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Laura Owens has influenced my contextual choices within my work as her art encourages the idea of pushing a mediums limit. Through breaking historical tradition painting norms of visual representation. Owens is an expressionist painter who deploys paint with exhilarating freedom, with no visual guide into the way she paints, only emotional stimulation. Early in her career, Owens realised she was interested in paintings about painting- delving into the idea of emotion and feeling being a guide into a new kind of representation within art. In particular I studied ’12 Paintings’ (2016) which present to us a wide range of ways Laura Owens took the idea of painting to a new level.

In this exhibition, Owens creates large-scaled paintings so captivating the viewer is overloaded with information, giving us a pause to visually understand the pieces as some abstract forms and shapes have never naturally been seen paired with textures and bright colours. Which then herds us back to pictures for a second look at unique blend of digital and analogue imaging and printing technologies which seem more gridded and more thought out, depicting the awareness of the importance of women artists and the struggles they have experienced in an ad like form. The combination of smaller details with contextual meanings and rougher, less thought out expressions is really interesting, as the expressions can be related to ‘child-like’ art, I like the controversy against historical standards, but it also shines a light on new idea in art, which creates a personal conversation with the viewer and their inner self, coming to an understanding within one’s self.

Owens work becomes self-reflective, leaving the viewer to work out the links between subtle representation through print and deep expressions of paint, whether it be an impasto or playful combination of smooth and textured paint, with no natural shapes or recognisable icons- only vast, emotion driven mark makings.

In the artist’s work I really liked how there was a lack of detailed visual representation, there was nothing visual I could connect to a realistic object or place, however I could relate and resonate with shapes, movements, and colours displayed throughout the 12 paintings, for the reason that in my mind I associated them to emotion, feeling and the knowledge of my very existence.  Laura Owens paintings captivated my attention, making me feel almost existential. From this idea of ‘existentialism’, I wanted to create my own abstract expressionism paintings, using similar expressionism techniques to Laura Owens, spreading the consciousness of being self-aware, feeling existential and making art become more of a personal connection rather than an exact, visual realistic representation.

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Influence of Philosophy. Existentialism & Structuralism.

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Influence of Philosophy. Existentialism & Structuralism.

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Existentialism is the philosophical belief that we are each responsible for creating purpose or meaning in our own lives. I was influenced by this philosophical idea, as I want to encourage this act of thinking within my art project by encouraging and celebrating individual experience. I want individuals to take what resonates with themselves and understand my art through their own will with no influence, connecting and understanding their inner self. Having a moment where they become more self-aware. I thought the best way to create this existential feeling was to overload a viewer/ audience with visual information, creating my own artistic language using abstract expressions, shapes and patterns while also experimenting with the idea of textures, hues alongside bright and bold colours.

Existentialism encourages myself as an artist to ‘just do’, not to aim for perfection and see what happens when I become more free with my paintings, it can be interesting to see what happens when I paint in a free, relaxed state. It’s almost like I am painting the inside of my own mind, where others can understand my visual language rather than spoken word. Like PaintsV, I can indulge myself into my own child-like mind. With untainted expressions I can create visual eco systems of my mind without a fear of judgement, its a way of pure self expression captured on canvas.

Opposite to the natural thought processes of existentialists, Structuralism is a method of interpretation and analysis of aspects of human behaviour, like culture, literature and society. Its reflecting back on why we do the things the way we do in regard to social construct ideas like our role in society, what makes us happy, what gives us the motivation to live. Structuralism attempts to analyse world as a production of ideas. This concept effected the process of how I made my work as I had to think to myself ‘’Am I choosing this colour because I've been taught that this is right? Am I choosing this shape because I've seen it before?’’, I needed to focus on freeing myself from previous things I have been taught about painting, to create authentic expressions- forcing myself to steer away from the idea of perfection.

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PaintsV is a 22 year old, Vietnamese/ Indonesian born, Australian raised abstract expressionist painter, who explores the child like discovery of colour. The chaotic blend of different paints is almost alike to the way a child would experiment with new colours by addressing their ‘blank canvas’ with very random yet intentional displays of lines and strokes  to produce a colourful mess. In this sense, her work focuses on original expression of creativity; where we, as children first created incidental abstract pieces that would pass for scribbles or pure nonsense.

Through a variety of mediums- acrylic paint, moulding paste, spray paint, crayon and pencil, V creates work that arouses a playful and energetic sense of organised disorder. Where one would have to look at the piece as a whole to understand the smaller parts of the bigger picture. Ultimately, PaintsV’s work is an expression of her inner child as painting has become a way to her to return to a place of innocence and relentless creativity.

Aside from being an artist, she also studies psychology and philosophy, so through her studies she applied this to her ‘language of colour’, creating a beautiful visual language which arose from learning to be in a flow state and suspending from the idea of perfection. By creating these colourful, large abstract murals with a lack of planning or arrangement the artists almost visually creates spiritual auras which intertwines within itself, in regards to the expressions she has painted. Every wavy line or circle is a smaller piece of the bigger picture, it’s all about the beauty in simplicity. Each painting is simply existing for itself, expressing emotion, and feeling through movement colour and texture- not trying to mirror or represent anything in the real physical world.

The artist states that, ‘’these pieces are a window to my soul’, which tells us that each painting is her expressing herself through mark making, reacting to the world she lives in, giving us an insight on her idea of ‘relentless creativity’, her selective colour choices within each canvas are mirrored through the name of each piece, for example ‘Botanical Hardware’ (2023), consists of wavy paint strokes in colours that remind me of nature, green hues paired with blues and browns, with splashes of dark reds and rosy pinks. Colours that depict an abstract garden, however these paint strokes are separated with negative spaces and deliberately cut off edges, insinuating a cubistic, futuristic style.

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Since ancient times, people have believed that colour has profound effects on the mind and body. The Egyptians, for example, thought that certain colours could be used to treat health problems. They painted therapy rooms orange to lessen fatigue, purple to improve the skin, and blue to relieve pain. Colour psychology is the study of how certain colours impact human behaviour. Different colours have different psychological effects, meanings and connotations, this idea can vary from culture to culture throughout the history of art and fashion, however its heavily used in the marketing industry today.

Blue hues can be associated with emotions such as sadness, peace, and harmony, creating a calming aura to a painting which could cause changes to an overall painting. The use of the colour red can have connotations to excitement, energy and passion, however opposite to this, the colour can also represent aggression, danger, fire, blood, war and violence. Red is linked to all things intense, which can be relayed when included in a piece. Within my work I kept a pink- magenta- purple theme because I’m naturally drawn to these shades of colours, I needed to embrace what colours and patterns I’m attracted to naturally to develop my own type of artistic language and personal style. Alongside other selected colours throughout my paintings, to create auras and visual representations of what is inside of my mind. Pink is a playful, and nostalgic colour that takes people back to their childhoods. That said, pink is a colour of opposites since it can make us think of both innocence and burning passion. Bright and hot pinks are associated with love, romance, and even lust. Whereas purple signifies the idea of spirituality and higher beings such as royalty. Yellow signifies joy, happiness, optimism, idealism, and imagination, which all encourage positive energy, lifting a paintings aura.

In my own work, I thought about how different colours different effects to a viewer may experience as I want to encourage individual internal experiences based off emotional reaction. When combining the idea of free painting, indulging into my child-like mind, rejecting historic norms it sparks a new idea of paintings becoming more personally connected with an audience. As the colours and patterns are not seen in the natural world, it takes a moment for a viewer to make sense of it because of the overload of visual information. I want the viewer to take what shapes and shades resonate with them, to then link and contextualise them based of their own personal life experiences.

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Experimenting with Texture and the 3D; Filler, Mod rock & Vac Forming 

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Experimenting with Texture and the 3D; Filler, Mod rock & Vac Forming 

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Thinking about the idea of movement within my work I wanted to develop the 2D shapes made from acrylic paint into 3D impressions, to explore the avenue of depth and texture. I took inspiration from finding movement found within my still, 2D paintings and thought of ways I can express the perception of movement further.

Firstly, I experimented with mixing filler and acrylic paint to see if it would thicken or change the texture of the paint itself, creating a whirl pool effect on a rounded MDF board, which created a portal made from paint which transports the viewer into a self-aware state -leaving them staring at something that doesn’t traditionally make sense, as it doesn’t visually represent something found in the natural world. After finding out that filler wasn’t the look I was aiming for because it wasn’t strong enough to form the taller peaks that I envisioned. From this experimentation I used mod rock to create a stronger foundation for a wavy 3D texture on top of an existing canvas, making the surface of the piece raised and deepened in a rippled manner to create the concept of movement in a still image.

After creating a rippled 3D sculpture from mod rock, I sanded the surface to create a sleeker finish, however I still wasn’t happy with the final result. This is when I thought Vac Forming would be the process that work best, so I drilled holes in the shallowest areas so that air could go through, ready for the Vac Forming process. By using glossy white plastic to wrap around the mould I have created, I then created 8 of the same white tile like moulds.

I chose to use a white gloss finish on the tiles so that light can be reflected and accentuated against the taller peaks of the waves, opposite to this, shadows will be casted in the shallower areas- presenting us a new way of perceiving the awareness of movement in a still image. While also experimenting with new techniques and processes, widening my project research. The lack of colour is also used while creating these tiles, whereas in my paintings I rely heavily on colour. I think that the subjects of shape and texture need to have their own show, sticking to themes of the unnatural, the feeling of being Existential and having an outer body, mindful experience.

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In my first crit, this was the first time I thought about presenting the work in I have created in my project so far in a professional manner. I selectively chose 3 different styles and processes I was working on at the time, which included 1 hung vac formed tile, hung with string and 2 circular paintings showing different kinds of techniques that create the existential feeling I’m trying to physicalise using abstract expressionist techniques.

One being a circular impasto painting, made with an acrylic paint and filler mixture, causing the paint to come off of the MDF board creating texture. Keeping to the purple-magenta theme across my paintings however accented with yellows and blues. I used my hands to push the mixture around the MDF, creating a hypnotising portal on the wall, demanding attention from the viewer.

The other orbital painting on the other side of the vas formed tile presents a busier composition, overloaded with shape, pattern, and colour filled with abstract expressions and shapes. I have kept a purple/magenta running theme throughout my paintings to create my own visual language, as I like to include personal connections to each of my paintings, almost as if I’m having a conversation with each viewer without using spoken word. This main purple theme is experimented with a range of other colours and shapes, which all generate different visual effects as when different colours are in placed together it can create different feelings and auras.

I then collected feedback forms from my peers where they told me their reaction and response to my work and what other reference points could be related to my practice. Which were things like describing my work as psychedelic and microscopic, it was noted across everyone the consciousness of bright colours being used throughout all of my paintings, which may be one of the main reasons why my work could be understood as psychedelic. It was also said that looking at my work makes them feel relaxed and that it portrays a sense of freedom.

From this feedback, I take into consideration what colours are being used to each painting, understanding that when heavy use of colour is used, each one has an effect on the eyes that look upon it. However, overall I was happy with the reactions from my peers.

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Silk Screen Printing; 'Windows to the Soul'.

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Silk Screen Printing; 'Windows to the Soul'.

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To develop my skills within my practice and to experiment with different processes, I explored with the technique screen printing. I wanted to include the idea of self-portraiture in my work as the work I have created is almost an extension of myself, in a way I want to portray myself in my artwork, so you know it’s a Sophia-Loren piece- stemming from the idea of auto theory from my second year of studies. I made a range of screen-prints from a self-portrait I drew of own eyes, titled ‘Blue Eyes’ (2022) while under the influence of marijuana, something which is socially controversial. The theme of controversy within my artwork interests me as it makes me stand out against other artist stories, it creates a sense of shock to the audience much like how other artists create controversial nudity images.

I created prints in different shades of blue, varying on the number of layers in each print, some images having more depth whereas others can appear lighter because less layers are applied. My plan with these prints is to create a glitched image of my eyes with different shades of blue, representing the colour of my own eyes as well as the colour phycological effects. The colour blue represents both the sky and the sea which correlated with open spaces and a sense of freedom. Imagination, inspiration, and sensitivity.

I wanted to make the glitched effect of my eyes to visually create the idea of swarmed thoughts therefore creating a busy mind, so I wanted to visually create a clouded soul. Linking to the influence of philosophy. I’ve been listening to David Nichturn podcasts on enlightenment, where he speaks about how to accept these infinite swarm of thoughts where they come and go. Understanding that you’re not as connected to each one as you may think. Using sense perception to arrive back to the present world around us to become acquainted with the environment and situations that surround us. This presents to us the idea of non-essentialism, accepting things for the reality of what they are rather than a clouded judgment from a flooded mind. This is fundamentally non-essentialism.

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In my second crit I took into consideration of the feedback from my first one; the bright colours used in unison on each painting and the idea of movement in a still image. In my second crit, people were mostly interested in the relation between the white vac-forms and the colour explosion on my paintings so I wanted to experiment further what I could do with the white shiny tiles, in which for this crit I decided to make a patterned background for my paintings to go onto, giving them a backdrop which lacks colour to show that I could create the same self-conscious feeling in different ways. In one form someone states, ‘’it makes me think of inner expression, which may be related to the natural world’’, which is exactly the point I am trying to achieve.

I decided to ‘loosely’ place each painting on the tiles, meaning there is not in a repetitive pattern as my throughout my practice, my artwork displays no order and no rules. It creates an uneasy feeling as it feels as if they shouldn’t be displayed in this way, throughout my art there are themes of rejecting historical art ‘rules’, such as detailed representation or expectation of the display of the artwork, which were set by the most talented artists in history which we were thought previously, rules future artists had to follow. My work is described as ‘eye catching’ and ‘chaotic’, which is another thing I was purposely trying to achieve by having mark makings and colours which done accurately represent anything in the natural world, its all about the artwork and the experiencer having a self-aware visual conversation, the artwork speaks for itself.

Some feedback that I thought was interesting where could develop my practice and knowledge of different processes further is to include the use of digital art as well as physical painting and sculpture. Instead of using the white tiles as a backdrop for the paintings I could use this as a projection backdrop which could make the image being projected appear distorted as the textured surface is covered in high and low curved edges. To expand on this idea, I want to include the use of self-portraiture in my work because I want to add personal topics within my artwork, to create a space presenting what goes on inside my mind, which other groups of people can resonate and relate to.

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During term I visited an artist talk held by Hugo Worthy where he spoke about how to fund yourself as an artist after leaving university and how I could carry on the momentum of making artwork and eventually make money while doing it.

Firstly, Hugo was talking about primary and secondary sales; primary sales is where an artwork id being sold for the first time, much like what I am doing currently, I come up with a price and I get the full amount which it is being sold for. A secondary sale is where an art piece is being re-sold or being sold in an auction house, and because of this the artist will only get a percentage of the money that is earned through the sale.

Following this discussion Hugo began saying that it is worth to create relationships with local galleries and gallery spaces in bigger cities to get my name out there. Art fairs in places like London and Manchester are also a good wat to find my own bearings in the art world, talk to people and gain connections. From this I thought of easy, cheap marketing ways I could get my own name in places- Instagram, TikTok and an Etsy is a great way to start this. From making an Esty store, I could then begin thinking about other things I could sell from my artwork which would be merchandise such as socks, tote bags and t-shirts, and build the ‘Sophia-Loren Smart’ brand.

Lastly, Hugo Worthy then told us about different art funding charities who help fund artists into starting their own projects. Arts Council England and Grants for the Arts are good charities to get a jump start into funding research projects, which are used for art installations and public displays.

What I took from this artist talk is different ways I can carry on setting my artwork up as a business, by creating social media accounts to place myself in the real working world and growing my audience so that more people know the name Sophia-Loren Smart.

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Gallery Visits; Nottingham Contemporary & Local Galleries 

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Gallery Visits; Nottingham Contemporary & Local Galleries 

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During term time myself and a group of friends on the course travelled to Nottingham for the day where we attended smaller galleries to see art made from people our own age to see what other artists of our generation were creating. We also went to Nottingham contemporary where we saw a range of different contemporary art ranging from installation, laser projection and paintings.

Mostly from our generation, they create portraits and/or self-portraits displaying different emotions which were mostly sadness and anger. As it has become so easy for young people to connect with each other globally through the development of social media, technology and increasing accessibility to a larger pull of influence from the ‘Hollywood’ lifestyle. This is shown from the celebrities who make this content which is ploughed through social media. Making it unavoidable to be influenced by as its so ingrained in modern days society, raising social expectations and pressures. In recent years the worlds politics has become harsh and scary, stressing the working peoples everyday lives. Artists visually represent the environment that surrounds them, therefore creating depressing art.

Abstract art is also a running theme throughout both the local art galleries and Nottingham contemporary as Abstract Art is a very key shift in today’s arts history. The real world is so negative people have turn into representing their inner self rather than the physical world we live in.

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To develop my silk-screen prints further, using ClipChamp, I have created a short video based on ‘Blue Eyes’, a self-portrait. Switching between clear and distorted versions to illustrate the notion of swarmed thoughts leading to a clouded mind. I decided to use self-portraiture in my work to add personal touches to my artwork, making it an extension of myself to an extent- welcoming people into my mind.

Non-essentialism was a heavy influence in the thought process throughout the making of this piece. This is the philosophical idea that there is a disbelief in an essence of any given thing or impression given outside of the reality of human sense perception; like being heavily influenced by emotion, drowning in thought. So much of our suffering arises from believing our thoughts, perceptions, and feelings to be accurate reflections of the world and ourselves. I edited the video to give the impression of my vison becoming misted by infinite thought and not in touch with physical reality, but then always returning to its original, cleared state.

This sequence is on a continuous loop displaying all the varied layers of the prints, mainly displaying a collaged piece of the image standing together in unison to display a clear image- some being heavy in depth and others lighter in tone.
Link to video: https://clipchamp.com/watch/vVbXbR52Itj

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Influence of 'The Midnight Gospel'. (Dan Trussel Family Hour' Podcast)

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Influence of 'The Midnight Gospel'. (Dan Trussel Family Hour' Podcast)

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Another influence on my work is the show ‘The Midnight Gospel’, an American adult animated series on Netflix which sets actual podcast conversations from, ‘Dan Trussel Family Hour’ in an animated format. Interviews between Trussell and various guests and their animated characters go on fantastic adventures, typically telling a story alongside the real podcast audio through the environment and extra voice work by Trussell and the guests of the original podcast. Each episode revolves around Clancy's travels through planets within the simulator, with the beings inhabiting these worlds as the guests he interviews for his spacecast. These interviews cover topics such as magic, meditation, forgiveness, spiritualism, funerary rituals, death positivity, drug use, pain, moshka (transcendence) and existentialism. In this show there is a deeper discussion about the miracle of life, the suffering that existence brings to human life, and the detestable pain that death brings with it. It shines a light on matters such birth, death, rebirth, transfiguration. Death especially, though this provides for some of the series' most peaceful sequences.

I took inspiration from this show and enjoyed watching as it shines a light on real world problems, giving the listener different views and insights of human behaviour from people who we wouldn’t normally hear from, like Buddhist teacher and Philosopher David Nicturn, who I particularly like to listen to. Giving us an understanding on human life and ways to cope with it.

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Thinking about how different surfaces could effect the paint I used, I decided to think about the different materials I use as a base canvas. I decided to widen my experience in the different workshops by exploring the use of metal as a canvas to paint on.

In the metal workshop I cut out 3 smaller circular shaped out of aluminium metal using  a metal cutter, I then sanded the edges to blunt them and polished each surface ready for painting. By using metal as the base canvas this could have different effects on the paint, making them brighter as there is so material for the paint to seep into.

In the wood workshop I cut larger circles in 2 different sizes to use as a canvas also, so when al these paintings are placed together they all have similarities and differences, much like people and the way we all think. Relating back to my philosophical influences.

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Over the period of third year I have made some entrepreneurial activity by painting murals across the UK for Olivia’s Townhouse, selling my paintings and doing commissioned pieces.

During the Halloween period, myself and another classmate were asked to paint Halloween murals outside of two Olivia's Townhouse locations, one in Leicester and one in Sheffield. It took us 3 days in total to complete both murals and were paid for doing so. From this I learnt about pricing my work and time in the correct manner so I could have enough money for both equipment and payment of my own time as well as working time. I also gained another connection for my work as well as having my name on display for people to see in two cities.

I have also sold a painting and a drawing this year which I was also paid for doing so to cover all costs, this has also given me the opportunity to gain customers and have my name known in other parts of the UK. From this I discovered the importance of customer service, wrapping up and mailing my artwork to ensure the safety of the work and a happy customer.

By doing these things I have advertised and sold my work in which I plan to carry on doing so in the future.

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Exhibitions; Spring Open Call & One Word Exhibition

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Exhibitions; Spring Open Call & One Word Exhibition

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Throughout final year I have been a part of an exhibition and had my work up on display at the Student Union.

I have been a part of the ‘One Word’ Exhibition, where a group of strangers nominate their favourite word and explain why. The word I chose was ‘Existential’, I chose this word because this feeling gives me some comfort in believing that there is something beyond the physical world, choosing this word relates a lot to my own practice, as it is something that heavily interests me and effects the way I think and act towards others. Within the display, the original handwriting of all the artists were on the walls, creating personal connections to the exhibition as a whole as everyone involved has their inner thoughts are displayed for groups to see.

My work was also displayed at the Student Union with the DMU Fine Art Society, I chose to display one of my circular pieces which display the most technical development throughout my practice. Combining the themes of abstract self-expressions, selected bright colours, and the use of negative space, cutting off the mark makings in certain areas. It creates a visualisation of my thoughts, cut off and split in some areas and some being bold and bright in colour.

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https://open.spotify.com/track/4sed0oB8YCo1WECMW6E4c8?si=MXutvIh4RHugWdLeQgHMSA

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5 Acrylic on MDF, 1 Acrylic on metal, 3 have motors attached making them spin 

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'Blue Eyes' projected onto Vacuum Formed Tiles 

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In my work, I explore the emotional link between visual art and philosophic lines of thought. I have developed a personal visual language which arose from being in a flow state and suspending from the idea of perfection. Through painting I have created circular spiritual auras that do not visually depict a figurative representation of anything in the physical natural world. These paintings enforce inward thinking, representing the inner self, creating an out-of-body, mindful experience.

Throughout my paintings I heavily rely on expression through colour and texture, in order to generate emotion and thought within each viewer. When these paintings are placed together in a cog-like manner, it creates a sense of movement, depicting what I describe as the ‘ecosystem of my mind’. Overall, I have created orbital abstract compositions with infinite meanings to encourage unique subjective perceptions based off the experiences, thoughts/ feelings from each individual.

I was heavily influenced by philosophy, specifically existentialism, which is the philosophical belief that we are each responsible for creating purpose or meaning in our own lives. This concept heavily affected the thought process during the production of the work, because my aim was to encourage the act of thinking. Due to the of lack of visual representation it is hard to easily interpret, therefore forcing the viewer to find a personal meaning/ connection to and from each artwork. From this, my artwork itself naturally has a non-verbal conversation with the viewer through human thought and the visual language I have created.
Existentialism encourages myself as an artist to ‘just do’, not to aim for perfection. Indulging myself in finding the balance in the endless capability of a child-like mind representing freedom, imagination, and no restraint.

Opposite to the idea of non-representative art, I have included self-portraiture in my work making my artwork an extension of myself, welcoming people into my mind. Widening my skills and different processes, in particular silk screen printing and digital video. I have created a video piece titled, Windows to the Soul, projected onto textured Vacuum Formed tiles, a flickering image of my eyes switching between a clear print to a jolted, distorted image of ‘my vision’ trying to come back together as one. This illustrates the notion of swarmed thoughts and clouded judgment through my own eyes. Influenced by the discussion of non-essentialism, meditation, and sense perception, I wanted to visually represent the acceptance of infinite thought, the understanding that you are not as connected to each thought as you may think, that you don’t have to grasp and dwell on thoughts as a solution to continue to be alive. Using sense perception to arrive back to the present to acquire information about the world around us to become acquainted with the environment and situations that surround us.

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Teaching application; Personal statement 

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Teaching application; Personal statement 

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I have always been inspired to teach art and design as it was always a favourite subject of mine throughout my school years. I was always fascinated with art because the subject was always a way of self-expression, which always provided me with happiness and comfort. I remember in secondary school my art teachers were always there to support me in times of need, they helped me through tough times throughout my teenage years, with both school and personal problems. I have always looked up to them- they became my life role models. Personally, I have had a hugely positive experience of both primary and secondary education. I am applying to teach secondary education because I feel I have the potential to inspire and encourage children and young teenagers of all abilities to reach their full potential within art. Using what I have learnt throughout university and my own love for the subject, bringing myself the sense of fulfilment knowing I’m helping and shaping young minds every day.

My years at art school, GCSE, A-Level and BA Undergraduate work within Fine Art, paired with my interest of the art world has helped me to build the skills necessary to effectively teach art and design to secondary school years. As a teacher, my goal is to create a learning environment that is conductive to active, engaged learning. I strive to create a safe space for learning and to make the educational experience fun, passing on my knowledge and passion towards art, aiming to inspire children like I was by my own teachers growing up. Personal qualities that I consider to be good teaching skills are confidence and communication, listening, enthusiasm, empathy, and patience. I think these qualities within my own character will transform a classroom into a thriving, learning environment.

My experience with young teenagers has come from being a prime carer of my younger brother who was diagnosed with severe autism at an early age. This has changed his everyday life socially and mentally, heavily within his secondary years. There is a constant change of environments, keeping up with learning and social struggles which he struggles with. As an older sister I have been a pillar in his support circle, being someone he can turn to for advice and help where he may need it. Experiencing this in my personal life will help me understand the different learning challenges amongst students in classroom, as no two people are the same.

Every day is different when teaching, each student has outer influences that may affect their work and behaviour in the classroom. I know it’s my job to encourage and motivate under challenging times. A teacher should be caring, forgiving, fair and compassionate. A main point is to display a personal touch for all student

, showing them that each one of them matters. Recognizing each students wellbeing is extremely important so that they are each able to reach their own potential, learn, and enjoy positive relationships with others and feel a sense of belonging in a classroom environment.

I could contribute outside of the classroom with art clubs and after school catch up sessions for students who may have coursework that needs completing. Some of my happiest memories are from my school years, in after school art sessions with my friends and teachers, listening to music and eating snacks. I wish to carry on bringing happiness and joy into a classroom. I aim to bring an open mind, a positive attitude, and high expectations to the classroom each day.