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Student ID: 164426

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PEOPLE

Relationships

How we find our home in others

Family

"All American”

Broken homes

Do our parents create the home?

ENVIRONMENT

Planets

Matter

Extra-terrestrial life

Earth

Global Warming

Do we really love our planet?

Nature

Maternal

Trees

Serenity

Animals

Deforestation

Hibernation

Zoos

Survival of the fittest

IMMIGRATION

'Culture shock’

"Go back to where you came from”

Leaving your home

Conflict

Politics

Better Life

Acceptance and adaptation

Can we force a home?

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Experimentation with plaster of paris.

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Outcome of plaster of paris work.

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Acrylic paint on foil, work inspired by Athi Patra-Ruga

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Card and wire.

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Card, wire and paint.

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Recreating the image of a window with a plastic sheet and paint.

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Large-scale work.

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Adaptation to large-scale piece.

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DANCE

Movement

Balance + Gravity

Theatre

Dramas

SCRIPTURES IN RELIGION

Bible Stories

Morals

THROUGH PICTURES

Hyroglifics

Visual Merchandising

Logos

Children’s Book

Bright Colours

Paintings

MUSIC

Opera

Instrumental

Major/Minor

Compositions

Lyrics

Metaphoric

Sex

Heartbreak

Journeys

BLUES

Musical Origins

Slavery

Colours that link to our emotions

Sadness

Hopelessness

CULTURE

Greek Mythology

Gods

Goddesses

Traditional Chinese Stories

Legends

How stories shape us

DOCUMENTARIES

History

9/11

Riots

Royal scandals

Conspiracies

Series Adaptation

Animals

Survival

Habitat

Ways of Life

LITERATURE

How it shapes society

21st Century

20th Century

19th Century

18th Century

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DEATH

Theories

The Afterlife

Is it really the end?

Legacies

FILMS

'This Is The End’

Credits

Alternative Endings

Cliffhangers

Books

FULL STOPS

Period

ERAS

The end of an era

Phases

Decades

THE END OF A RELATIONSHIP

Divorce

Cutting ties between you and family members

Significant others

Friendships

APOCALYPTIC VISIONS

"The End of the World”

What next?

Anxieties for the future

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Directors

- Shonda Rhimes and her work
- Film directors that I like
- Why directors are important to a story/ the storytellers

Dance

- Eric Underwood (an American ballet dancer)
- Movement and how it tells a story

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Joy Miessi

- Mixed-media artist

Tomi Um

- Illustrator

Tracey Emin?

Experimentation and Development work

Art time periods (e.g, Renaissance era, Romanticism, Cubism)

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Why do we love the music we love?

Artists

Kendrick Lamar

Notorious B.I.G

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The Bible

Renaissance paintings

Ancient Japanese stories

Greek Mythology

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Documentaries

Why do we enjoy watching documentaries on serial killers?

Third World countries

What stops us from helping those in need?

'Africa'

Good News

Fake News

Why do we feed into what we know isn't true?

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Rinko Kawauchi
March 2016

Rinko Kawauchi: When I'm taking photos, I'm slightly different from how I usually am. It is like my power is switched on. It is kind of like being an athlete. I feel that I'm in an unusual place when I'm holding my camera and taking photos. For me, it is important to have nothing at all in my mind when taking photos. When I am able to concentrate on having an empty mind, a totally unexpected gift is given that allows me to capture an extraordinary moment.

I remember being saved a lot by small things and events when I was little. So when I create my work, I attach great significance to listening to small voices and valuing small things. That's probably based on my childhood experience. I chose the series title Utatane as a way to express the state of being between sleep and wakefulness. The project explores different kinds of liminal states. Describing what dreams do for us is difficult. I think dreams come from our subconscious minds or states of unconsciousness. I am very much interested in that field, and I get inspired by dreams I have sometimes.

When I was making Utatane, in my early days, the world I was living in was much smaller than it is now. The book I was making back then was the most appropriate size for me. In my recent project called Ametsuchi, I intended to show the photos at a very large size. What inspired me was a dream I had one day. It was of scenery so amazingly beautiful that it made me almost scared. I woke up thinking how beautiful it was. I wasn't sure if that location really existed, but if it did, I wanted to visit it. About six months later, I saw what I saw in my dream on TV. The location did exist. I found out that what I saw was called noyaki. It is the practice of protecting a grassland by burning a field. It has been done for about thirteen hundred years. Without noyaki, a field would turn into woods. Beautiful grassland cannot be maintained without burning the field once a year. What amazes me is that it doesn't happen naturally but is maintained by human intervention.

I am very much interested in the flow and cycle of human practices. It is not only the theme for Ametsuchi but also a foundation of all my work. I find something very beautiful in people's daily lives and the way society is maintained. No one can explain what the world is made up of. Scientists, physicists, philosophers, et cetera have tried to figure out the world's mysteries, and they have their theories. But still there is more unknown than known.

I'm not trying to prove any theories through photography; I simply want to think about them. I wanted to think about mysteries in this world. Through photography, I'm always focusing on and thinking about these things.

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Rinko Kawauchi contemplates the small mysteries of life

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Rinko Kawauchi March 2016 Rinko Kawauchi: When I'm taking photos, I'm slightly different from how I usually am. It is like my power is switched on. It is kind of like being an athlete. I feel that I'm in an unusual place when I'm holding my camera and taking photos.

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Why directors deserve more recognition than they get 

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Why directors deserve more recognition than they get 

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I made it my mission to remember the directors and producers of films that I like because they're the creative forces behind the whole production. The actors that feature in productions are incredible for the way they portray characters, but the real storytellers are behind the camera.
I like how directors have a signature style of shooting. I noticed that in The Great Budapest Hotel, Wes Anderson uses many wide shots that have center focus on the character(s) - each shot looks artistic. And in Hannibal, Ridley Scott uses subtle religious imagery throughout the film as if to make the impression that God is always watching.
It's amazing to think about the different routes you could go down with a plot, so we must appreciate and applaud the creative staff behind the camera because they are the navigators.

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Large-scale body piece.

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1 APRIL - SCIENCE MUSEUM, NATURAL HISTORY MUSEUM

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1 APRIL - SCIENCE MUSEUM, NATURAL HISTORY MUSEUM

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Creating a Cameroonian 'talking drum'.

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Laying out a section of my final piece.

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Details for my final piece.

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In secondary school, I made a short speech on the subject of "Africa" and how it is a collective term used frequently as if it is one country. I spoke about how Africa consists of 56 different countries, and 56 nationalities - and so when you think of "the poor children of Africa", who are you talking to, really?
It's a bad habit we've developed that most people aren't even aware they've developed. It's almost become a figure of speech. When we see the images of children from certain regions of Africa for Comic Relief, we normalise this image and associate an entire continent with this idea that they're helpless without Western aid. It's difficult to comprehend this because there are really people in regions who are suffering, but it hurts me when people choose to see my home as somewhere that needs to be fixed. There is so much love that is spread between the people, it just isn't fair that they're defined by what they don't have instead of what they do.

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Visiting the fabric shop in Shepherd's Bush to buy material.

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MAY 3 - LAYERS (CREATIVE COMMUNITY PROJECT)

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MAY 3 - LAYERS (CREATIVE COMMUNITY PROJECT)

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Negotiating the Crisis Around Masculinity is a piece of text I read from a collection of journal extracts. This is a particular excerpt I analysed.

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King Kunta by Kendrick Lamar

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DNA by Kendrick Lamar

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Swimming Pools (Drank) by Kendrick Lamar

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What I've Done

- I've included digital sketches as well as pencil/pen
- Development work is present and explorative (materials such as fabric and hot glue are used)

How to Improve

- Add more observational drawings
- Include a section on Storytelling in Music
- Incorporate a section on music in storytelling

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What I've Done

- I've experimented with mod rock  and chicken wire
- I've started considering final piece ideas
- I've documented more trips and dates

How To Improve

- Start drawing out plans for final piece

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Cameroonian talking drum replica made from chicken wire, Modroc and acrylic paint.

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Hannah Eugene is a young artist who graduated from University of Brighton four years ago. Her work was recently exhibited alongside a few others in a small space in Shoreditch where many came to see and congratulate her on her two outstanding pieces. I managed to catch up with her some time after the event to ask her more about her work.
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KA: Thank you so much for agreeing to do this! There are 4 main questions that I'd like you to answer... one of them you've already technically answered, but I'll ask it again for the record.

HE: Yeah, sure.

KA: First question: Are there any artists or creatives that have inspired you in your artistic journey?

HE: Yes, there are many who have inspired me throughout the years, from the likes of Jenny Saville to Kehinde Wiley. I was completely obsessed with the work of Kara Walker who captures so much just through her intricately cut out silhouettes. The drama from Lina Iris Viktor and of course, the legend himself Jean Michel Basquiat.

KA: Do you think, in this day and age, art is as impactful as it used to be decades ago?

HE: I'd... definitely say yes. However, with the birth of social media, we are bombarded with people displaying art from all works of life. And these days everyone seems to call themselves an 'artist' so the market then becomes somewhat over-saturated. It's difficult to filter out. At the same time, I've come across some breathtaking pieces of art which speaks volumes about the time we live in. The works from the past paved the way for artists now to evolve.

KA: The paintings you exhibited had remarkable detail and after reading the descriptions on your page, I understood all the smaller details you had included and how they introduce a narrative to your work. Why is it important to you that there is a story behind your work?

HE: It's very easy to paint a 'pretty picture', which is something I used to do, I must admit. And I feel that a painting with no depth becomes forgettable. What separates a mediocre artist from a revolutionary one? It's the meaning behind it, one that speaks for itself and opens conversation.

KA: Lastly, how do you come up with ideas for your paintings? Like, do you get inspiration from events in your life, poetry, a certain song...?

HE: A course leader once said to me that you can get inspiration from any and everything. This was something I used to struggle with and often got frustrated as a young, aspiring artist. For me, it was only once I started experiencing life that I realised the importance of making art for myself. Doing commissions for others became unfulfilling. I love history, particularly paintings from the renaissance era, however I couldn't see anyone that looked like me in those paintings which made me upset, because I was sure we existed. The only other time we were spoken about in history was in slavery. I started to do some digging of my own and came across the painting 'Dido Elizabeth Belle' and straight away I was blown away because it was the first depiction of a black woman from that era in all her glory and not oppressed as a slave girl. As well as this, music has always played a part in inspiring me. I'd say having an eclectic taste definitely helps as inspiration isn't limited.

KA: That's all the questions I have.

HE: I hope this helps!

KA: Thank you so much! This has been a massive help, I hope you have a blessed rest of the week.