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Figure 8: Reference image of a brain, which I used in 'perfect fit', the draft of my final work, and consequently, my final work (Brain Icon, 2018).

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When completing this painting, I decided to forgo a sketch and simply worked based on my draft and an imagination of what my body-forest could look like. I completed the trees first and then thought about how to fill the leftover space - would I have other objects/plants growing in the forest or would there be space for more trees to grow later? In the end, I decided to leave some space, as it seemed more fitting to the concept of continual growth. However, I decided to use patterns and shapes to fill the space and provide a more cohesive look to the body-forest.

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Figure 5: A draft watercolour painting completed in preparation for my final work.

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This painting related both conceptually and technically to my final work, as a draft of sorts. I first painted the outline of the brain and then allowed my imagination to flow onto the page, in order to have a sense of what my final piece could look like. I explored the look of different leaves and colours on the trees, and essentially used the page as a sounding board for my ideas.

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Figure 2: An exploratory watercolour painting depicting fish and a bird.

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Through this painting I explored different shades of colours as well as layering. I also explored the continuity of lines and the amount of detail I could add using paintbrushes of different sizes. I did not attempt to relate this piece to my final work conceptually, but simply aimed to explore different paintbrush techniques.

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I initially thought to complete the painting on a canvas. However, the paint didn't soak in as much as I wanted it to, and I found it quite limiting after only having practiced watercolour on paper. As such, I decided to use a watercolour-friendly paper. I initially started by drawing an outline of a brain, as I did with my draft.

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Figure 9: Final work, titled 'Overflow'.

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This piece assisted in my final work when considering the techniques used. Exploring the bleeding of paint, colours, pen and water helped me render my final work.

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This piece helped inspire my final work both conceptually and in it's design. I used a reference image to create the shape of the brain in this piece and of that in my final work (Brain Icon, 2018) . Conceptually, I wanted to portray a brain that, unlike the one in this work, still has room for new experiences and memories - it has not been overwhelmed as this brain has.

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When creating this piece, I explored the use of watercolour and tape, and how they interact. This allowed me to explore how a rendition of an inner body-forest could look once translated onto paper from my imagination. I was also able to explore how to paint trees in watercolour.

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Figure 10: Final work displayed in the class gallery.

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This work used mono-printing techniques to depict what a creature living in the inner world of a human. It looks similar to a faery, but is not as stereotypical in it's aesthetic quality. It has uneven wings and an asymmetrical body. What was this creature born out of?

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In growth, I used combined various symbols which represent growth to create a conlang charcoal drawing, inspired by nothing and anything and alchemy. I aimed to reflect the "connections between language and the body, the external physical environment, and associated culture" (Sanders & Schreyer, 2020) by using the symbols of lungs, butterflies and leaves. The overall image is initially that of a butterfly or a pair of lungs, but upon closer inspection, it is a reflection of both - akin to the random adjective drawing that is alchemy.

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This work explores drawing as a way of perceiving, using two random adjectives - in this case, ethereal and grandiose. Upon first glance, the drawing appears to be of a man and a dog standing in front of a large castle in the woods. However, when delving deeper, faces can be seen in the pillar and tree on either side of the tree, almost guarding it. I wonder what brought the man and his dog here - was it a journey akin to that of the man in Paulo Coelho's The Alchemist?

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This artwork used acrylic painting techniques, including taping, to portray a dreamlike version of what an inner world-forest may look like. I incorporated various textures and colours to give depth to the painting. I wonder if any creatures, perhaps faeryes, live alongside this tree, and what brought them to this particular one? Is this tree born from a happy or sad experience, or something deeper?

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This work is a collage which depicts an overwhelmed brain, filled to the brim with thoughts, ideas and other input from the outside world. I used pink and blue to portray a sense of childish naivety, but if one were to read closely, much of the text included is about violence, mental health, or is relate to the physical appearance. This work aims to demonstrate the negative aspects of growth in a harsh world. The brain also looks similar to a flower, with the stem of the brain paralleling the stem of a flower, another symbol of growth. As this is a depiction of only one human's brain, I wonder what other things grow in the mind-world of other humans? Does there lie more chaos, or uninterrupted peace? What topics plague and consume other human brains?

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This work depicts a human stomach, with a deep inner world inside. I used watercolour and tape, combining techniques from two different studio sessions, to complete this artwork. I tried to leave elements of the work unexplained as an ode to the concept of soft world-building, to give the viewer some control over what the work may show.
See - Trees in a cavernous space within some larger entity.
Think - This must be some sort of fantasy world.
Wonder - Why are two trees rooted, while one floats either away from/towards the ground? Why is one tree in midair? Is it going somewhere? How deep does this world go?

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This artwork was an embodied sound contour drawing I completed under blind conditions with my dominant hand. I used the techniques I learnt while completing unnamed 1 and unnamed 2, and listened to  'Nature Sounds' (Esteban Morales Guzman, 2022) in order to practise deep listening. I focused on utilising the "awareness and sensitivity associated with [such an esthetic experience]" (Ceraso, 2014) to convey the feeling of having a world grow within you - magical and elusive. This is demonstrated through the various shapes that float in the air, birds which look like the branches of a tree-like object in the centre of the page, and swirls that envelop the tree in mystery.

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This is a continuous line contour drawing of a hand that I completed with my right (non-dominant) hand. I was intrigued by the comparison with the blind non-dominant drawing I did (see unnamed 1). My depiction of a hand appeared to be more anatomically accurate, regardless of which hand I used, as long as I could see what I was doing. This could be because I am more used to using the analytical L-mode when completing artworks, and this work was done under similar conditions to that (compared to unnamed 1)

See - A hand drawn in charcoal.
Think - The hand looks like it is reaching out towards something.
Wonder - Why is the hand in that position? What is it stretching towards, yearning to reach?

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This is a continuous line contour drawing of a hand, which I completed with my left (dominant) hand under blind conditions. It was the first artwork I completed in this class, and it is clear to me that I was not yet in a state of 'flow' when I drew it - as indicated by the unintentional jagged lines and misshapen digits. Completing this drawing under blind conditions left me open to the possibility of seeing an odd shape when looking at my finished work, which would have otherwise made me uncomfortable - a parallel to the concept of soft world-building in its inexplicable nature.

See - There is a rough outline of a crooked hand drawn in charcoal.
Think - This hand is not unlike a rooster's comb, and it's ambiguity makes me feel uncomfortable.
Wonder - How would my brain process this drawing if I weren't told it was a depiction of a hand? Do we possess a natural opposition to shapes that are not easily categorised?

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This work is a conlang watercolour painting. The bleeding of paint, overlapping shapes and mixing of colours reflects the array of meanings, or "polysemic relationships" (Sanders & Schreyer, 2020), that symbols can possess in different contexts to different people. I aimed to reflect this through the use of diverse, muted colours that occupy large portions of the page. These contrast the areas of white space (mostly in the middle of the page) and provide a slightly jarring effect which parallels the connections between symbols, that exist, but may never be fully realised.