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The idea of life after death, where those who have passed away still exist in some way, is a key belief in the philosophy and religion of many ancient societies. This belief is often shown in the art of these cultures, like in the Greek and Roman tombstones that depict the deceased alongside their living family members. This is thought to symbolize the ongoing connection between the living and the dead, suggesting the possibility of being reunited in the afterlife. In modern art, Damien Hirst's pieces, Monument to the Living and the Dead and I Am Become Death, Shatterer of Worlds, explore the blurred lines between life and death. Instead of showing a clear picture of the afterlife, Hirst's works hint at the idea that humans are in a state of living death that is always present.

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Gustav Klimt, Death and Life, 1915, oil on canvas, Leopold Museum, Vienna

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Gustav Klimt, Death and Life, 1915, oil on canvas, Leopold Museum, Vienna

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Family, history, Location / re location, belief's, journey, opinions and ideas, personal belongings, clothing, historical or contemporary objects or photographs, motif to represent self, crowd / individual.

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To make this short video, I went into the city when it was already dark. The focus was on historic places associated with the castle walls and, of course, the cemetery. I recorded a dozen or so different scenes to have something to choose from. After collecting the material, it was time to edit. I selected the best scenes and uploaded them to Clipchamp. I added it to the timeline and started cutting them so that they would fit and take no more than 50 seconds. I changed the speed to 1.5, added filters and effects, as well as an intro and outro. Finally, I found the perfect music and it was ready.

And here is my final video titled "Leicester Ghosts". Unfortunately, the quality is not very good because I had to shrink the file to fit on the padlet. Like everything else in this block, I decided to devote my research to ghosts, spirituality, beliefs in life after death, unexplained phenomena and apparitions.

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Final photography project - ''Shadow Spirits''

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Final photography project - ''Shadow Spirits''

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'Shadow Spirits' - Here is the final project showcasing the achieved effect in the chosen photos. The selection was based on personal preference and the quality of the ghostly effect. I have a keen interest in the alleged presence of ghosts, the concept of life after death, and spirituality. Regrettably, such topics can greatly influence one's imagination, dreams, and even the subconscious mind. It is fascinating to observe how artists capture paranormal occurrences and interpret them. I am pleased to have experimented with this myself.

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She Makes (2021)

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How I stick my photos to the foam board 

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How I stick my photos to the foam board 

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William Mumler, born in 1832, was a key figure in photography history, especially known for his innovative spirit and ghost photography in the mid-1800s. His photos showed departed loved ones alongside the living, captivating Victorian audiences. Mumler's spirit photography career began in the early 1860s when he discovered a ghostly figure in one of his self-portraits. This sparked his interest in the supernatural, leading him to experiment with capturing spirit images through photography. During a time fascinated by spiritualism, Mumler's photos resonated with beliefs about the afterlife. They comforted grieving individuals by seemingly providing proof of life after death.

Despite skepticism and accusations of fraud, Mumler insisted his photos were genuine spirit manifestations. In 1869, he faced trial for fraud but was acquitted due to lack of evidence, damaging his reputation.

Nevertheless, William Mumler's legacy lives on as a blend of photography, spirituality, and the human desire to connect with the unknown. His work continues to intrigue and spark discussions among historians, artists, and those seeking spiritual connections.

Ref:

Kaplan, L 2008, The Strange Case of William Mumler, Spirit Photographer, University of Minnesota Press, Minneapolis. Available from: ProQuest Ebook Central. [8 May 2024].

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Unidentified female spirit with photograph on table (1862-75)1

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This time, I thought about expanding my idea for a place where I could capture photos of ghosts. It seemed like the perfect choice to do it in a cemetery. So, I came up with the name 'Shadow Spirits' to give it a unique touch.

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Ref:

Biderman, G. (2019). Photographing Phantoms: How to Capture Ghosts and Spirits in Night Images. [online] National Parks at Night. Available at: https://www.nationalparksatnight.com/blog/2019/10/31/photographing-phantoms-how-to-capture-ghosts-and-spirits-in-night-images [Accessed 30 May 2024].

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Photographing Phantoms: How to Capture Ghosts and Spirits in Night Images — National Parks at Night

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I recently spent an incredibly fun night at the historic Sleep Hollow Cemetery in New York with the B&H Video team and the wonderful model @seashellspells . Our mission was to make an educational video on how you can create “ghosts” and “spirits” with long exposures. You can view the

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Here are the initial contact sheets of the photos I captured on campus. I didn't process any of them since I made up my mind to rent a camera and head to the park to create my vision of photos for the project.

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I want to shed light on the issues of depression, anxiety, and insomnia through my work. In today's fast-paced world, mental health is often overlooked. Many individuals silently battle these conditions without seeking assistance. My project aims to illustrate the isolation and struggles of those suffering, especially during sleepless nights filled with overthinking and physical discomfort. I plan to use inner demons as a symbol of the overwhelming feelings of anxiety and depression that can consume a person.

I decided to merge my sculpture and drawing projects together, focusing on a common theme. I used mostly the same materials for both projects. The main reason behind this decision was my limited time as a busy working individual. Overall, I believe it was a wise choice as the final outcome turned out to be quite satisfying.

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Die Brucke (The Bridge) - text annotation

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This is how my sculpture turned out in the end. I decided to hang it from the ceiling to make it look even better, even though our studio space is quite small. I think it's really important to take care of the environment, so using materials that can be recycled or disposed of without harming the environment is really satisfying for me. It's even better when these materials don't cost a lot and still create stunning effects. I hope that sculptures like this can send a positive message about environmental care and also bring joy to people with their artistic beauty. And on top of that, I really enjoy working with these materials.

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I thought it would be cool to create wings for my demon using paper filler that I got from Amazon shipments. The texture of the cut paper was absolutely amazing! It added a unique and captivating effect to the overall artwork.

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I tweaked my project idea a bit to make it more artistic and less like an installation. Because of that, I thought it would be a good idea to add another piece. I ended up making a second sketch. I realized that just one drawing wouldn't cut it, so now my project will include two drawings.

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I decided to improve the Mod roc by mixing sand with black paint to hide its unattractive flaws and texture. This unique mixture gave it the appearance and texture of a sculpture covered in tar. I am very pleased with the result and think that using these materials was a great choice. As an artist, I believe that using materials that can be recycled from household waste (cardboard and brown paper), as well as recyclable Mod roc, is not only beneficial for the environment, but also leads to fascinating end results. Another advantage is the possibility of using materials such as sand, obtained without incurring costs.

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Through two very similar projects - sculpture and drawing - my ideas intertwined and changed thanks to the common main theme I came up with. At first, I really wanted to make this project more of an installation, but as I was creating it and chatting with Tom, I started to change my mind. I thought he was right that the project was supposed to be a drawing, so I abandoned the idea of a typical installation. However, I will stick to the first concept from the sketch, but I will add elements in 3D.

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Demons have the ability to appear in various forms based on our thoughts, the scary dreams our mind comes up with, or what we find terrifying and unsettling.

How do your inner demons appear?

Ref:

Grundhauser, E. (2017). The Best Demon Illustrations of All Time. [online] Atlas Obscura. Available at: https://www.atlasobscura.com/articles/demons-illustrations-dictionnaire-infernal.

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The demons of the underworld that tempt us into sin are (theoretically, anyway) endless in number. Yet this didn't stop the early 19th century occultist writer Jacques Collin de Plancy from trying to catalog them anyway.

Like many demonologists before him, de Plancy set out to create an accounting of demonic events and forces in his book, Dictionnaire Infernal. What sets de Plancy's work apart is his frighteningly surreal illustrations-the devils that make up his occult bestiary are some of the most evocative in the history of demonic literature.

De Plancy published dozens of titles in his lifetime, but he never surpassed the success (or infamy) of the Dictionnaire Infernal, which first appeared in 1818 and was followed by several updated editions. The full subhead for the 1926 edition describes the book as a "universal library on the beings, characters, books, deeds, and causes which pertain to the manifestations and magic of trafficking with Hell; divinations, occult sciences, grimoires, marvels, errors, prejudices, traditions, folktales, the various superstitions, and generally all manner of marvelous, surprising, mysterious, and supernatural beliefs."

Many of the demonic descriptions in the Dictionnaire Infernal have their roots in earlier demonological texts, such as the 16th century Pseudomonarchia Daemonum, or the 17th century Lesser Key of Solomon. Both of those titles contained hierarchical descriptions of Hell's many denizens, versions of which de Plancy included in his text. Among the spirits presented in de Plancy's book are well-known evils such as Lucifer and greedy Mammon, but also more obscure devils such as the lower demon Ukobach, who tends to fireworks and oils, and the bellows-bearing fallen angel Xaphan.

When de Plancy first published his guide to the world of demons in 1818, he had a reputation as an opponent of superstition and religion. However, in 1841, de Plancy had a change of heart, and converted into a devout Catholic. By the sixth edition of the Dictionnaire Infernal, published in 1863, whether influenced by his conversion or simply thanks to extra resources, de Plancy included illustrations. And it's a good thing he did, as the bizarre images that accompanied the text are some of the most indelible depictions of demons ever created.

The 1863 edition of the book featured hundreds of spot illustrations, over 60 of which were of specific demons. They were designed by the French painter Louis Le Breton, and then engraved as woodcuts by M. Jarrault, both of whom signed many of the illustrations. Their odd depictions of stilt-legged owl men, insect-legged frog-cat kings, and spiral-horned jesters transformed the Dictionnaire Infernal from an occult oddity that could easily have been forgotten to a frightening bestiary that is still referenced and shared today.

Since 1863, the illustrations from de Plancy's book have also been used to accompany esoteric titles such as new printings of the Lesser Key of Solomon, plus any number of books on magic and demonology (thanks, Public Domain!). In the internet age, they also pop up regularly just for their general weirdness, including over at Boing Boing and Dangerous Minds.

Over 150 years later, Le Breton's illustrations still come across as devilishly inventive. Check out more of these horrid creatures of sin below.

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The Best Demon Illustrations of All Time

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Even today, the 1863 edition of the "Dictionnaire Infernal" is the stuff of nightmares.

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development and changes in my sculpture and idea

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development and changes in my sculpture and idea

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My development came along with drawing project. Because I first started creating my bogeyman on a drawing, which was initially supposed to be more of an installation, I started to change my vision regarding the project also from a sculpture. I thought I would make both projects in the same dark atmosphere. That's why the idea came to my mind to create an almost human-sized creature, a demon that would represent insomnia and how this state can be visualized using sculpture. Unfortunately, due to sleepless nights, overtime at work and feeling very bad, I started creating at home first because the studio was closed at night, moving the sculpture was impossible and due to insomnia I worked best at night. Of course, as I mentioned earlier, I used modroc and cardboard for the project. I really like how I can create different shapes using this medium. Despite the ugly effect and uneven surface it gives, I have an idea how to fix it and give it a darker character.

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For my next project, I thought about using modrock and cardboard, but now I'm stuck because I don't know what to create! I ended up making a sculpture, but I'm not sure if it's what I really wanted. I'm starting to dislike my project because I don't have a clear idea and the whole process is frustrating. My mind is blank, and I can't seem to come up with any creative ideas.

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In 2016, Michael Dean and Helen Marten were both contenders for the Turner Prize, a prestigious art award. Their artworks were showcased together at the Turner Prize exhibition in Tate Britain, highlighting the innovative practices of British artists.

Michael Dean showcased sculptures made from materials like concrete and metal. His pieces often incorporated words and explored themes of language and communication. Visitors to the exhibition encountered his raw and industrial-looking sculptures, each carrying multiple layers of meaning and inviting interpretation.

On the other hand, Helen Marten is renowned for her intricate and detailed assemblages that combine various materials, ranging from found objects to handmade elements. Her artworks often evoke a sense of wonder and curiosity, captivating viewers with the intricate worlds she constructs.

Together, Dean and Marten represented the forefront of contemporary art in the Turner Prize exhibition, offering visitors a glimpse into the diverse and thought-provoking practices of these talented artists. The exhibition provided a platform for their artworks to be appreciated by a wide audience, further establishing their positions in the contemporary art scene.

Ref:

Brown, M. and correspondent, M.B.A. (2016). Helen Marten wins Turner prize, securing second big award in a month. The Guardian. [online] 6 Dec. Available at: https://www.theguardian.com/artanddesign/2016/dec/05/helen-marten-wins-turner-prize-2016-securing-second-big-award-in-a-month#:~:text=Helen%20Marten%20wins%20Turner%20prize%2C%20securing%20second%20big%20award%20in%20a%20month [Accessed 27 Feb. 2024].

Frieze. (2016). 25 Artworks: 2016. [online] Available at: https://www.frieze.com/article/25-artworks-2016.

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The Turner Prize is awarded annually to an artist under fifty, born, living or working in Britain, for an outstanding exhibition or public presentation of their work anywhere in the world in the previous year. The four shortlisted artists for the Turner Prize 2016 are:

Since it was established in 1984 the Turner Prize has become one of the most prestigious international visual arts awards and has both reflected and contributed to a growing public awareness and interest in contemporary art. This year's Turner Prize is awarded on 5 December 2016 and an announcement broadcast on the BBC.

The members of the Turner Prize 2016 jury are:

Michelle Cotton, Director, Bonner Kunstverein, Bonn

Tamsin Dillon, curator

Beatrix Ruf, Director, Stedelijk Museum, Amsterdam

Simon Wallis, Director, The Hepworth Wakefield.

The jury is chaired by Alex Farquharson, Director of Tate Britain

With thanks to Sadie Coles, Greene Naftali Gallery, KÖNIG GALERIE and T293, Rome, for their support.

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Exhibition of the four artists shortlisted for the award in 2016

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Trip to Leicester Museum to see German expressionism collection. 

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Trip to Leicester Museum to see German expressionism collection. 

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Practice in analyzing artworks

When analyzing a piece of artwork, we examine all its different parts to understand their meanings, how the artists utilized them, and what the artists intended to convey. We also consider how viewers would respond to the artwork. Additionally, we place the artwork within its historical and cultural context to comprehend the ideas and influences that shaped the artist's work.

First, answer these seven questions

1. Formal analysis

Colour is it bright, dull, primary, pastel, natural, synthetic?

Form abstract, geometrical, curvilinear, organic, repeated?

Tone dark, light?

Size massive, tiny, human?

Materials what is it made from, and how does this impact the work?

Shape is it on a canvas, or cut out on the floor?

Composition: dynamic, straight, narrative?

2 How is it installed, is it an installation, a video, is it projected, is it curated?

3. Are there any visual clues/symbols or recognisable objects in the work?

4. Can you decipher any meaning? What is it trying to say?

5. What type of work is it is it a painting, mixed media, a sculpture, video, photograph etc.?

6. From looking at the work does it fit into a period of art, or part of a wider group of artists?

7. What other works of art might have influenced the artwork, what does it look similar too?

Use the internet to help answer the following questions

8. What is the context for the work of art: is it inspired by history, politics, changes to art in society, the use of new materials, a development of a new technique of art?

9. Did anyone important write about the work, or did the artist write about the work, find interviews or articles?

10. Was the artwork in any important shows?

11. What period of time and history is the work from?

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Although the video is a bit on the longer side, it's definitely worth watching! It delves into the world of art materials, explaining how they can be effectively used in artistic creations. Moreover, it highlights the thought process behind artists' material choices and how they convey deeper meanings in their artworks.

Ref:

Aloi , G. (2020b). Materiality in Art: Media and Surfaces. [online] www.youtube.com. Available at: https://www.youtube.com/watch?v=jrBpvciKlk4&t=639s [Accessed 27 Feb. 2024].

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Michael Dean is a British artist known for his sculptural works often made from everyday materials like concrete, metal, and newspapers. In 2016, he was nominated for the Turner Prize, one of the most prestigious awards in the contemporary art world.

The Turner Prize is awarded annually to a British visual artist under the age of 50 for an outstanding exhibition or presentation of their work in the preceding year. Dean's nomination in 2016 was for his solo exhibition titled "Sic Glyphs" at South London Gallery. This exhibition featured his distinctive sculptures and installations, which often explore themes of language, communication, and the materiality of words.

Dean's work is known for its raw, industrial aesthetic and its engagement with text and language. He often incorporates text into his sculptures, creating pieces that are both visually striking and intellectually engaging.

While he didn't win the Turner Prize in 2016, being nominated for the award is a significant recognition of an artist's contribution to contemporary art. It brings attention to their work and often leads to increased visibility and opportunities within the art world.

Ref:

Frieze. (2016). 25 Artworks: 2016. [online] Available at: https://www.frieze.com/article/25-artworks-2016.

Tate (2016). Michael Dean | Turner Prize Nominee 2016 | TateShots. [online] www.youtube.com. Available at: https://www.youtube.com/watch?v=YM2GZAHSt8c [Accessed 27 Feb. 2024].

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Michael Dean | Turner Prize Nominee 2016 | TateShots

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The concept of materiality in relation to the use of appropriate materials and media that are important to the artist when creating a work of art and how their use affects the viewer's reception.

Ref:

Cossio, R.D.C. (2022). Sybaris Collection © | The Materiality of Art. [online] Sybaris Collection. Available at: https://www.sybariscollection.com/the-materiality-of-art/#:~:text=The%20materiality%20of%20any%20art.

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To create my first-thought sculpture prototype I used cardboard from IKEAs furniture.. :P little bit of tape and one mini piece of styrofoam. It looks like a crab claw, and strange forms made of different materials on the back.

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the word at the top was drawn by me from a box during class as the name of my first sculpture or as a hint for my imagination. Only with this word I had to imagine what it could represent. And here's my first thought - something like a clip, something that can clip you inside, something that can crush you, and on the back something strange, some kind of form or many forms.....

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How traumatic experiences can affect the beauty of art...

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How traumatic experiences can affect the beauty of art...

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The artists discussed in the text were greatly impacted by the Holocaust. They drew inspiration from the firsthand experiences of survivors and the aftermath of liberation. The artworks created by these artists showcase a variety of responses to the Holocaust, ranging from personal reflections to more factual depictions. Some artists produced their works while in the camps and ghettos, while others used art as a way to express their experiences after being liberated. The Holocaust's location and memories had a profound effect on these artists, influencing their artistic expressions as a means of confronting the trauma, preserving memories, and testifying to the horrors and resilience of those who endured this dark period in history.

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A figure drawn with graphite and compressed charcoal on a black background also covered entirely with compressed charcoal

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A figure drawn with graphite and compressed charcoal on a black background also covered entirely with compressed charcoal

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My incised image on the plate

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Adrian Wiszniewski is a contemporary Scottish artist known for his diverse body of work, with a particular focus on printmaking. Born in Glasgow in 1958, Wiszniewski emerged as a prominent figure in the 1980s as part of the "New Glasgow Boys," a group of artists who gained recognition for their distinct approach to figurative art.

In his print artworks, Wiszniewski showcases a unique blend of traditional and modern techniques. His prints often feature bold, expressive lines and vibrant colors, demonstrating a dynamic interplay between form and content. The artist's mastery of printmaking techniques, such as etching and lithography, is evident in the intricate details and textures present in his works.

One of Wiszniewski's notable contributions to the printmaking world is his ability to convey complex narratives through visually striking compositions. His imagery often explores themes of identity, mythology, and human relationships. The artist's prints are characterized by a poetic and symbolic quality, inviting viewers to delve into the layers of meaning embedded in each piece.

Throughout his career, Wiszniewski has exhibited widely, both nationally and internationally, earning acclaim for his innovative approach to printmaking. His works continue to be celebrated for their fusion of traditional craftsmanship with contemporary concepts, making Adrian Wiszniewski a significant and influential figure in the realm of print art.

Reference:

Image:

Stations of the Cross X. (2000). [Linocut 61 X 49 Cm 24 1/8 X 19 1/4 in Edition of 30] shop.glasgowprintstudio.co.uk. Available at: https://shop.glasgowprintstudio.co.uk/artists/36-adrian-wiszniewski/works/7385-adrian-wiszniewski-stations-of-the-cross-x-2000/ [Accessed 30 Jan. 2024].

Wamae, A. (2016). Weaving the Thread: Painting and the Imagination with Adrian Wiszniewski RSA: 9-11 June 2017 – The Essential School Of Painting. [online] The Essential School of Painting London Art School. Available at: https://theessentialschoolofpainting.com/2016/12/15/weaving-the-thread-painting-and-the-imagination-with-adrian-wiszniewski-rsa-9-11-june-2017-2/ [Accessed 30 Jan. 2024].

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I have selected the theme of memory and place for my project, and I decided to create a print that resembles the Queen of Spades playing card. During my childhood in Poland in the 1990s, card games were extremely popular and they were a constant presence in every household. Both children and adults would engage in playing card games, and it was a common activity during weekends in my family. Even now, I can vividly recall many of the games I played during those times.

Response
• A Homage - is a show or demonstration of respect or dedication to someone or
something, sometimes by simple declaration but often by some more oblique reference,
artistic or poetic. The term is often used in the arts for where one author or artist shows
respect to another by allusion or imitation.

Above, a very interesting history of playing cards worth reading.

Reference:

PlayingCardDecks.com. 2023. The History of Playing Cards: The Evolution of the Modern Deck – PlayingCardDecks.com. [ONLINE] Available at: https://playingcarddecks.com/blogs/all-in/history-playing-cards-modern-deck. [Accessed 11 December 2023].

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The History of Playing Cards_ The Evolution of the Modern Deck

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Linocut making process and first print result

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Linocut making process and first print result

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1.Begin by summarising Plato’s theory on ‘secondary images’ versus Aristotle’s.

In Julian Bell's text "Images and Marks", Plato expressed his view on painters and the way they present reality, calling art mimesis, which means imitating the appearance of things. He further argued dismissively that "art is a form of play, not to be taken seriously" because each person perceives the world differently based on their personal beliefs, prejudices or cultural background. However, Aristotle, a student of Plato, emphasized that images can represent real objects in the world and serve as useful tools for understanding reality. He also emphasized their value in the process of development and learning.

2. Now, using an image of your choice, answer the following question:
In your opinion, are images a reliable source of information?

In my opinion, paintings cannot be a reliable source of information because they often represent the subjective reality of the artist, not the objective truth. An example is the painting "The last supper" by Leonardo Da Vinci, which depicts an event that took place 1,500 years before it was painted. It is obvious that the author was not a witness to the painted scene, so he presented it as a reflection of a personal and unique perspective. In addition, from the viewer's point of view, one person's interpretation of an image may be very different from another person's, which may affect a reliable and objective understanding of the image.

Reference:

Bell, J.,2017. “Images and Marks”. In: J. Bell, ed., What is Painting. London: Thames & Hudson, pp8-13

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Marta Ravasi is an artist known for her captivating paintings. Her work often explores the interplay between light, color, and texture. Ravasi's paintings possess a distinct sense of depth and emotion, drawing viewers into her expressive world. Her use of bold brushstrokes and vibrant hues creates a dynamic visual experience. Ravasi's subjects range from landscapes to still life, each imbued with a unique energy and mood. Through her art, she invites audiences to contemplate the beauty and complexity of the world around us.

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 Charcoal sticks and compressed charcoal

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 Charcoal sticks and compressed charcoal

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Highlight/specular Highlight

Core Shadow/shadow Edge

Ground Reflection

Reflected light

Ambient shadow

Cast shadow (UMBRA)

Penumbra.

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Allison Katz is a contemporary artist known for her unique approach to composition. Her works are often characterized by dynamic arrangements of shapes, colors and figures, creating the impression of movement and energy. Katz's compositions challenge traditional notions of balance and symmetry, resulting in visually engaging and thought-provoking works of art.

Allison Katz's compositions deviate from traditional notions of balance and symmetry, embracing asymmetry and dynamic arrangements. Instead of seeking the perfect balance, Katz's work often features unexpected juxtapositions. This approach adds energy and tension to her compositions, challenging conventional ideas of harmony and encouraging viewers to interact with the artwork in a more dynamic and thought-provoking way.