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When choosing my field of research, I focused specifically on the studios "Identity and Place" and "Sequence and Time", which I believe are closely linked, as both identity and place of life evolve and are shaped by the passage of time, shaped by the passage of time. By examining these themes, I hope to gain insight into how people construct their identities in specific geographical and temporal contexts, and whether, and if so how, they change their identities as time passes and as they acquire new identities. In addition, I am also very interested in the various topics covered in these two studios, such as cultural identity, the influence of locality, historical inheritance, individual and collective memory, and the role of time in identity formation. I believe that by delving into these topics, I will better understand the complex relationship between human identity and locality and the importance of time in this relationship.

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Artist research--Frida Kahlo (How to get rid of a previous identity/identity that you don't like?)

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Artist research--Frida Kahlo (How to get rid of a previous identity/identity that you don't like?)

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There are so many interpretations of identity, so I would love to see how some famous artists interpret identity.

Upon delving into Frida Kahlo's life, I discovered that her married life was not exactly a happy one. Since her marriage to Diego Rivera in 1929, she and he became a highly regarded artist couple in Mexico. However, during this marriage, Frida was known more as Diego's wife, even though she was also a distinguished painter. With the divorce, she began to examine her own identity and did not hesitate to say that she did not want to be defined simply as "Diego Rivera's ex-wife". She refused to identify herself with the outside world and was determined to reinvent herself in her own way. This painting is a vivid expression of her determination. In this painting, she no longer depicts the traditional Tehwana embroidered garments or the flowers on her head, both of which were once common elements in her work. Instead, she chose to paint herself in a suit and short hair, symbols of her new identity. This shift all reflects her redefinition of self-identity.

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Artist research-- Glenn Ligon (Identities shaped by history)

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Artist research-- Glenn Ligon (Identities shaped by history)

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Glenn Ligon posed a thought-provoking question to his ten friends, "Imagine if I were missing, how would you describe me as a missing person?" The friends' responses included "black male," "five feet eight inches tall," "short hair," "little to no beard," "built "short hair," "almost no beard," "solid build," "weighs 155-165 pounds," and so on. Glenn felt both familiar and unfamiliar with these descriptions. He thinks that when you read these descriptions you feel like it's him, but at the same time it could be argued that it's not him. This statement got me very interested in the topic. Indeed, there are many people around the globe who fit the above profile, if only based on these descriptions. So, how can we be sure that these descriptions are indeed describing him? This is a very interesting question.

Glenn has placed these descriptions underneath 19th century photographs of slaves in a style modelled on the manhunts issued by ranchers at the time. This series of ten prints is intended to show that these slaves and the language used to describe them are still relevant to us today. We are still affected by these historical events, and Glenn believes that his identity is still rooted in history. These historical events have shaped who we are.

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Artist research -- Andy Warhol (Identity shaped by the public)

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Artist research -- Andy Warhol (Identity shaped by the public)

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I think the identities that many celebrities show to the audience are mostly false. They only show the side they want the audience to see, but the real side is hidden. So are their identities true or false? Marilyn Monroe died of drug abuse when many believed she had become one of the most famous living stars of her time. The results are saddening, and Andy used one of her promotional photos to create this work after a few months.

Tabloid culture was popular in the 1950s. People were no longer satisfied with posters or photos of celebrities. What they wanted was gossip, and they wanted to know more about what kind of person this public figure was, all her family background and stories. This is the case even now. People desperately want to know the question "Who is she?" but it's more accurate to say that it doesn't matter who you are, it's who they think you are that matters. This is why today’s public figures always create too many false identities and backstories to satisfy the audience’s expectations.

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It was a great pleasure to meet such an incredible artist in person and hear her share about the development of her personal project. She also brought her sketchbook, and for me, an artist’s sketchbook has always been a very favorite thing. Compared to finished works in galleries, artist's sketchbooks are relatively rare. I like to understand how these works evolve step by step, from preliminary sketches to the finished products we see. This gave me a better understanding of how much experimentation is required when working on a project to achieve such a level of excellence.

At the same time, in this meeting, Jane also shared many other attempted techniques that were not covered in the introductory video, as well as a more detailed creative process. All of these made me feel like I had gained a lot.

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Ahkran also shared many of his experiences and insights when creating independent projects. However, what I learned more from him was how he chose brushstrokes, medium, and composition to convey that fantastical visual feel.

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This description vividly shows the growth process of the girl's life through the form of sidewalk. The hustle and bustle of the streets and the fast-moving vehicles made me feel that her growth seemed to be sudden. Before she was ready, she had already entered the next stage of her life and struggled to accept the discomfort and pain brought by her new identity. responsibility.

I feel similar age anxiety. After celebrating my 20th birthday last month, I suddenly realized that I had reached an age where I could get married and have children. My parents gave birth to me when they were 23 years old, but I couldn’t imagine how stressful life would be if I became a mother three years later. I always feel that I am still a child, but the arrival of 20 years old undoubtedly also symbolizes a new stage of life. Friends around me are starting to work one after another, and some are planning to get married... I feel that I need to accept and adapt to my identity as an adult and work hard to overcome psychological barriers.

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When it comes to identity crises, the first thing I think of is children whose parents are divorced. As the product of the marriage of both parents, what status should they have after their parents divorce? This is especially true for those whose parents remarried and gave birth to younger siblings. Do these children feel like they are unwanted children? Where should they go? In this case, they may face chaos, confusion and self-doubt, not knowing how to define their identity and how to find their place and role in the family. This can have a profound impact on their mental health and growth. Therefore, these children need support and help from family, society and psychological professionals to help them establish a positive identity and find their own sense of belonging and value.

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Drawing sketches in Frameless Immersive Art Experience

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Drawing sketches in Frameless Immersive Art Experience

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In the exhibition, people remained quiet and concentrated on admiring everything inside. With the theme of identities and places, I started to think about what kind of people different places attract and what they have in common. Just like in this exhibition, most of the visitors have a strong interest in art, or like to appreciate exhibitions. This is their common characteristic. Similarly, in bars, people tend to be sociable, keen to enjoy drinks and dancing, and are relatively young.

These observations led me to think about the unique characteristics and behavioral patterns that the groups of people attracted to different places may have and how the places where these groups of people appear are linked to their identities to gain a deeper understanding of the relationship between identities and place.

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Today I went to the climbing gym with my friends. The people in the rock climbing gym have in common that they are relatively young and love sports.

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During the painting process, a question suddenly occurred to me: Why are only children playing on these facilities? Can’t elder enjoy these facilities? I know this is a stupid question and these amusement facilities are specially designed for children, because at their age, they are the most curious and love to explore the world. But what if humans grow in reverse? If humans have aging bodies and organs when they are born, their bodies will become younger and younger as they age. In this case, how can we satisfy our desire to explore the world? How would such a world change? This question triggered my thinking on the relationship between age and identity.

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Drawing sketches in Southall in west London

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Drawing sketches in Southall in west London

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I find it difficult to find very old people in central London (at least I didn't see many on my way to school). So I went to the Southall where in the west London. My classmates told me that there are relatively many elderly people in West London. I wanted to explore the reasons behind this phenomenon, and how the living environment in West London differs from that in the city center and what makes them particularly attractive. This can also be regarded as a survey related to identity and place.

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Differences in things used by different age groups

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Differences in things used by different age groups

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Both of these things help people walk, but they are targeted at different age groups. Is it possible to use these supplies with similar functions to create?

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Why do most elders live in West London? 

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Why do most elders live in West London? 

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Southall is often called "Little India". Compared with central London, the environment here is not so good. Perhaps because the rent here is cheaper, many people from not too wealthy families choose to buy houses here, and the elderly at home Since I need their care, I live here with my family.

According to data from the website https://centreforlondon.org/reader/older-londoners-housing/#who-are-older-londoners-and-wheredo-they-live, it is confirmed that most elderly people live in the suburbs of London. But there is no clear reason why they live in these areas.

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The reason I chose to come is because Camden Town has always been one of London's centers of art and creativity. The area attracts many artists, musicians and cultural creatives, and their creativity and personality are reflected in the architectural design. Many buildings feature unique graffiti, murals and decorations, showcasing creative style and diversity. This is also a way of expressing identities and places.

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These are two of my favorite creative approaches in the exhibition come from Alfred Wallis and Ethel Sands. I am fascinated by the work of Alfred Wallis and his choice of painting on wooden panels. In particular, the shapes of these wooden boards are often irregular, which gives the impression of recording memories in his mind. The works of Ethel Sands fascinate me with her clever use of the color of the paper itself as the main color in the painting. I really appreciate this way of creating.

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All the work that I like in Tate Britain

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All the work that I like in Tate Britain

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These works attract me for different reasons: some because of the color palette, some because of the way they are created, and some because of the way they express emotion.

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I took photos of myself using a filter on the Internet. This filter allows you to see what you will look like when you get older.

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Because I want to create a photo album for the character that record her life, and let the audience know the special features of this world through these photos. So I started trying to draw illustrations of children with old faces.

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During the coaching session, Jamie raised a question about how to get the audience to understand my idea of reversing physical development. I thought I could illustrate this idea better by posting photos from different eras in a photo album. (For example, I could show an old black-and-white photo of an old-looking person wearing a child's clothing, and another color photo of the same person at age 60, with the same features as the person in front, similar appearance but look younger.) Perhaps it will make it easier for the audience to understand my point of view.

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More researches about the history of pgotography

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More researches about the history of pgotography

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During my last preliminary research on the history of photography, I found that I was quite curious about this aspect, so I found this book in the library, hoping to have a deeper understanding of the history of photography.

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Some summary notes on photography history research

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Some summary notes on photography history research

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This is my first time trying intaglio printing. We can choose to use zinc or steel metal plates to make printing plates. Of course, there will be subtle differences in the effects printed using two different metal plates. The lines printed on the steel plate will be harder and the printing tone will be hazy. In contrast, for works with rich images and details, printing on zinc plates may be more suitable.

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If you want the printed pattern to be soft, try using a paint sprayer to spray diluted acrylic evenly on the printing plate, and then use wax to cover the areas you don't want to be corroded. Then control the color depth of each area in the picture by controlling the acid etching time. Because I wanted to print a baby's B-ultrasound image, I etched the areas I wanted to be darker twice so that the printed tone would be much darker.

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Intaglio can also be used to print photos, and the principle is similar to screen printing. This technique can not only print monochrome photos but also print color photos using CYMK. Because I have the idea of making a photo album, I think I will also try this technique to develop my projects in the future.

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To facilitate the creation of subsequent album photos, I first designed a character and determined what she would look like at each age. This ensures that viewers won’t mistake the subject of each photo for someone else when viewing the photo album.

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In today's digital course, we reviewed the presentation before spring break, reflected on it, and thought about what we had done poorly. At the same time, we also taught some very useful techniques to help us communicate better with the audience in presentations.

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Some notes from the class.

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This weekend, I visited the end-of-term exhibition planned by my friend who is studying Fine Arts at Chelsea College. The first artwork, a picture on canvas, sparked some ideas for my projects. It featured special effects and included white blocks in the image, creating a surreal dreamlike atmosphere. I intend to incorporate this style of expression into my project creations.

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The moment I laid eyes on Elly's artwork, I was struck by its beauty. It encapsulated exactly what I aspire to create. Her pieces evoke a dreamlike sense of unreality, yet within that, there's a profound beauty to the overall atmosphere. It resonates perfectly with the feeling I aim to convey in my own work. I intend to learn from her approach and create dream-like photos inspired by her style.

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I like this texture very much. This technique is called inking yupo.

A palette knife abstract.

A fade effect done two ways.

A ring effect with a blowdryer.

A foam brush gradient.

A drippy ink technique.

Using isopropyl alcohol to create texture.

A textured gradient with plastic wrap.

From: https://www.artresin.com/blogs/artresin/easy-alcohol-ink-on-yupo-techniques

This website inking yupo seven different techniques, I will start trying these techniques.

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I tried to use photo etching to print out childhood photos of this character. But I think the clarity is not very good and the background is a bit blurry.

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I found many examples of old photos and tried to imitate the feel of the old photos using different colors and textures. These are the results I've tried.

After today's group tutorial, everyone including myself agreed that the first picture has the best effect, and the highlight colors also add a lot of dreaminess to the whole picture. The incompleteness around the picture also makes the whole picture look like fragments of memories.

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In order to learn from Elly's creative method, I also made a shelf myself to create a diorama.

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No matter how you put it, it doesn’t look good, and it doesn’t have a strong sense of narrative.

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Because the size of the printed work should not be too small (because the content of the picture will not be clear if it is too small), I decided to limit all the photos in the album to the same size. The prints are then sandwiched between two pieces of paper rather than simply glued to a blank piece of paper.

But this means that I need to re-make some printing plates and re-print some pictures. But it's okay, so I can redesign some picture details based on my current experience to make it look better.

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https://www.flickr.com/photos/bastiank/page8

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Simulates the feeling of the brain leaving the dream state.

Turning these tracing paper pages can leave a some reaction time for the audience to think about what is going on in this story.

I think this page-turning action will also make audience get into my story, also these pages make sure that they will not to see the fellow page’s content at once when they turn the pages.