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Humankind is constantly searching for feeling of connectedness and love from others:

Although this love does not necessarily have to be romantic, it is a part of the human condition that connection with others is an essential part of our survival and emotional fulfillment.

"According to Greek Mythology, humans were originally created with four arms, four legs and a head with two faces. Fearing their power, Zeus split them in two different parts, condemning them to spend their lives in search of their other halves.

- Plato, The Sympossium. (370 BCE)

Set in our very own universe, including all of the things we experience today, with one small difference: All humans have four arms, four legs and a head with two faces. Each human would be physically connected to their soulmate, we would never separate, and that one person who we spend our lives in search of would be right next to us for our entire lives. Humankinds power would be like never before.

Inspired by Patricia Piccinini's "Making Kin Not Babies: and Haraway's "Making Kin Beyond Babies. (Mimosa, M. & Nor A )2020). Along with The Imaginary Worlds Podcast, "Making up creatures" (Molinsky, E. 2020): I will aim to create a final piece which captures my thoughts on what we as humans would look like if we were attached to our one true love. Through using mediums such as sculpture and materials like wire and paper mache, I will endeavor to create a 3D sculpture which not only apprehends what people would look like, but also how we would feel. I aim to portray this through body language and facial expressions.

Further inspired by Seligman's novel, "The Thinking Medium", I will target my creatures' thoughts through their positioning in the sculpture. "A vehicle for expressing and recording thoughts, and itself a kind of thought process: a medium of thinking in." (Seligman, I. (2016).

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As Outlined formerly, some key inspirations for my final artwork include Patrricia Piccinni's 'Making Kin, Not Babies', along with Haraway's 'Making Kin Beyond Babies' (Mimosa, M. & Nor A (2020). This is because, both Piccinni's art and Harraway's explanation, challenge societal norms and encourage critical thinking, particularly within art. Perhaps the ideas they express could cause individuals uncomfortable. However, without this inevitable feeling that we have when we are faced with a concept that is challenging to comprehend, we will not learn, therefore nothing will change. This is something I aim to portray in my final work. I wish to challenge viewers to think beyond what we know and contemplate what we could understand that we do not already.

Secondly, I am greatly inspired by the Symposium, Plato (370 BCE) and the authors ability to use creativity in telling a story. Plato expresses his great love of wisdom, and I will aim to channel these ideas within my work. I am also inspired by how Plato speaks about love. Particularly love in Greek Mythology. The following quote captures his story telling abilities perfectly.

"And when one of them meets with his other half, the actual half of himself whether he be a lover of youth, or a lover of another sort, the pair are lost in the amazement of love, and friendship and intimacy."

- Plato, The Sympossium (370 BCE)

My goal is to show humankinds appreciation for true love through my final artwork.

Lastly, I am also inspired by Seligman's novel, 'The Thinking Medium' (Seligman, I. (2016) and aim to capture thought within my artwork. What are the creatures thinking and what are the viewers contemplating when viewing my artwork?

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Within this work, I initially used grey led pencil to lightly sketch out the drawing and then followed by overlining with a fine line pen. This drawing is based upon my thoughts concerning romantic love within my intention of creating a final work that reflects the legend in Greek mythology that states that soulmates were originally born into one body, then they were split because of their intense power. Through using a "single line" technique with a lack of color and through focusing on simplicity, I believe that I was able to indicate the true feelings of love through the characters' body language and facial expressions in a simple way.

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Through this study in class I was able to identify the benefits of using a different medium such as water color to further emphasize the message I aim to portray in my work. The slight water marks on the page along with the changing opacity of the color's dependent on how much water I use could indicate the flow of love and it's everchanging nature, as water flows, so does love.

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As I was initially inspired by Pato's, The Symposium, because of the way the philosopher uses words to describe infatuation, I thought I would use words as a form in this initial trial. I quite liked how the words were written in charcoal making them a contrasting focal point compared to the thin fine line. Both the illustration and the charcoal work cohesively in identifying the message that these humans take the form of one entity, and the use of the word "soul", connects back to the theme of soulmates that Plato speaks upon in his text.

This trial was originally inspired by a quote from Platos, The Symposium which reads: "Love is born into every human being; it calls back the halves of our original nature together; it tries to make one out of two and heal the wound of human nature." Plato, The Sympossium. (370 BCE)

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I see A drawing of my bag that I take to university classes with its contents from all of my different classes peering out of it. I notice that there have been darker shades added to the parts of the bag that remain in the shadows, creating a 3D dimension.

I think that considering this was a blind contour drawing, that my bag is represented quite clearly in it's true form. Perhaps the slight imperfections of the bag in the illustration pay tribute to the experiences the bag has seen in the past year, and it has become warn.

I wonder if more shading could have been added to create further dimension within the piece.

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I see a somewhat messy abstract of a vase with some dried plants in it that sits at the back of my painting and drawing class, with the use of blue tones to depict darkness vs light.

I think that it is quite obvious that this is a blind contour drawing given its messy nature, however this could be because it was quite far in the distance from where I was drawing this picture.

I wonder if this object was closer to me if I would have depicted smaller details better and if the illustration would become more clear.

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I see an interpretation of a plastic costume mask hung upon string mesh. The mesh depicted behind the dark eyes makes it look almost of another world, almost its very own creature rather than a mask, the sharp nature of the chin also aids in making the mask look alien like.

I think that although this piece did not end up looking exactly like the mask that hung in the classroom where I created this work. The tones and colors used in this piece give the object character, almost a personality of its own.

I wonder how the piece would have looked more realistic if I had of used less paint to make the paint strokes slightly more prominent.

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I see an acrylic expression painting of a ballerina, thin lines are used, contrasted by thick lines to eventuate the dancer's thin waist and strong legs that she uses to dance on.

I think that this ballerina looks contemplative. Or perhaps it could be argued that she looks concentrated. Making sure she applies discipline to her practice. Perfect movements and moves, a complete opposite to the brush strokes that make her come alive.

I wonder what the dancer is thinking about. Does she enjoy what she is doing? where is she dancing and who is she dancing for ?

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I see a form of a female body using watercolors with multiple layers of color. The harsh pigment of the blue is created by use of minimal water and more of the paint. Bu using a small round brush I was able to create fine lines in my work. I layered red and blue to add contrast into the piece as the two colors can be seen to be across from each other on the color wheel. This is why they create contrast together.

I think that this work is strangely beautiful. The use of different sized and shaped lines to depict different parts works together to create an image that is surprisingly cohesive.

I wonder if this cohesion would have continued if I had of added to the body to make it complete. If I added a face, arms and legs, would this picture still make as much of an impression on the viewer?

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I see blotches of different watercolor's added carelessly on the page and covered by textured flowers drawn with a fine line pen.

I think that I have grown a real liking to the way fine like looks over the top of watercolor. It really extenuated the plants drawn. I like that the work has an aspect of messiness to it.

I wonder what the piece would have looked like if I was more meticulous with coloring in the flowers exactly with the paints.

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I see two contrasting jellyfish surrounded by air bubbles in water, they have different patterns added to them with fine line pen showing how one creature is unlike another, even when they have the same name.

I think that this piece worked out well and that the use of watercolor to depict creatures who live in the ocean is very fitting. The imperfections of the water marks on the bubbles depicts the flow of the water that surrounds these creatures perfectly.

I wonder how I could add to this piece to further show viewers the environment I imagine the jellyfish to be in.

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I see a single line work created by the use of fine line pen. The two characters are embracing, and they both look to be in complete peace. The male character is kissing the forehead of the female, perhaps consoling her.

I think this piece is beautiful in its simplicity. So much emotion and soul is portrayed through a single line. I think that it is amazing how a piece of art, this uncomplicated can achieve such a thing.

I wonder If this is what I believe soulmates to look like, if this is the sense of peace I wish to portray in my final work. Is it the faces of the characters that I would like to draw the most attention to, or maybe another aspect, such as their bodies.

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I see two characters in a loving embrace, I used charcoal to depict this peice and to create thicker lines.

In this particular trial, I purposely kept out the bottom halves of the characters bodies to make us question whether they are connected that way. Forever in a loving embrace with the one that they love the most.

I think that the use of the charcoal was a great was to include simplicity in a sophisticated way. The charcoal is not smudged at all to create contrast or shadow, but simply there to portray an embrace of love.

I wonder If I should apply this model to my final. Perhaps have two lovers facing each other in a loving embrace depicted in my sculpture.

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I see two hand tightly wrapped up in each other's, tightly holding on, as if one of them is falling and the other is helping them up. A true depiction of love, respect and appreciation.

I think that this idea definitely could have been achieved in a way that provided more clarity, the hands do not look completely realistic and require more work.

I wonder if I will include the holding of hands in my final piece. This could be an important aspect to include when considering true love, as the holding of hands represents many things included under the umbrella of love, such as showing affection, or safety/ protection. Maybe a lack of letting go.

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I see many lines of all different tones and textures. I notice how the indentations of the floorboards where I drew on piercing through my work, I see where I drew to the music. All the different sounds coming alive in my work. The way that the music gets quieter and louder, the way that the melody of the different songs contours and shapes the overall feeling of the song.

I think that the things that I didn't prepare for such as the marks in my illustration made by the floorboards make the work all the more unique and beautiful. It truly shows where I was when I created the piece and does not compromise the true color and shape of the song from showing in my work.

I wonder how long I could have continued to add to this work before it came unclear to me what I was listening to in relation to the art I was creating. I wonder how my work would look different practicing this exercise while listening to different songs. Or perhaps if I listened to something like spoken word poetry while completing the exercise.

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I see rubbings of different leaves. a wire fence and bottle tops, all real-life objects taken from the ground from where I sat at the time of creating this illustration.

I think that the overlaying nature of the leaves compared to the fence really draws attention to the individuality of the leaves and all of their different qualities.

I wonder that if there were more objects around me at the time of creating this illustration how it would be different.

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I see an abstract of a tree I was looking at while an individual walked underneath it when the wind was blowing the leaves of the tree.

I think that the quality of taking a kind of abstract approach to this drawing enabled me to capture the beatidul qualities of the tree and the country I was on whilst I was drawing this piece.

I wonder where the person who was walking under the tree was off to, perhaps they were taking a stroll appreciating the beautiful parts of country and appreciating them just as I was.

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I see a strange looking creature formed by collaging together some exotic type of bird together with human arms and legs. To me, the placement of the legs and arms make it look as if the creature is moving or jumping, or perhaps completing a human activity such as skating.

I think that although this creature may make some individuals feel uncomfortable, that it is important for viewers to sit with this feeling and question the abnormal.

I wonder what inspired me to make this particular creature, why was it so that I took interest in the bird and the human features, had I seen something like this before? maybe in a dream??

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Although I do not plan to utilize blind contour in my final artwork, I believe that through practicing this technique, it has enabled me to notice smaller details within objects of which I may normally look past when looking away from the object being illustrated to draw.

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I believe that through using the techniques of drawing on country has left me with a greater appreciation of nature and was quite meditative. This experience has led me to understand that the environment that I create artwork in is important when considering its final result. I plan to take this into account when I create my final work

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I see a collation of multiple different birds merged into one creature. I also notice that the background of the multiple different elements line up perfectly on the page, truly making it look like one completely formed new creature.

I think that this sort of bird / creature looks quite realistic and not very farfetched from our reality today.

I wonder if I could have used more elements in creating this work and whether this would have made the creature more interesting in it's form.

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Overall, partaking in this experiment of new creatures has led me to a greater appreciation to Haraway's 'Making Kin Beyond Babies' (Mimosa, M. & Nor A (2020), along with Piccinini's work 'Making Kin, Not Babies' (Patricia Piccinini - Exhibitions, 2023) and how their works are so important in testing humans' reliability on social norms and what feels "comfortable" and encouraging us to open our minds to the possibility that we can find the traditionally uncomfortable, beautiful. Art is many things, and this is proved through their work. I aim to apply this newfound knowledge into my final work through creating two human creatures joined into one. To connect two souls together into one artwork.

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Practicing this exercise made me realize how imperative the environment around me is in what my work will turn out to look like, similarly to what I discovered within my experience in 'Drawing on Country'. To me, this realization relates well to Seligman's 'The Thinking Medium' (Seligman, I. (2016), In how the environment around me can change my thinking and therefore my actions and how I create work while drawing. While working on my final piece, I will make sure that the environment is ideal for me to create a piece that reflects my intention in an appropriate way.

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Through depicting different forms of living creatures in their natural environment, it has inspired me to consider depicting the creatures that I create in my final work within what I believe their natural environment to be. Is it in doors or is it in nature? I believe it to be in nature, in the natural world. Nature would be the best place to depict my artwork whether this means outdoors or in human-nature.

- “Human nature was originally one and we were a whole, and the pursuit of the whole is called love.” Plato, The Sympossium. (370 BCE)

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This practice of using acrylic paints to depict human features has made me realize the importance of defining shadows and light along with other features through colors of paint. I am considering using acrylic paint to paint my final work which will aim to be a sculpture as I wish to capture their facial expressions to show a sense of true love and connectedness. Complete serenity.

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Overall, these artworks that I created in my folio at the start of the semester, and ripped them out, sticking them on my wall in an attempt to practice my art skills for this class is what led me to choose the topic of soulmates for my final work and is what led my inquiry 'what if soulmates were connected into one body?'. While I was drawing these pictures, I noticed that they all followed the same theme. The human form, and love. Many of the illustrations showing a loving embrace. Something that I found myself fixated on exploring.

Love, especially true love is something that is constantly on my mind. When will it happen? Why does it happen? and how differently does it look for each individual?

I am extremely excited at the prospect of exploring this in my artwork.

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Dalgarno, P. (2017, March 31). Beautiful and unsettling: The world of artist Patricia Piccinini. Unimelb.edu.au; The University of Melbourne. https://pursuit.unimelb.edu.au/articles/beautiful-and-unsettling-the-world-of-artist-patricia-piccinini#:~:text=The%20figure%E2%80%99s%20constituent%20materials%20%E2%80%93%20silicone

Molinsky, E. (2020, June 1). Making up creatures. Imaginary Worlds Podcast [Podcast].

Patricia Piccinini - Exhibitions. (2023). Patriciapiccinini.net. https://patriciapiccinini.net/

Seligman, I. (2016). Introduction: The ‘thinking medium’. Lines of thought: Drawing from Michelangelo to now (pp. 10–31). Thames &​ Hudson.

The Symposium Quotes by Plato. (2020). Goodreads.com. https://www.goodreads.com/work/quotes/1488719

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The question that I chose to address in the making of my imaginary world was ‘What would we look like if the legend in Greek Mythology that states “soulmates were originally born into one body” was true?’. I believe that what inspired me to address this question was my infatuation with the ideas of true love and wondering why it is inevitably part of the human condition to search to love, connection, and belonging everywhere we go and in all the relationships we form, whether this be platonic, familial or romantic relationships. Although many would dismiss this legend as being complete fiction, I believe that there is always some truth hidden within any story. The inner longing for one person that you may not have even met is a phenomenon that may never be truly explained, and this is something I ponder frequently, leading me to be inspired to create a piece of artwork inspired by these thoughts.

Before creating my final piece of work, I undertook some research on Greek Mythology to thoroughly address my question and found myself apprehended by Plato’s ‘The Symposium’ (370 BCE) and how this ancient Greek philosopher spoke of love at its core.  “Love is born into every human being; it calls back the halves of our original nature together; it tries to make one out of two and heal the wound of human nature.” (Plato, The Symposium, 370 BCE). I then began to imagine what these creatures would look like, if two humans, who loved each other, unconditionally would look like if they were one. Haraway’s ‘Making Kin Beyond Babies’ (Mimosa, M. & Noe A (2020), along with Patricia Piccinini’s work ‘Making Kin, Not Babies’ (Patricia Piccinini – Exhibitions, 2023) were prominent research tools in inspiring me to create a creature that may not be conventionally pleasing to look at but is still beautiful in an unconventional way. I thought that this would be important in fully addressing my research question, and portraying love in its fullness, and uniqueness. I began my final artwork by trialing materials such as clay and wire, I used airdry clay given that there were time restrictions in place and began to sculpt these imaginary creatures. I was also intrigued by wire and created outlines of lovers with one piece of wire to demonstrate soulmates whose individual love for one another is intertwined into one, following the idea that soulmates were born into one body, one piece of wire connecting them into one entity. Additionally, Molinsky’s ‘The Thinking Medium’ also aided my endeavors into my final work causing me to think critically about the environment I was creating my artwork in, making sure it was appropriate, and caused me to wonder what it was about my daily environment that caused me to become to fixated on the idea of true love and soulmates. I am certain that the environment of my childhood and the perfect example of love that my parents were able to provide me in my formative years have allowed me to think positively about love and believe in soulmates and the possibility of true love. However, I am aware that others may not have been so lucky. This was very helpful to recognize while creating my final piece of art. Walcot’s paper on ‘Romantic Love and True Love’ (Walcot, P 1987) was additionally useful in understanding while working on addressing my research question. This paper analyses love. Why people marry, and the difference between romantic love and true love.

Through undertaking extensive research both before and whilst I was creating my final piece, I was able to create a clay sculpture in which a human is contemplating love and imagining their soulmate, their thoughts visible through wire silhouette of lovers, naming it ‘souls intertwined’. Addressing my research question and further enabling the viewer to contemplate what their ideal love looks like. Encouraging them that their dreams of this love may well become reality.

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References (APA7):

'Making Kin Beyond Babies' (Mimosa, M. & Nor A (2020),

'Making Kin, Not Babies' (Patricia Piccinini - Exhibitions, 2023)

the Symposium, Plato (370 BCE)

Seligman's 'The Thinking Medium' (Seligman, I. (2016)

Molinsky, E. (2020, June 1). Making up creatures. Imaginary Worlds Podcast [Podcast].

Walcot, P. (1987). ROMANTIC LOVE AND TRUE LOVE: GREEK ATTITUDES TO MARRIAGE. Ancient Society, 18, 5–33. http://www.jstor.org/stable/44034969

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Final Presentation of Work:

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While I was deciding how I wanted to portray my inquiry in the form of a singular artwork. I was sure that I wanted to depict the idea of love. In this simple sketch, the connection and happiness between the two characters is obvious, this is something that I knew would be valuable to keep in mind leading into the creation of my final work.

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Following on with the theme of simple sketches, I found this one quite interesting, as the two characters are obviously in a loving embrace, however, they were created with one continuous line which I thought would further deepen the message I wished to portray, making the true interconnectedness between soulmates immensely visible.

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Through creating these sketches of continuous lines, I thought that the use of wire to create these figures could be an interesting way to bring my ideas of soul connection and love together incorporating the idea of one continuous line of material to strengthen the ideas I was aiming to bring to light.

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I then began to sketch out more intricate designs of characters who were showing a clear loving connection to one another that I believed would look appealing, impressive, and clearly represent the sort of interconnectedness I aimed to convey in my final piece using wire.

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I then used the same pinch pot/ scratch and attach method to create a stand alone sculture of a face. This worked out a whole lot better than my original airdry clay sculpture and I beleived that it would now be possible to incorperate the wire characters into this work, while also inspiring me to be able to approprately answer my research question.

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I chose to trial this thickness of wire because I knew that it would be a lot more malleable than a thicker wire, and therefore would more successfully achieve the intricate bends and weaving necessary to create the silhouettes of the soulmates that I had envisioned.

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I then took the wire and began to bend it in various places to create the initial silhouette. This proved to be quite challenging, as although the wire was quite malleable, the bends weren't always as sharp and exact as I would have liked them to be.

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Continuing this process of twisting and bending the wire to create my most ideal outcome; I was quite happy with the result. I thought that the wire clearly depicted the connection between the two characters in a kind of abstract, yet obvious way. This is what I wished to create, because I want the viewers of my final work to question the work, causing them to contemplate true love before they truly understand the work, as I believe this is a necessary first step in truly understanding the piece.

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I then decided to trial clay to create a 3D creature which depicted two humans morphed into one body, just as the legend in Greek Mythology entails. I began by creating two pinch-pots from air-dry clay, scratching and attaching them using a small amount of water and a rough tool (In this case, an old comb). Doing this will make the end sculpture lighter and allow it to dry more appropriately.

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I then began to attach small pieces of clay to the face of the pinch pot, ensuring to use the scratch and attatch method so the pieces were appropriately attached and would not crack off when the clay was dry. During the trialing of this material, I found it very hard to smooth the clay to make it look as realistic as possible as airdry clay is not as malleable as clay such as stoneware. The sculpture became too top heavy, and floppy and I did not believe that the head would be supported by the shoulders enough during the during process. I knew then that this particular sculpture was not the direction I would take toward my final piece, because of its fragility, I also didn't believe that I would be able to incorporate the wire sculptures. However, I was still fond of the idea of having a 3D clay sculpture play a part in my final piece.

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I decided to use this metalic gold paint on the clay scultpure, primarily to depict the godly presence that my inquiry stems from. This colour choice also extends beyond Greek Mythology representation, and also depicts the grand nature of love itself, almost as if it is a golden first place medal that all humans wish to accomplish, to win the battles of heartache and longing for someone that you don't know, with the end result of finding them.

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Using this pin tool, I was able to insert holes into the back of the clay sculpture which allowed me to insert the wire characters I had created so that they would be supported and able to stand up independantly upon the presentation of my final work.

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I then added more wire around the forehead of the sculpture to create a more seamless transition between the two materials.

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I then proceeded to go in with some black and silver metallic acrylic paints to add dimension and depth into my piece. I was also conscious that the silver paint would also tie in well with the silver of the wire.

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How these ideas lead me toward my final work....

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How these ideas lead me toward my final work....

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Through completing these sketches, I was able to gain more of an idea of what I wanted my final work to look like. I was aware that my next step was to trial using wire to create characters that hold a connection, using one long piece of wire, and morphing this into kind of a silhouette of human faces. I also began to think that perhaps making a 2D or mostly flat artwork would not portray my artwork to the extent that I would like, so I also decided that I would trial air-dry clay.

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I chose to present my final work on this particular plinth/ shelf as I believed that by being able to show the work upright, and on a higher level (slightly above eyeline), the ethereal nature in which the question stemmed from would be appropriately represented. As the bottom of the sculpture (chin) was not flat, I was able to use blue tack to hold it in place. Upon reflection, I would have considered this more deeply in the creation of my work, and perhaps made the bottom of the sculpture flat so it could stand up on it's own.

I chose to add the black paper behind my work in presentation as not only did it provide contrast to the silver wire, allowing the silhouettes to really shine through. It also contrasted to the gold acrylic paint, and tied into the black lowlights in the sculpture, allowing a perfect balance of contrast and clarity in presentation.

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I decided on the title 'Souls Interconnected' for my final piece after much consideration. I felt that this title spoke to both my artwork and my initial question: 'What if the legend in Greek Mythology that states soulmates were born into one body was true?' My final work depicts an individual whose soul and heart are connected to another, and this is further explained in the title.

Through indulging in an extensive amount of research into this particular topic, I have come to the conclusion that although my imaginary world in which soulmates are connected physically into one body is, at least in the modern world fictional (depicted in the wire sculptures); I have come to the conclusion that there is some sort of soul tied connection between soulmates which subconsciously caused me to additionally portray this in my final sculpture.

The phenomenon of yearning for, or missing someone you are yet to meet, or in turn, finding the one who you feel to have known for your whole life, is a connection that cannot be explained. So therefore, I truly believe there to be some truth behind this legend.

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Ideally, I would have liked to have used stoneware clay, the kiln etc. However, there were many factors in which this would become impossible. It was deffinately necessary to trial these materials, as if I had not, I wouldn't have been led to the final concept artwork which I was extremely happy with given the circumstances. The final sculpture of the singular face, looking quite contemplative, in addition with the wire creatures, would make for a very interesting final artwork and would enable to me appropriately answer my inital question.

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I am very happy with how this work turned out and impressed with my effort and resilience when the clay sculpting didn't initially turn out the way I had hoped. I am glad that I persisted with using clay as I believe that the mix of the 3D sculpture and more flat nature of the wire, although contrasting, works immensely well together. I am also very happy with the way the wire on the forehead of the face works as a transition between the two pieces. The contemplative sculpture of a human face is shown to be yearning for its other half, it's soulmate. Its thoughts are depicted through the wire extending beyond its mind. I believe that this is a lovely blend between reality, and my imaginary world. The viewer is able to see how the creatures would look if they were connected, however still feel a sense of relation to the sculpture who is missing someone they are potentially yet to meet.

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"And so, when a person meets the half that is his very own, whatever his orientation, whether it's two young men or not, then something wonderful happens: the two are struck from their senses by love, by a sense of belonging to one another, and by desire, and they don't want to be separated from one another not even for a moment". (Plato, 370BCE)