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Medieval Crime and Punishment - Foxford History. “Medieval Crime and Punishment - Foxford History.” Google.com, 2019, sites.google.com/site/foxfordhistory/home/crime-and-punishment/medieval-crime-and-punishment. Accessed 16 Dec. 2021.

Mobilia Gallery. “Sophie Munns.” Www.mobilia-Gallery.com, www.mobilia-gallery.com/artists/sophie-munns/. Accessed 2 Nov. 2021.

MoMA. “Dance (I).” The Museum of Modern Art, MoMA, 2012, www.moma.org/collection/works/79124. Accessed 4 Nov. 2021.

Murthy, Claire. “Botanical Art : Nuts, Berries and Seeds.” Claire Murthy, 1 Oct. 2021, www.clairemurthy.co.uk/2018/01/botanical-art-nuts-berries-and-seeds.html. Accessed 25 Oct. 2021.

Museum, Victoria and Albert. “John Miller | V&a Explore the Collections.” Victoria and Albert Museum, 2021, collections.vam.ac.uk/search/?q=John%20Miller. Accessed 25 Oct. 2021.

“Natural Forms Artists to Use in the Art Classroom.” The Arty Teacher, 5 June 2021, theartyteacher.com/natural-forms-artists/. Accessed 25 Oct. 2021.

Oneill, Therese. “15 Historic Terms for Crime and Punishment, Defined.” Www.mentalfloss.com, 15 May 2015, www.mentalfloss.com/article/63819/15-historic-terms-crime-and-punishment-defined. Accessed 16 Dec. 2021.

Sethi, Simran. “Sophie Munns: At Soil Level.” Guernica, 2 May 2016, www.guernicamag.com/at-soil-level/. Accessed 25 Oct. 2021.

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“‘Sahara Circle’, Richard Long, 1988.” Tate, www.tate.org.uk/art/artworks/long-sahara-circle-t12036. Accessed 2 Nov. 2021.

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Andrews, Max. “David Bestué’s Ode to Preservation and Decay.” Frieze, 12 May 2021, www.frieze.com/article/david-bestue-centre-d-art-panera-2021-review. Accessed 1 Nov. 2021.

Britannica. “Eye for an Eye | Law.” Encyclopædia Britannica, 2019, www.britannica.com/topic/eye-for-an-eye-law. Accessed 16 Dec. 2021.

Crockett, Molly. “The Trolley Problem: Would You Kill One Person to Save Many Others?” The Guardian, The Guardian, 14 Feb. 2018, www.theguardian.com/science/head-quarters/2016/dec/12/the-trolley-problem-would-you-kill-one-person-to-save-many-others. Accessed 16 Dec. 2021.

Dr. Beth Harris, and Dr. Steven Zucker. “A-Level: Henri Matisse, Dance I – Smarthistory.” Smarthistory.org, 26 July 2017, smarthistory.org/matisse-dance-i-2/. Accessed 4 Nov. 2021.

Hacker-Wright, John. “Philippa Foot (Stanford Encyclopedia of Philosophy).” Stanford.edu, 17 Aug. 2018, plato.stanford.edu/entries/philippa-foot/. Accessed 16 Dec. 2021.

Harper, Lizzie. “Botanical Illustration Archives.” Lizzie Harper, 2021, lizzieharper.co.uk/gallery/botanical-illustration/. Accessed 25 Oct. 2021.

Hromas, Jessica. “Getting Physical: Body Architect, Designer and Science Fiction Artist Lucy McRae.” The Guardian, 31 Aug. 2019, www.theguardian.com/artanddesign/gallery/2019/sep/01/getting-physical-body-architect-designer-and-science-fiction-artist-lucy-mcrae. Accessed 20 Nov. 2021.

La Panera. “David Bestué. Pastoral.” La Panera, www.lapanera.cat/ca/programacio/exposicions/david-bestue-pastoral. Accessed 2 Nov. 2021.

Levenson, Joey. “We Talk to Atelier Éditions about Its New Illustrated Catalog of American Fruits & Nuts.” Itsnicethat.com, 3 Aug. 2021, www.itsnicethat.com/articles/atelier-editions-illustrated-catalog-of-american-fruits--nuts-publication-020821. Accessed 2 Nov. 2021.

Magritte, Rene. “The Therapist, 1937 by Rene Magritte.” Www.renemagritte.org, www.renemagritte.org/the-therapist.jsp. Accessed 20 Nov. 2021.

MAMcIntosh. “Disfigurement, Authority and the Law in Early Medieval Europe.” Brewminate, 13 Dec. 2017, brewminate.com/disfigurement-authority-and-the-law-in-early-medieval-europe/. Accessed 16 Dec. 2021.

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I am really happy with how my tarot cards turned out. Although the process of editing them to look like cards was relatively simple, it makes my drawings look more polished and believable as part of an imagined tarot deck. I am glad I was able to continue putting the symbol of my spiky 3D spheres into my work, which I have altered to look like a barbed wire type material.

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I used red pen around the edges of the black gaps in both of my final two drawings, but unfortunately this cannot be seen clearly enough in the photos. 

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My final cards show two different punishments for adultery, with the silver spikes highlighting the gaps where the nose and ear have been removed. 

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I am really happy with how this face turned out, as I think it looks the most realistic. It shows the letter ‘F’ branded on the cheek, which stands for felon. 

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In this drawing I wanted to make a stronger visual link to the crime, in this case, murder. This shows a brand of the letter 'M' on the thumb, which is principally where brands were placed. They were moved at one stage to the cheek, which I have shown in my next drawing.

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A severe punishment for slander was to have your tongue cut out - this was another one that I didn’t want to make too graphic, so I decided to draw it as a clean cut. 

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This drawing shows hands being cut off as a punishment for theft. I chose to show two hands connected by the spiky lines as I thought it would look more similar to a tarot design, and it continues the theme of the spikes linking my pieces together. 

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A punishment for stealing from the church was blinding; I decided I didn’t want to make my artworks too gory as that was something I have already explored in the past, so I chose to either just have gaps, or to find another way to portray the punishment without drawing every detail. 

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Initially I titled both of my first two cards ‘The Blind’, then I realised that one of my next ones also depicted a blinded person, so I named these two ‘The Equal’ to refer back to the idea of justice and equality theoretically brought by the principle of ‘an eye for an eye’.

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After photographing all my drawings individually, I edited them so that they were all a similar brightness and saturation, then edited them on my laptop to look like tarot cards. I numbered them using roman numerals in chronological order, and gave each drawing a title referring to the crime which is punished by the methods shown in my drawings.

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Final pair of tarot cards after applying black and silver ink.

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Photograph of my next pair of tarot cards after adding inks, representing The Slanderer and The Murderer.

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Sketches of the final two faces for my tarot cards. These figures have had an ear and nose removed, which were both punishments for adultery.

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Drawing after adding black ink. As my work progressed and I did more drawings using the sharpened wooden dowel and two different brands of black ink, I learnt more about how I can create different tones and how to vary the level of shading by making different marks. 

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Finished pencil sketch before adding ink 

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I used a combination of mechanical pencils and regular pencils for my initial sketches.

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Beginning sketch for another drawing - this one is based on the punishment for slander: having your tongue cut out. 

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Finished drawings of the next two tarot cards. I decided to stick with a very simple colour palette as this reflects the more traditional style of the artworks on tarot cards. 

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Photo showing how I begin the process of inking my drawings with my sharpened stick.

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Image of ten cards from the suit of swords - from https://thelilystonequarry.com/839-2/ 

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Initially I had no idea where to begin in my response to this workshop. I had bought cocktail sticks, lollipop sticks and some balls of wool, so I started by trying some different ways of joining the cocktail sticks together using different knots. I quickly realised that using one piece of wool and wrapping it around the cocktail sticks until the circle is complete is a lot easier and more stable than using little individual pieces of wool. I experimented with creating other circular shapes using wire and wool, which I recorded photos of, but in the end I returned to my initial idea of using cocktail sticks, as I thought this was the strongest idea to take forward.

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We set out to walk following a circular route, taking photos, recording conversations and producing drawings and graphite rubbings of things we found along the way. Although our route did not end up being very circular as we took a detour to go into the Ikon gallery and then had to cut back because we ran out of time, it was a good way to research the circle theme and gather inspiration to take into the project.

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Reflection on my 'An eye for an eye' piece 

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Reflection on my 'An eye for an eye' piece 

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My last piece reminded me of a tarot card, because of the style of drawing and also the content of the image. Tarot cards were invented in the 1430s in Italy; a full deck contains 78 cards which includes 22 cards (called the Major Arcana), that are separate from the four suits – these are considered to be the core of the tarot deck. One of these cards is Justice, which I think best fits my own drawing. The idea of ‘an eye for an eye’ is found in the Qur’an and the Bible, as a way to seek justice for a wrongdoing. I think that the equality suggested by this phrase reflects the balance and imperfect symmetry in my artwork. Going forward, I think using the key cards in the tarot deck and combining them with some of the punishments I researched earlier will provide me with further inspiration for my project. I aim to produce my own miniature series of tarot card-inspired drawings, all linking to the shape of my original spiky cocktail stick circles and spheres.

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I decided to use ink to do this drawing. To apply the ink, I used one of the sharpened wooden dowels that I had left over from when I created my larger 3D sphere, as I thought it would create more gestural, rougher marks that a paintbrush or pen would. 

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Theft – hand cut off

Slander – tongue cut out

Adultery – cutting off or slitting of the nose and/or cutting off ears

Stealing from the church – blinding

Fraud – shaving hair and beard (early Islamic Egypt)

Kneecapping – often a torture method, usually with a shotgun – was common during the Troubles in Northern Ireland

Branding – a letter on the thumb for your crime – t for theft, m for murder and f for felon. For eight years until 1707 the branding was moved to the cheek, but was returned to the thumb as it made criminals unemployable and therefore more likely to reoffend [Oneill, T. Mentalfloss, 2015].

“An eye for an eye” – a concept found in Babylonian, Biblical, Islamic and Roman law

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Impalement has been used as a method of torture throughout history, principally during wars, but also as a punishment for robbery and treason, and as a method of capital punishment. My intention was to research whether different areas of the body had different meanings in the context of punishment, but I couldn’t find enough information relating specifically to impalement (which would relate more visually to my spiky sphere shapes), so I expanded my search to other ancient punishments relating to different parts of the body. Below is a list of these, from Medieval laws in England, Byzantine laws, and the laws of King Cnut. I also looked into corporal punishment in schools, as I think this is particularly shocking as it is a lot more recent, and was widely used on children in schools; corporal punishment was outlawed in all state schools in 1986, and the prohibition extended to private schools in 1998.

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The Trolley Problem was said to have first been introduced by Philippa Foot (born 1920), in 1967 [Crockett, M. The Guardian, 2018]. A trolley is heading towards five workers who will be killed if the trolley continues down that track. The trolley can be diverted onto a different track where there is only one worker. This thought experiment asks whether you would divert the trolley and kill one worker in order to save five, or whether actively killing a person is morally wrong regardless of the consequences. The utilitarian response would always be to choose whichever outcome provides the greatest outcome for the greatest number of people, however, there are multiple variations of the trolley problem which make it more difficult. What if the one worker was a member of your family, or what if you had to physically push that person in front of the trolley? Changing the age of the people on the tracks might also change our perspective – what if the five workers were all old and nearing the end of their life, and the single person was a young child?

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I have to decide whether I want to continue with my project by recreating my spheres using different materials, or alter the context.

It could be a good idea to move away from focussing on drawing myself if I don’t want to link the sphere shapes with myself moving forward.

I feel that I can’t push my work forwards by just focussing entirely on producing more 3D work, so I think I should look into the connotations and effects of the spiky appearance of the spheres, and how this changes when you vary the size, and where and onto whom you place them.

For example, if a large sphere was placed over a baby, this would be a lot more unsettling than a small one covering an adult’s hand. This could be a way to explore the different impressions I can make with my sphere shape.

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I ended up recording a video of me moving a torch behind the piece of card, as I thought the ‘energy’ effect would be enhanced by a moving light.

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Following a suggestion that I could add light back into my work and revisit what I learnt in the Amy Friend workshop, I thought this could help to convey the concept that the spheres represent a certain type of energy. I produced another ink drawing of a baby on a piece of thicker card (on a slightly larger scale this time) and pierced holes where the sticks connect in the sphere, with the intention of shining a light from behind. 

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When thinking of how a sphere can be applied to a young child, I decided that limiting a child’s ability to explore and grow would be the most damaging. To illustrate this, I drew the sphere covering most of their body and the area in front of them, with lots of spikes around the hands.

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For this drawing I decided to focus on the medical profession, so I drew a small sphere around the man’s hand to show the power and responsibility he has to help people. It also represents how losing or injuring his hands could seriously reduce his ability to do his job well.

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These figures are based on two of the drawings I did of people in Grand Central; I assumed the boy is the woman’s son. As the woman was on the phone, I drew a sphere mainly behind her and just connecting with her leg, to imply there might be an emergency which is why she’s on the phone. I then created the narrative that this may be distracting her from noticing that her son is in need of more urgent attention. 

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Here, the sphere highlights the responsibility police officers have, and the potential danger of the weapon if misused. 

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In this piece, I have used multiple spheres to show the ailments that can limit the movement and independence of the elderly, for example, instability leading to needing to use a walking stick. 

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In this drawing, the sphere represents the lack of shelter that people without homes have to live with, and symbolises the danger that come with sleeping on the streets.

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In response to my tutorial, I decided to produce a series of ink drawings with my sphere shapes placed in different positions on each person. I had a different narrative in mind for each person as I was sketching the spheres; they either relate to a certain key part of the person that is essential for them to do their job, or it represents an ailment or limitation. In all of the drawings, the spheres convey a threatening energy. 

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This is one of my favourite pieces of work by Amy Friend as I like the simplicity of concentrating the energy created by the lights in mainly one area. I sought to capture the same effect of the lights bobbing in the water in my own version.

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Inspired by the music video for “Misfit” by the Bumblebeez, I decided to record myself walking from Margaret Street to Chamberlain Square with my wooden sphere placed over my head. The whole video is 2 minutes and 16 seconds, so I sped it up. My intention was to capture people’s reactions, but unfortunately it was a cold and windy day so it wasn’t as busy as it usually is, so we didn’t record any clear surprised reactions from people. Despite this, this activity was a way of investigating how the sphere fits around a person as they move; I found it was difficult to keep the sphere around my head as it slipped down to my shoulders. 

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This is Paul’s shadow photograph demonstrating a different way to combine my cluster of spheres with the human body. 

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On Monday, I helped to set up G.04 for the Night School exhibition on Tuesday. This is the first time I have been part of preparing for a show, and it involved moving furniture, deciding how to lay out some of the outcomes from the Drawing with Sound workshop, and making signs to direct people to the Foundation studios.

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To start this project, I took photos of circular things in my bedroom and outside around my accomodaation. This made me realise that there are circles everywhere, some of which I had never noticed before.

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Following on from my observational drawings in Grand Central, I decided to produce more detailed drawings of figures. The two people in the top left are based on two of my previous drawings, and the others are to show some different types of people, varied in their profession or age for example. I used black ink and one of my sharpened wooden dowels that I had left over from creating my 3D sphere to create these drawings.

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In this music video, the figure notices certain objects and creates wearable costumes that reflect their textures or shapes. This links to my spheres, particularly the larger one I created as that is wearable, and has made me want to see how people would react if I wore my sphere outside, as the reactions of the people in the video are what make it so interesting and fun to watch.

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Observational drawing in Grand Central - black 1.5 pen  

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Observational drawing in Grand Central - grey brush pen 

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Observational drawing in Grand Central - pencil 

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Drawing people from observation in Grand Central station - I found this quite challenging as the people were moving very quickly, meaning I often had to leave drawings half-finished or draw the top half of one person on the bottom half of another person who walked past afterwards.

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I used some of my sketchbook pages as backdrops, in order to put my drawings in a new context.

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In this workshop, we learnt about scale, in the context of miniature set designs for the stage. This is something that is out of my comfort zone as I have never done anything like this before, but I took lots of photos, using different lighting and shooting from different angles, and moved quickly from one idea to the next. This activity links to my previous intention to use my 3D spheres to show a variation in scale, so I incorporated this idea into the sets I created during the workshop. 

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Photographs of me interacting with my large sphere, experimenting with different ways to place it over the human body.

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Here is my large-scale sphere on a pedestal, with the lighting set up for the Night School exhibition.

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This is the larger sphere I created out of twenty-four 30cm wooden dowels - it is a lot more sturdy and more dangerous-looking than the smaller ones I made out of cocktail sticks.

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In order to generate some initial ideas connected to the module theme 'Circle' we got into groups and switched between pieces of paper with different subheadings on, writing down any ideas that linked to the categories and to Circle. I found this was a good way to develop ideas, as we often had to think outside the box to come up with ideas that no one else had thought of yet.

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For this piece I wanted to reflect the dangerous aspect of my crafted spheres, so I combined them with a self portrait to produce this. The idea came from debating how I could attach my spheres to someone’s head without stabbing them, and from the symbolic use of birdcages in surrealist art, particularly Mick Ryan’s image of birds on the outside of a cage trying to get in, as it looks like the birds are attempting to peck and scratch the girl’s head inside the cage. I wanted to create a neutral expression to contrast with the gory wounds surrounding the face; I thought this would be more unsettling than if the face conveyed pain and distress, and I think it suggests that the spheres are metaphorical rather than physically real. 

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Finished pencil drawing before adding paint 

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Using digital tools to decide where to place the spheres on my face

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Roughly sketching where I want the spheres to connect with my face 

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Final outcome after editing the image to look more old and faded 

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For this WMT, we looked at the work of Amy Friend, which centres around bringing old photographs ‘back to life’ by using a pin to pierce the photos and create dots of light. Using Friend’s work as inspiration, I used a pin to alter my own photo of me and my step-sister Poppy, then taped it to the window to capture the light shining through. What I liked the most about Friend’s work was the idea of a trail of energy being left behind by the figures in the photographs, so this is what I tried to replicate. Although it was quite overcast, enough light shone through to achieve the desired effect. 

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I enjoyed the group tutorial as it allowed me to reflect on my work and gain more clarity regarding what I hope to achieve with my work, and what I plan to do next. Sharing ideas with my peers was also mutually beneficial, as we all got to hear insights about our work from other people’s perspectives.

Ideas that came from our discussion :

Looking through the original powerpoint introducing the module could help spark new ideas

I need to explain the conclusions that can be drawn from my work, particularly my spheres (i.e. they are fragile but look strong and dangerous)

I should reflect on how I found the group mind map activity

Bring the uncanny into my work

Draw a face with a hole in it with rows of spiky circles inside

My little sprite creatures look a bit like birds - could link to the surrealist birdcage symbol - make them creepy

A way to push my work forward and develop my spheres would be to remake them on a larger scale using wooden dowels - potentially to fit over someone’s head?

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In preparation for recreating my cocktail stick spheres on a larger scale, I sharpened and sanded thirty 30cm wooden dowels to make them pointed so they would have the same effect as cocktail sticks.

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Final outcome: I cut out the ink faces drawings into circles, then sketched a larger face. I used fineliners for the face and black and silver inks to add the spiky circles. My intention was to demonstrate the different emotions a person experiences and the various sides to their personality that they express to different people.

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‘Nicanor Parra Bird Nightmare’ is a photograph which shows a variation on the common birdcage symbol. In this piece, the birds are outside the cage, trying to get in, which conveys an element of threat. This is made more disturbing by the fact that the subject is a young girl, who we assume to be asleep and having a nightmare, as she appears to be wearing pyjamas and this is what is suggested by the title.

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‘The Therapist’, 1937, oil on canvas, 47.6 x 31.3 cm. This painting my Magritte shows a birdcage combined with the human body, which is reminiscent of the way I have combined my large sphere with the human body in the photographs I took. The person depicted here looks like an old man, which makes the piece more unsettling to look at, as the cage indicates a sense of emptiness and lack of humanity.

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This piece by Michael Brennand-Wood shows a way to use textiles in art. Similarly to the cocktail sticks and wool used in my crafted spheres, this artwork contains spines but also soft materials, however, a key feature of Brennand-Wood’s work is the incorporation of multiple layers of different materials, which is something I could look into during my project. 

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As I am beginning to further investigate incorporating people into my project, stemming from the photographs I took, I decided to revisit some of Lucy McRae’s work for inspiration. 

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Lucy McRae produced these images to explore how the body could be changed by technology in the future. This exhibition, ‘Body Architect’ (August 2019 - February 2020) shows various alterations McRae has made to the human body, using an array of different materials. I am inspired by her work as it shows an unusual way to create unsettling pieces, which links to the uncomfortable nature of my spheres.

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Rough ink drawings - I set out to draw my own face with different expressions, however, as these were very rough drawings, they all look like different people.

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When I started this piece I sketched out a rough outline of my face and my spiky spheres. From there, I developed it into a monster. I used pens and inks, including metallic ink on the spiky outlines to create a metal effect. I added the circle in the background to create a higher tonal contrast, as the rest of the artwork is quite light, then added the creature’s hand in the foreground to balance out the dominant shape of the black circle.