A K I N G C O N N E C T I O N S T O M Y O W N A R T- M A K I N G P R O C E S S Although Mother of the Gone is a two dimensional piece, I was aiming to create a sense of texture using three dimensional techniques. The Holocaust obviously has a tangible texture to is as it is a sculpture, however what makes it stand out is the real clothes Segal used in his models. Similarly I chose to use charcoal to draw real clothes and then photoshopped the drawing into the final piece.

THE HOLOCAUST, 1982. GEORGE SEGAL PLASTER, WOOD, AND WIRE. DIMENSIONS VA R I A B L E I N S TA L L AT I O N I N LEGION OF HONOR PA R K I N S A N FRANCISCO

The Holocaust focuses on telling the story of a war survivor. Similarly, Errands, attempts to capture the day to day life of a citizen in a zone of conflict. I was inspired

by Segal’s artwork to create a piece that wasn’t generic in that it focuses on an individual within a larger group.

However, my artwork reflects on more recent historic events, both in an objective timeline and a relative one. It’s been 22 years since the war in Bosnia ended. At the time The Holocaust was presented to an audience 4 decades had past since the actual Holocaust. This could have a positive or negative effect on how the audience perceives my artwork. Partly because there are more survivors from the Srebrenica war who are still struggling to overcome what they lived, but also because Segal himself had Jewish roots. Whereas my connection to Bosnia is having lived there for a short period of time.

M A K I N G C O N N E C T I O N S T O M Y O W N A R T- M A K I N G P R O C E S S Mother of the gone was indirectly inspired by Foundling, as Piccinini’s artwork had me reflecting on the duties of a mother.

In Foundling, the subject - a baby - has been abandoned and neglected, meaning that there is a mother out there who gave birth to this human looking creature and abandoned it in a basinet ⇾ this is a baby of the gone.

F O U N D L I N G , 2 0 0 8 . PAT R I C I A P I C C I N I N I S I L I C O N E , H U M A N H A I R , P O LY E S T E R , N Y L O N , WOOL, GLASS, PLASTIC 41 X 66 X 37 CM P R I V AT E C O L L E C T I O N

Just like Foundling, my artwork incorporates different textures (the flowers in a forest background, the photographic body parts, and the charcoal drawn dress) to contribute with complexity to the artwork.

Similarly, I used a small amount of color to portray a distinct message.

Foundling uses pink to suggest that the baby is a girl, thus emphasizing the societal pressure for children to be born beautiful seen that is is usually females who undergo great deals of stress to change and fit beauty standards. Mother of the Gone uses green in the flowers to make clear that this is a reference to ‘Mothers of Srebrenica’, a group of women who have lost their children to a mass murder and still carry on their duties as mothers.

There is an opposing parallel between this artwork and mine, in that mine focuses on the mother’s duty and natural instinct to care for it’s offspring. The sketches below I drew when exploring whether to portray this relationship before or after the baby’s birth.

Foundling deals with the natural human need to be loved and nurtured, just like two of my artworks dp. Particularly Hold me and Hold me on repeat (an extension of Hold me). The mediums of my artwork are very different from the ones Piccinini uses, but I attempt to explore similar themes such as the physical want to be hold. The baby from Foundling had been neglected and its big eyes ask to be picked up. Similarly, my photograph series portrays a lonely hand that wants to feel the touch of another, and eventually does. The difference is that my artworks reach a climax and have a structured thematic progression.

BIBLIOGRAPHY • Cranny-Francis, A. "Sculpture as Deconstruction: The Aesthetic Practice of Ron Mueck." Visual Communication 12.1 (2013):

3-25. Web. University of Technology, Sydney • Witkowski, V. "Ron Mueck at the Fondation Cartier." Same Old Art. N.p., 10 July 2013. Web. 01 Nov. 2016.

• By Using Any of These Images You Agree to the Jewish Museum’s Terms and Conditions. "The Holocaust, 1982." The Jewish

Museum. N.p., n.d. Web. 03 Nov. 2016.

• "George Segal Monument." : Center for Holocaust & Genocide Studies : University of Minnesota. N.p., n.d. Web. 03 Nov. 2016.

• https://www.youtube.com/playlist?list=PLZOn5iWP7WZaaKB6PxXO7H2poeAX0m8FY&spfreload=10 • http://www.independent.co.uk/arts-entertainment/art/features/artist-at-work-inside-the-workshop-of-ron-mueck-creator-of-

eerily-lifelike-sculptures-8567614.html#gallery PICTURES IN THE BACKGROUND OF RON MUECK ANALYSIS OF FORMAL QUALITIES • https://www.nationalgalleries.org/whatson/exhibitions/ron-mueck/about-the-artists-technique • http://chgs.umn.edu/museum/memorials/segal/ - legal religious allusion • http://www.patriciapiccinini.net/179/47 - baby’s pictures • http://journals.sagepub.com/doi/full/10.1177/1470357212462672 - ron mai boi