# data[].attributes.body
The human brain has a system that gives us consciousness, which signals our body to act. I have tried to represent this conditioned reflex sequence using a mind map. Is the energy we give off every day also strongly related to consciousness, and does the relationship between consciousness and body energy also involve interactions between the mind and the body? Functional magnetic resonance imaging (fMRI) techniques can study these brain regions' activity during decision formation.

# data[].attributes.attachment_link.description
carlota guerrero is a photographer and art director based in Barcelona who works on personal and commissioned projects.

# data[].attributes.body
While discussing with the tutor, I was greatly inspired that when I discuss a proposition, I should first look for the relationship between myself and it. So, I brought myself to the subject of energy. David Hawkins' theory of the map of consciousness is that a person's energy can be represented by different levels of hertz, with different hertz representing different moods and energies from low to high. I used this theory to apply to my day, displaying the things I do every day in a table to analyze the energy changes in the most intuitive visual form.

# data[].attributes.attachment_link.readable_text
Strength in delicacy

Pursuing natural, frank and genuine beauty while running away from an excessive and overloaded aesthetic, the photographer and artistic director Carlota Guerrero homages the female figure; she tributes nature and she tributes art. We are reaching out to her four years after the first time, and in the meantime, she tells us about how perseverance, intuition and vocation have driven her to the beautiful place where she speaks from today. She's right when she says she has a "dragon in her heart".

Carlota, we last spoke with you in 2014. With no room for a break, you have been growing frenetically and vertiginously ever since. What changes have you experienced since that last interview, and what is different from the Carlota we knew back then?

Four years ago, I looked for the images around me and the world; now, I create them myself. Back then, I was obsessed with documenting everything, I would take my camera with me everywhere and use rolls and rolls of film. But now, I put much more thought into what I do and I focus on specific projects. I believe that what differentiates me the most from my past self, from the Carlota back then, is that I now have integrated into my identity what I do; I do photography, and it's serious. Four years ago, I was just playing - it was incredible though and, sometimes, I miss it, playing with no pressure at all.

Givenchy, Teen Vogue, Loewe, and even Solange Knowles have shown interest in your work. Did you ever imagine something like this would happen?

No, never. When Solange contacted me for the A Seat at the Table music video, she sent me a mood board filled with images taken out from my Instagram profile, to what I answered naively, "I'm so thrilled that you've used my images!" And she answered, "Why do you think I chose you?" - I didn't understand a thing and couldn't believe it.

What would you say it is that you have?

At the very beginning, every opportunity and every chance would really come up to me as a surprise because I never really had the ambition to actually succeed, neither did I follow the 'right' steps to have a commercial career. What I did always have (besides this dragon inside my heart that leads me) are perseverance, persistence and initiative. Ever since I was a teenager, I always had ideas and I brought them to life just because, spending and investing my own money and involving the people around me.

I've been really strict when it comes to creating my own language and style, very obsessive with my imaginary and very critical with myself; but especially, I believe I just got lucky, because what I do is what comes bursting out of me, just like that, and that could've perfectly been of nobody's liking. However, I have been able to connect with lots of people, which I'm thankful for. I value it and I never take it for granted, since it's what allows me to keep on expressing myself. Who knows, maybe one day I get obsessed over photographing wet towels and I just can't fight it and people will stop admiring me... It's always a possibility.

You've collaborated with and worked hand in hand with prestigious and renowned brand names and designers that have undoubtedly propelled your professional career. With such a big number of requests and assignments, have you ever seen in danger the opportunities to explore, flourish, develop and build up your most personal side while finding space for creative freedom?

It's a touchy subject and the line is really thin, but little by little, I'm learning to find the right balance and personal involvement according to the project. At the very beginning, I would take the plunge and jump in the deep end without doubting for an instant, but it's hard to deal with many different opinions, changes, criticism, etc. when you are used to doing things for yourself just because. Suddenly, you have to please ten people you don't know, or an idea that's important and pure to you gets banalized.

Now, I'm able to detect when I run out of ideas and I'm empty, so I can stop giving to other people and start living things outside 'the image' in order to renew my energy. Usually, living these new things still means laying naked on a rock near the sea so I can open the feelers on the tips of my hair and toes to canalize new ideas.

Self-taught and autonomous, it is my understanding that you've never studied photography. When did you start considering photography and creative direction your profession?

I never really considered it or actually thought about it, it just happened. I started studying psychology, then advertising... In 2008 in Spain, the future looked like a desert with no opportunities whatsoever, and when I had to choose what I wanted to study, I knew that if I told my mom that I wanted to be an artist, she would panic. Back then, this option didn't even exist in my head, but still, I was always thinking of images, taking pictures, filming, etc. It was my natural tendency, and it was strong enough to eventually become my profession.
At this point, if there's something I still conceive as a real fact and a total truth is that I came in here with the mission to communicate through images; when I'm taking pictures is the moment I feel the most aligned and happy (sometimes, I even think I will suddenly start levitating). It's hard for me to picture myself working on something else other than this.

You receive as a gift from a friend your first analogic camera ever. From that moment on, you start experimenting and putting the feelers on that field. Is there when your inclination for the analogic starts or was it existent before?

It existed before. I currently have learned to integrate the present, but I've always been very nostalgic of the past: when I was a kid, I always felt like I was born in the wrong era or period of time. The analogic is what saves the photographic process for me; the awaiting time, the duty and responsibility to think carefully before shooting a picture, the beauty of a mistake, the fact that the image exists physically and not only in pixels, etc. If you hand me a digital camera, I have too much to pick from, I might shoot a hundred photos of the same thing because I think, "Never mind, it's free", and I just lose the vibe.

You consider nature as one of your main sources of inspiration, which later becomes one of the most characteristic scenes for your compositions. Which would you say is the best landscape to photograph?

It's been a long time since I last photographed landscapes, but personally, the Mediterranean Sea will always have my heart and there is where I feel the most inspired and connected.

Serenity, clarity, purity. Your watermark is minimalism and delicateness. What are the perks of owning such a personal style?

One of the pros is that people understand you. After you've spent some time developing a specific language, people see a photo taken by you and they know it's yours; and they see a photo taken by somebody else who's using an element that you also use, and this picture reminds them of you as well. That builds up a long, strong and solid relationship and bond between the audience and the photographer. I myself don't really know where my own imaginary comes from.

In the beginning, I would always say my images were very harmonious because I'm really anxious and I needed to balance it out and create spaces that would give me peace. But these last years, the idea of woman treated like a goddess has been my greatest obsession. Still, I feel that I don't quite get to choose the way in which I express myself; it chooses me - it's powerful and it's intuitive.

There are plenty of limitations as well. Even I get tired of my own style, I see it and think: once again. But I just can't help it, it's me, it's my own process. The colours and shapes that make me shiver and tremble. Sometimes, you get on well with yourself and sometimes you don't; so the same happens with my style. But at the end of the day, it's what comes bursting out of me, and that's what matters. Until the circle is closed and another one starts, I must be true to my process. Otherwise, what are we doing this for?

Many define your pictures as a visual celebration of the female body. Is this something intentional since it belongs to your visual universe or do you find yourself photographing women in a genuine and instinctive way?

It's something genuine and instinctive. Being a woman is my condition and starting point. I start exploring from what I know, from what I'm most familiar with - myself. My self-love doesn't differ (or shouldn't differ) from my love for other women. I feel an infinite admiration for the woman's figure, her power and presence fascinate me to a visceral extent.

Recently, I photographed the trans female community in Cuba, and I understood more than ever the feminine energy: a woman with a very masculine aspect (they had very few resources for transitioning) awoke in me the same energetic connection as an old friend of mine would. To me, to photograph is to honour, to celebrate and to thank everything that I learn from them. And the stairway, the idea of the infinite stairway of women being carried by other women from immemorial times, transmitting and passing on knowledge and intuition.

For many artists, the Internet becomes the first gallery in which they ever expose their work. As far as your personal experience, how do you think these platforms have helped you, and how is the reality for the freelance photographer?

My career is inseparable from the Internet, and personally, it really has helped me a whole lot. I felt overwhelmed and very embarrassed if I had to show my creative side, so when I started receiving positive feedback I kind of lost that feeling of fear and started opening up. The Internet has some really wonderful things such as being able to have conversations directly with other artists that you admire, but also has some awful things such as the addiction to the instantaneous response or the intimacy becoming something extremely banal. But little by little, I'm finding the right balance and I'm trying to establish the healthiest relationship I can with this tool, which is indispensable for my career.

This last year, you directed Awkward Moments, an audiovisual production with many typical and distinctive features that belong to the performance. Do you feel an increasing interest in this artistic expression and manifestation? Would you say that you'd be creating more theatrical and dramatic artworks that could remind us of this kind of avant-garde ceremony any time soon?

Yes, I feel my interest increase more and more towards what could happen in the physical scene. I've always used the 'performative aspect' when taking pictures, and I often would give my girls typical directives and guidelines from that field to explore the moves, the expressions, and the composition that can be created with all our bodies as a result of what's random.

Last but not least, confess a fear and a dream.

A fear, even though I believe one mustn't name their fears too much: the sea filled with plastic. A dream: being able to continue doing this.

# data[].attributes.attachment_link.title
Carlota Guerrero | Bilingual | Metal Magazine

# data[].attributes.attachment_link.description
Value and dexterity to find the intensity in what is pure, clear and serene. Her poetic and idyllic imaginary is really an unceasing spectacle.

# data[].attributes.body
The process of discussion with the group was also a learning process, I found out that there are many forms to complete my research process, some are very logical, some are very abstract, and some like to use lines and colours to express themselves, which inspired me to try to use different methods to record my research process.

# data[].attributes.body
Inspiration: From the quote in the Genesis chapter of the story of Adam and Eve: "Dust thou art, and unto dust shalt thou return." This quote is the advice given to Adam and Eve before God expelled them from the Garden of Eden after they stole the forbidden fruit. It was meant to remind Adam that he was made from "dust" and that he would return to dust when he died.

Theme: through "Thou art dust, and unto dust shalt thou return." This quote contemplates the connection between humans and the universe.

Human beings live on earth because of gravity, and gravity exists because of magnetic fields. Every magnetic field has an energy and frequency that belongs to it, including where we appear. Each of us has our own energy, and different states have different energies. Energy is not nothing; on a scientific level, Einstein came up with the theory that energy can be calculated through equations, and Hawking came up with the human energy hierarchy. On the basis of scientific theories, we can prove that energy is real and there are different kinds of energy states. I hope to go for a medium that can visualise the trajectory of energy. Experimenting with visualised energy and the human ego. To test whether it is possible to change the outcome of something indirectly by changing the consciousness of the human being.

# data[].attributes.body
In physics and engineering, points, lines, and surfaces are often used to describe the transfer and distribution of energy. I wanted to use visual colors to express the distribution of power in the human body as points, lines, and surfaces, and the energy in the body moves when a person makes any movement. This helps me better understand how energy transfers and distributes within the body. This visual representation provides a new perspective to explore the human body's energy complexity.

# data[].attributes.body
The main purpose of this table is to allow me to better and concretely describe my current areas of interest. To have a good position as well as a perception of myself.

# data[].attributes.body
My research process drawing is more abstract, there are so many parts of my brain that I am interested in that I just followed my brain to easily and casually outline the first part, including my favourite occult, biology, the universe and so on. In the second image I drew a fluid illustration representing my changing mental state during the research process, with stabilisation, ups and downs, excitement and so on.

# data[].attributes.body
Criticise the content about enquiry, knowledge and process again to get a clearer picture of what each part should accomplish and summarise it in my own words.

# data[].attributes.body
In this workshop session we were taken on a tour of the Tate Britain Museum. This was centred around the 'connection' between our own subject matter and the artwork in the museum. It was a very interesting process, when I saw an exhibit I would analyse it from my own point of view, such as what it was about and the emotions it was trying to convey. When I look at the briefs I find that sometimes I can relate to the author and sometimes we have a very different understanding of the painting, and very often the briefs give me a deeper understanding of the artwork. Learning and observing the work of different artists allows me to be inspired by different aspects of their work, which is a good place to start.

# data[].attributes.body
Vassilikis Takis

Much of his artistic life was devoted to the study of magnetism and the belief that all communication takes place through magnetic fields. This invisible and unseen magnetic energy became his primary material, which he worked into observable materials in different ways. For Takis, science and art were closely related. For he believed that both artists and scientists were looking for answers to universal questions. Takis has been translating this poetic scientific approach into works that sensitively use the forces of nature.

His work has given me a deeper understanding of the medium of "magnetism", and I share the view that it is a wonderful process to visualise the movement of energy through "magnetism".

# data[].attributes.attachment_link.readable_text
Guy Brett: It's an amazing thing.

Michael Wellen: Panagiotis Vassilakis, the artist known as Takis, was born in 1925 in Athens.

His childhood took place during the occupation by the Germans and the Italians in World War II.

And immediately after was followed by a Greek civil war.

He was very involved in different political groups at the time.

And became a sculptor later in his life, in his late 20s.

As a young man Takis took great interest in ancient sculpture in particular.

And his early work show an indebtedness to that, but also to modern sculpture.

He was particularly interested in the work of Giacometti and Picasso.

He was self-taught and an autodidact in all types of material whether it was philosophy or history or politics.

He moved to Paris in 1954 and it's in Paris that you see this transformation of his sculpture.

There are two key moments in Takis's work.

One happens around 1957 after a trip from London.

And while waiting for the train he becomes inspired by the flashing lights and the antenna and aerials that he sees around the station platform.

He started to make sculpture which he called Signals and which became one of his most iconic type of work.

The other key moment happens in 1959 when the artist discovers magnetism as a way for sculpting.

He looked for a way to break the conventions of what sculpture could be.

Instead of a solid, heavy form, he tried to tried to create a kind of sculpture that floats in space.

When the artist has defied gravity and defied the forces that normally keep us on the ground.

In preparation for an exhibition of Takis's work I had the opportunity to travel to Athens in 2017 with my co-curator, Guy Brett.

Guy and Takis have a long-standing relationship.

They met in the early 1960s in London when Guy was an art critic.

And they became very involved in an artist-run space known as Signals Gallery.

Takis is living and working in Athens to this day.

He's been there since the mid-1980s and in 1993 he created a research centre for the arts and the sciences called the KETE Foundation, and is now known as the Takis Foundation.

It's a research centre. It's a library and an archive.

And it's also the studio of where the artist makes his work.

Guy Brett: So elemental.

Michael Wellen: Takis often comments that the focus of his work is around energy.

Sound is one of those key elements of energy.

It's an invisible force that Takis makes present using a number of different devices.

It's something contemplative and Takis is often thought about in relationship to the cosmos and to energy fields and the sounds of the universe.

Takis's studio, he began developing it in the 1960s or the early 1970s and it wasn't completed until much later.

It's on a hill-side with a view of Athens and the Parthenon in the distance.

It's a very strange and bewitching place with lots of movement.

Giant sculptures that are swirling in the wind.

It's magical.

And it was wonderful to see Guy Brett and Takis together.

To see the friendship that they have been carrying on for so many years.

Takis: You ask me how I did this work.

Well I'll show you how I did it.

This is giving energy.

As I used to everyday, I do.

And then by accident.

It's the same thing.

Guy Brett: Is energy a thing?

Takis: Energy stays with you, inside you, in energy.

I feel more young than you.

I know how to use the energy, first of all.

I have the experience which you don't have because you are young.

So you don't know how to use your energy.

Therefore you are not young.

I am young, not you.

And I want to spend my energy working.

Michael Wellen: Takis has a career that expands more than seventy years.

Takis works are mesmerising.

The way they use sound and light.

They're constantly moving and changing.

There's something sensual about these works that brings the audience in to look closely and take delight in these sculptural and sonic worlds.

It breaks the conventions of what sculpture can be.

# data[].attributes.attachment_link.description
Guy Brett: It's an amazing thing. Michael Wellen: Panagiotis Vassilakis, the artist known as Takis, was born in 1925 in Athens. His childhood took place during the occupation by the Germans and the Italians in World War II. And immediately after was followed by a Greek civil war.

# data[].attributes.body
"Like poles attract, unlike poles repel."

# data[].attributes.body
Repulsive magnetic forces can make objects move.

# data[].attributes.body
Magnetic levitation.

# data[].attributes.body
Marbles - Human

Labyrinth - Human Destiny

The Path of the Ball - Humanity's Chosen Path in Life

The Process of Playing Marble Maze - The Guidance of Human Consciousness

I was inspired by the maze marble game I played as a child, where I shook a wooden board to make the marbles travel through the maze to their destination. "Labyrinth" is a word that I think can symbolize the path of human destiny. "The marbles represent people themselves. There may be obstacles and different paths in the maze, and people can reach various destinations through conscious choices.

"Is it possible for human beings to change their destiny by changing their self-awareness and thus their destiny? I have broken down this complex question into a simple maze game, and I want to answer this question of mine through the process of people playing the maze. Next, I need to go deeper by combining the three elements of magnets, energy, and the maze game.

# data[].attributes.body
This digital skills session enhances students' proficiency in creating PDFs and presentations through specific software. The tutor meticulously elaborated on crucial aspects such as planning, creating grids, layout, and hierarchy in PDF format. It was my first systematic exposure to producing presentation PDFs, and the course was highly inspiring. Through this course, I acquired fundamental PDF production skills and comprehended methods to enhance presentation effectiveness through design and practice, along with the opportunity to engage in feedback and communication with classmates.

I have applied the knowledge from this course to complete two presentations this term, where I could tangibly feel my progress. I have greatly benefited from this learning experience, significantly enhancing my digital skills and acquiring valuable knowledge and experience for my future endeavors in both work and study.

# data[].attributes.body
I created a poem based on the keywords labyrinth and destiny. A story about marbles, this poem expresses humanity's exploration of the universe and contemplation of its existence.

# data[].attributes.body
I broke the poem down into parts of the lines and used illustrations to visualize the words. I drew storyboards to envision and think about what elements should be included in the illustration. In the end, I made the marbles the main character of the whole illustration; each page is where the marble has been. I compare this process to the person's destiny, and the scenery of each route in the labyrinth is each place the marble passes through in the poem.

# data[].attributes.body
After finalizing the line art, I experimented with different brushes and colors. Considering that the whole story revolves around the theme of the universe, I wanted to present an ethereal and profound atmosphere. However, since the audience group is the student age group, I chose a more vibrant and lively color theme. Combining these two elements, I decided to use brushes similar to pencils and crayons, leaving appropriate gaps in the image to add to the overall layering. These experiments allow me to express the mysterious and infinite nature of the universe, injecting more depth and imagination into the work.

# data[].attributes.body
To make the final printing error-free, I have typeset each page of the drawings already for trial printing. The typesetting is done in the same way as the reason I made these illustrations. Each line of the poem will be followed by a page of illustrations so that the reader can read the text and then feel the illustrations through the text. I printed the illustrations on the school printer and cut and bound them on the school paper-cutting machine. This was to ensure that each page was on the required page and that it was easy to read. This experiment gave me a good example when I went to the final printing.

# data[].attributes.body
After settling on the maze setup, I began conceptualizing the installation. Ultimately, I wanted to go with a simple shape like a circle or a square for the look to achieve consistency with the maze setup. Since the circle is a frequently used shape in illustration books and this story is about marbles, I chose the circle as the primary appearance.

In addition to this, I also combined the magnetic and maze designs. The viewer can change the position of each maze piece at will to move the marble from the beginning to the end. This aligns with the central theme: "People can change their destiny through their consciousness." If a magnetic sheet is attached to the back of each maze piece and a magnetic sheet is attached to the maze disc, the two parts can be magnetically attracted to each other, and the marble can pass through each route smoothly.

# data[].attributes.body
Before proceeding to the final installation, I carried out simulations: experiments with the device and experiments with magnetism. For the installation simulation, I collected some cardboard scraps at home, drew each part, cut them out with scissors to form the building blocks of the labyrinth, and then glued them together. I bought some magnetic sheets for the magnetic simulation and cut them into different shapes to determine which could make the magnetism bigger. I finally concluded that the smaller the cross-section, the bigger the magnetic force with the magnetic sheets.

Through these simulation experiments, I gained a clearer understanding of what parts are needed for the device, which will be very helpful for the subsequent production of the finished product. These experiments also helped me to identify potential problems, such as the diameter of the marbles, the length of the labyrinth channel, and the overall dimensions of the device, thus ensuring the quality and accuracy of the final product.

# data[].attributes.body
While searching for a way to set up a maze route, I found inspiration in a book by Deuchars, a children's art instructor specializing in inspiring children with drawing exercises. One of the chapters in her book is about pattern design. For example, if you have a square, place a line segment at the center of each side at the same distance. Keeping these four line segments, various patterns are drawn from the points of the segments. These patterns can then be connected and created based on these four segments.

This idea inspired me tremendously. I determined the distance between these four sides and designed 16 different patterns. I tried to stitch some of these patterns together and formed the labyrinth route. Based on this, I envisioned that if I could make these patterns in 3D and skeletonize parts of the route, I could get square pieces of a labyrinth and form the labyrinth route in various patchwork forms.

# data[].attributes.body
I booked a 3D workshop at my school in advance and prepared the necessary documents and designs. In the studio, I transformed the design into a physical entity by using a 3D cutter to cut the board into the desired shape according to the design. Each experience in the school's studio was exciting because I could see the electronic version of the design being transformed into a real 3D object. The cutting process went very smoothly as I sorted each cut plank and then glued and polished them to ensure a smooth and even surface for the final unit. Finally, I completed the installation by assembling all the pieces. This process made me more familiar with 3D cutting technology and gave me a better understanding of the production process.

# data[].attributes.body
Attending the Unit Exhibition: MOSAIC was a formal and insightful experience, from the meticulous preparation before the exhibition to the actual display process. Before the event, I was required to provide detailed information about my project, including its content, dimensions, and preferences for placement. During the exhibition, I had the opportunity to explore a diverse array of artworks, ranging from animations and installations to sculptures and graphics. Each piece taught me valuable lessons about aspects like coherence and interactivity. Likewise, feedback from fellow students allowed me to reflect on my work.

# data[].attributes.body
If more time were available, I would focus on improving the maze installation and creating informative posters. Some visitors provided feedback after interacting with my installation, mentioning that the magnetic force was weak and that maze fragments occasionally detached. Therefore, I aim to explore alternative materials with more substantial magnetic properties to enhance the stability of the installation.

Additionally, I updated the instructional poster for the installation game, providing more explicit guidance to participants about what they can expect to experience. The mock-up of the new poster design, using simple dots, lines, and shapes, effectively communicates the conceptual ideas behind my artwork. Overall, this project has been a rewarding journey, and I am grateful for the support and guidance from my mentor and peers, who have enabled me to create a piece of work that I am genuinely proud of.

# data[].attributes.body
The tutor divided us into five random groups in the session that showcased everyone's work. Each group gave feedback on the previous group's work and made a zine of the group's feedback, with each group having members responsible for design, illustration, and text. This is a perfect opportunity for us to work together, and it lets us feel how to work together as a team in the future. Secondly, I also saw a lot of people's work. There are various forms of presentation, and I watched everyone's work and feedback to think about what could be improved in my work.

# data[].attributes.body
https://www.leemingwei.com

In delving into the energy and magnetism of the human body, I realized that I was missing an element that could convey the theme of "human destiny" to the viewer. After further research, I came across an artist, Lee Mingwei, whose work "Our Labyrinth" left a deep impression on me. In this work, the dancers used brooms to create different patterns of rice on the floor, exploring themes of trust, intimacy, and self-awareness. As the dancers swept the rice grains with their bodies, the process reminded me of my experiment with magnetic powder, which moved into different patterns. Lee Mingwei skilfully combined these elements and presented them as a labyrinth.

After this brainstorming session, I realized that labyrinths and destiny are similar. The labyrinth symbolizes the choices and twists and turns in life, while destiny is the outcome and experience of these choices and twists and turns. This association made me think more deeply and sparked my interest in labyrinth installations. Through this form, I aim to convey the complexity and diversity of destiny better, as well as the experiences and feelings one has when facing it.