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1. Inspiration Selection: I'll choose two design studios that resonate with my artistic aspirations. The way these studios work, their philosophies, or their outputs will serve as a source of inspiration for my own creations.

2. Personalized Project Brief: Integrating my research on these two studios, I will craft a project brief that reflects my personal interests and outlines my future career trajectory. This brief will be the cornerstone of my project, guiding my creative direction.

3. In-depth Research and Analysis: I intend to thoroughly investigate the creative works and methodologies of these studios, analyzing how they can inspire and influence my art.

4. Showcasing My Learning: I will put together a presentation detailing the inspiration I've drawn from my research and my project plans. This presentation will demonstrate to my teachers and peers how these studios have influenced my creative thinking and output.

5. Exploring Personal Development: This project is an opportunity for me to explore and define my positioning and aspirations as an artist more clearly.

6. Building Connections: I look forward to collaborating with other creatives through this project and establishing valuable connections and networks.

7. Documenting and Reflecting: I will document each step of this project on my personal blog, reflecting on the learning and growth I experience along the way.

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Draw illustrations related to my topic

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Body & Experience

Identities and Place

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I chose the "Body and Experience" and "Identities and Place" studios to delve into the lack of sex, love, and death education among Chinese adolescents, stemming from my profound interest in the fundamental aspects of the human body and experiences, especially themes like sex, love, and death. I realize that how individuals define their lives and come to understand their identities is often closely linked to these basic human experiences.

The research in the "Body and Experience" studio has made me acutely aware of the profound impact that sex and love education has on adolescents' self-awareness and growth experiences. I plan to explore how these pivotal life experiences shape an individual's self-perception and experiences during the critical period of adolescence, to deeply understand how adolescents come to comprehend sex, love, and interpersonal relationships through self-awareness.

The "Identities and Place" studio, on the other hand, has led me to contemplate how individuals construct their identities within specific socio-cultural contexts and establish connections with the world around them. The lack of education on topics like sex, love, and death in the Chinese societal context has inspired me to further investigate how this absence affects their identity formation and understanding of life.

In the social environment of China, children often lack proper education on topics such as sex, love, and death. For example, early romantic relationships are discouraged, knowledge about sex is often acquired through secretive browsing of websites, understandings of love typically come from novels or TV dramas, and education about death only occurs when one is personally confronted with it. This lack of education inspired me to develop my theme around the absence of sex, love, and death education among Chinese children. By combining the perspectives of these two studios, I hope to gain a deeper understanding of how this educational void affects the bodily experiences and identity recognition of adolescents, as well as the potential profound implications it may have on their personal growth and social participation.

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When I delved into the themes of "Body and Experience" and "Identity & Place", I realized how closely they are intertwined with the core aspects of human experience: sex, love, and death. These elements are not just components that define our lives; they are crucial to understanding our identity. This led me to reflect on the educational gaps in these topics within Chinese culture. For instance, discussing sex is almost taboo, and teenage romance is discouraged. Most of the time, children learn about sex through covert internet browsing, and their understanding of love is often derived from novels or TV shows. Regarding death, it's only truly confronted when it occurs in close proximity. Therefore, I thought, why not explore the absence of education in sex, love, and death in my project?

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4 words related to my initial ideas or interests

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4 words related to my initial ideas or interests

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1. Taboo

2. Transition

3. Identity

4. Awareness

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The artwork of Grace Pailthorpe, with its portrayal of familial dissociation.

As a surgeon and art psychotherapist, Pailthorpe's explorations in dream-like imagery inspired me to consider how art could convey topics that are often ignored or insufficiently discussed. Just as her surrealist images explore psychological states and personal experiences, I aim to use my project as a means to delve into the unspoken aspects of individual growth—those subjects that are typically avoided in open discussion within Chinese society. The emotive resonance evoked by her work echoes the sensitive and profound themes I seek to explore in my own creative endeavors. In this way, I aspire to reveal and discuss topics usually avoided in Chinese culture.

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Zeinab Saleh's work emotionally struck me, particularly through her use of color to create an atmosphere. Her paintings trace life's fleeting movements and the stillness of time. The hues in Saleh's work seem to silently narrate stories of the inner world, reminiscent of themes often left undiscussed in my culture. In my project, I too hope to use color to express and explore these overlooked topics, eliciting resonance and reflection from the audience.

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Reuben Mednikoff's work, with its surrealist and psychoanalytic approach to the relationship between mother and child, presents a striking parallel to the themes of education, intimacy, and developmental psychology in my project. The depiction of the child-creature hybrid in close contact with the mother’s body reflects the deeply intertwined nature of human connections that I aim to explore—particularly how early experiences with close familial relationships can shape our understanding of love and intimacy, topics often not discussed openly in Chinese education on sex and love. This piece evokes the silent teachings and the unspoken bonds that I wish to bring to light in my exploration of adolescence education gaps in China. The work's intricate representation of these relationships invites a reexamination of how foundational experiences impact our formation of self and understanding of personal boundaries, mirroring the educational exploration my project seeks to undertake.

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As I wandered aimlessly, I found myself drawn to Franciszka Themerson's painting. What intrigued me was its unconventional approach to creation. Rather than starting with a flat canvas, Themerson first applied a thick layer of paint, shaping the forms within afterward. This technique imbued the entire painting with a subtle 3D effect, adding an intriguing dimension to the artwork. This unique approach resonated with me, sparking my curiosity and prompting further reflection.

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After visiting Tate Britain, I was deeply inspired by the surrealism works there .Surrealism allows me to set aside rationality and delve into the irrational and absurd aspects of the subconscious, provoking deeper reflections on human experiences.

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With the aims to better understand the knowledge level of sexual and reproductive health (SRH) among Chinese youth and how this is associated with their sexual behaviors and reproductive health outcomes, A total number of 17,966 undergraduates aged between 18 ~ 25, from over 130 Chinese colleges were included in the analyses. Results showed that only 55.6% of the respondents reported having received school-based sexuality education.

-------Li, C., Cheng, Z., Wu, T. et al. The relationships of school-based sexuality education, sexual knowledge and sexual behaviors—a study of 18,000 Chinese college students. Reprod Health 14, 103 (2017). https://doi.org/10.1186/s12978-017-0368-4

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Reticence to express emotions verbally has long been observed in Chinese culture. A survey on verbal usage of Wo ai ni was administered to university students in Beijing and Shanghai, and compared to uses of I love you by American students in the United States. Chinese respondents were not only overall more reticent than Americans in their love expressions, but differed from Americans in avoiding I love you expressions with family (especially parents).

Caldwell-Harris, C., Kronrod, A. and Yang, J. (2013) Do more, say less: Saying “I love you” in Chinese and American cultures. Intercultural Pragmatics, Vol. 10 (Issue 1), pp. 41-69. https://doi.org/10.1515/ip-2013-0002

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Influenced by Confucianism's emphasis on "valuing life and avoiding death," as well as folk beliefs dating back to the Yin and Shang dynasties where death was associated with spirits, Chinese people commonly exhibit attitudes of evasion, fear, and taboo surrounding death.

Death Taboo and Death Education CHI Xi-gin. Department of Social Sciences,Tianjin University of Technology and Education, Tianjin 300222, China

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I conducted a survey questionnaire on sex, love, and death education among individuals aged 18-25, comprising a total of fourteen questions.

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I conducted a survey questionnaire on sex, love, and death education among individuals aged 18-25, comprising a total of fourteen questions.

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Q1.What is your age? What is your gender? What city/region are you from?

Q2.How do you perceive your level of understanding regarding sex education?

Q3.Where did you primarily obtain information about sex education during your adolescence?

Q4.Do you feel that the guidance you received from your family or school regarding sex education during your adolescence was sufficient? (Excluding self-initiated learning)

Q5.Have you ever encountered any problems due to a lack of sex education? Or have people around you experienced such situations?

Q6.Where do you feel your understanding of "love" primarily comes from?

Q7.Do your parents often express love to you directly, or do they tend to show it through actions rather than words?

Q8.Do you think it's important to receive education about "love and relationships" during adolescence?

Q9.Did you receive guided education about "love and relationships" during your adolescence?

Q10.Did you receive any education or discussion about death during your adolescence?

Q11.Do you still feel fearful of death today, or find it difficult to face the reality of death due to the passing of loved ones?

Q12.Would you respect the wishes of a loved one facing a serious illness, allowing them to forgo treatment and spend their remaining days in happiness, or would you insist on treatment due to being unable to bear the thought of parting ways with them?

Q13.Do you believe that it is important for adolescents to understand and discuss topics related to death?

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Total: 15 people

Male:7

Female:8

18 yrs:1

20 yrs: 6

21 yrs:3

22 yrs:3

23 yrs:2

In southern China: 8

In north China: 7

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Note: Due to the background of this survey being based in China, and considering the language used in the questionnaire is Chinese, some direct translations into English may not be entirely appropriate. I will redraw the statistical graphs accordingly. Below is the original version of the survey questionnaire.

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Q2.How do you perceive your level of understanding regarding sex education?

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Q2.How do you perceive your level of understanding regarding sex education?

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Q3.Where did you primarily obtain information about sex education during your adolescence?

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Q3.Where did you primarily obtain information about sex education during your adolescence?

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Q4.Do you feel that the guidance you received from your family or school regarding sex education during your adolescence was sufficient? (Excluding self-initiated learning)

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Q4.Do you feel that the guidance you received from your family or school regarding sex education during your adolescence was sufficient? (Excluding self-initiated learning)

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Q5.Have you ever encountered any problems due to a lack of sex education? Or have people around you experienced such situations?

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Q5.Have you ever encountered any problems due to a lack of sex education? Or have people around you experienced such situations?

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Q6.Where do you feel your understanding of "love" primarily comes from?

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Q6.Where do you feel your understanding of "love" primarily comes from?

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Q7.Do your parents often express love to you directly, or do they tend to show it through actions rather than words?

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Q7.Do your parents often express love to you directly, or do they tend to show it through actions rather than words?

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Q8.Do you think it's important to receive education about "love and relationships" during adolescence?

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Q8.Do you think it's important to receive education about "love and relationships" during adolescence?

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Q9.Did you receive guided education about "love and relationships" during your adolescence?

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Q9.Did you receive guided education about "love and relationships" during your adolescence?

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Q10.Did you receive any education or discussion about death during your adolescence?

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Q10.Did you receive any education or discussion about death during your adolescence?

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Q11.Do you still feel fearful of death today, or find it difficult to face the reality of death due to the passing of loved ones?

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Q11.Do you still feel fearful of death today, or find it difficult to face the reality of death due to the passing of loved ones?

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Q12.Would you respect the wishes of a loved one facing a serious illness, allowing them to forgo treatment and spend their remaining days in happiness, or would you insist on treatment due to being unable to bear the thought of parting ways with them?

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Q12.Would you respect the wishes of a loved one facing a serious illness, allowing them to forgo treatment and spend their remaining days in happiness, or would you insist on treatment due to being unable to bear the thought of parting ways with them?

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Q13.Do you believe that it is important for adolescents to understand and discuss topics related to death?

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Q13.Do you believe that it is important for adolescents to understand and discuss topics related to death?

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This painting represents my experimentation with surrealistic techniques, employing exaggerated methods to depict absurd scenes. Inspired by the well-known Chinese saying "Children are the flowers of the motherland," it portrays how adolescents may blossom into distorted and twisted forms during the crucial developmental stage if they lack guidance in areas of sex, love, and death. The aim is to depict how education in sex, love, and death influences adolescents' understanding of themselves.

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This painting depicts some sexual fantasies in the minds of adolescents, portraying a sex education classroom.

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This painting depicts some sexual fantasies in the minds of adolescents, portraying a sex education classroom.

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These three paintings, themed around sex, death, and love, similarly draw inspiration from my visit to Tate Britain. I have discarded rationality to describe absurd scenes, delving deep into the subconscious of Chinese adolescents to express profound suppressed emotions.

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The inspiration for this painting comes from the description of death in the book "Seven Types of Death": "Death is a feeling of complete relaxation, like sinking into a warm bath." Therefore, I have depicted a death simulator in which adolescents can personally experience the feeling of death.

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A vending machine selling "explicit love."

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During my first presentation of my current work and theme to my classmates, I faced some questions that I couldn't answer at the time. For example, when I showcased the lack of education about love among Chinese teenagers, Ash asked me what I think love is. Perhaps I could have a precise answer for the definition of love, but I realized that the most important aspect of my artwork is to clearly convey the theme I want to express. This led me to reflect on whether focusing on three completely different thematic directions might be too broad. After all, love, sex, and death are all vast topics, and attempting to present them in a single series could potentially confuse the audience.

I then revisited my current work and noticed that my paintings were illustrations individually based on these three themes, without any special connection or similarity among them. After a series of experiments, I decided to focus on just one of these broad themes: death. I shifted my theme to focus on the taboos surrounding death in the Chinese context and the lack of education about death among teenagers. The reason I chose to concentrate on this theme is because it's the only one I have personal experience and deep feelings about. I remember when I was in elementary school, my grandfather was brought home terminally ill. Although he was delirious, he kept calling my name, but my relatives prevented me from seeing him, and I missed saying goodbye. It wasn't until I was older that I learned this was due to traditional Chinese taboos regarding death, such as the belief that children and pregnant women should avoid anything related to death. This experience left a deep psychological imprint on me and intensified my fear of death. To this day, I still feel that I am unable to face the departure of loved ones.

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In the framework of the Identities and Place studio I have chosen, my project will explore the impact of the lack of death education and cultural taboos on the identity formation of Chinese adolescents. By investigating how adolescents understand and deal with death within the specific cultural and geographical context of China, this project aims to reveal how cultural identity is constructed and manifested within social taboos related to death. This research not only helps us to more deeply understand how adolescents' identity is shaped by their perceptions of and education about death but also prompts us to reflect on how social and cultural environments influence and shape an individual's fundamental understanding of life and death.

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Painting / Sculpture / Art Installations

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Painting / Sculpture / Art Installations

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After attending the UAL Creative Attributes Framework (CAF) workshop, my perspective on personal development and career planning has been greatly refreshed. This workshop really clarified my values and goals, helping me see where I stand and where I want to go through a variety of self-assessment and reflection activities.

The sections on showcasing skills and adapting to changes were particularly helpful. I learned practical ways to better present my abilities and how to stay adaptable and flexible in the face of career challenges. The "Deck of Character" activity was a lot of fun—it allowed me to creatively explore and express my personality and skills, boosting my confidence and helping me appreciate my unique qualities even more.

Using the MyCAF tool to assess my capabilities was also very beneficial. It provided an objective view of my strengths and areas needing improvement. Overall, the workshop was not only informative but also highly inspiring for thinking about my future career path.

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In my initial idea, I plan to delve into the fundamental human experiences of sex, love, and death, especially the taboos surrounding them in Chinese culture. The question I've set for myself is: "How can I explore and present the taboos and perspectives on sex, love, and death in Chinese culture through my artwork?

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-Animation / Character Design

-Painting / Sculpture / Art Installations

-Printmaking (Relief, Intaglio, Lithography, and Screen Printing

-Editorial Illustration / Comic Narrative

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2 - Considering and Challenging For the 3 new areas you have written down: Spend 15 mins for each area making quick drawings and any other ways you can record and describe possible ideas that your ideas COULD take in these areas. You can write notes, but FOCUS on VISUAL ways of recording and communicating your ideas.

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3 After completing the sketches, we moved on to the next step of considering what could be improved in these works. I began to think about whether my illustrations could experiment with new materials, such as fabric.

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During my studies at LCC, I frequently used online platforms like Pinterest and Behance. These sites have been crucial for finding inspiration and keeping up with the latest trends in design and art. Pinterest has been especially helpful for visualizing abstract concepts and creating mood boards, while Behance has shown me numerous professional portfolios. These examples not only help me improve my work but also give me a clearer understanding of industry standards and expectations.

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Thanatophobia: Specifically refers to an extreme, irrational fear of death or death-related objects.

Death Anxiety: This term refers to an individual's fear or anxiety about death, covering both fears of one's own death and the death of others, especially loved ones.

Grief and Loss: This field explores the complex emotional and psychological processes that people undergo after losing someone close.

Acceptance of Death: This involves individuals' attitudes towards death and how they come to accept it as an inevitable part of life.

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In 2015, the Economist released the "2015 Quality of Death Index," which showed that among 80 countries globally, the UK ranked first, while China ranked 71st, placing it in the bottom ten.

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排名

2010年，经济学人智库(EIU) 发布了死亡质量指数报告，对40个国家和地区的临终关怀情况、可负担程度等进行了排。2015年，EIU再次发布死亡质量指数报告，将涵盖国家和地区从40个增加到80个。这些排名以五大类指标为依据：姑息治疗与医疗环境、人力资源、医疗护理的可负担程度、护理质量，以及公众参与水平。

收入水平与死亡质量正相关

尽管该报告显示死亡质量有一定改善，但仍有许多尚待解决的问题。即使是排名最前的国家或地区，目前也仍在努力提升每一位病患的死亡质量。

在调查中发现，英国拥有最高的死亡质量，而且富裕国家或地区往往排名较高。与2010 年相同，英国在2015年度死亡质量指数中排名第一，这有赖于英国全面的国家政策，姑息治疗与英国国民医疗保健制度的广泛结合，以及英国强大的临终关怀行动。

一般来说，收入水平是一项强有力的指标，表明了姑息治疗的供应情况和质量，这也是富裕国家或地区排名前列的原因。澳大利亚和新西兰分别排在综合排名 的第2和第3 位，其他4 个相对富裕的亚太国家和地区排名在前20 名之内：中国台湾排在第6 位，新加坡排在第12 位，日本排在第14 位，而韩国排在第18 位。除此以外，欧洲国家占据了其他前20 位的大部分名额，另外，美国和加拿大分别排在第9 和第11 位。中国仅排名71 位。

受人员和基础设施所限，许多发展中国家目前仍然无法提供基本的疼痛管理，但一些较低收入国家中存在少数特。例如，巴拿马正在将姑息治疗纳入 本国初级医疗服务中，蒙古的临终关怀设施和教学项目快速发展，乌干达在阿片类药物的供给方面取得了巨大进步。许多排名靠前的国家和地区都有全面的政策框 架，将姑息治疗融入到本国医疗体系中，例如英国和中国台湾的健康保险计划，以及蒙古和日本的癌症控制项目。

40%左右国家超过平均水平

尽管有证据证明发展姑息治疗能间接带来经济效益，但研究却发现，各国进行姑息治疗的比例却很小。2010 年姑息治疗费用只占英国肿瘤研究经费的0.2%，只占美国国家肿瘤研究院2010年总拨款的1%。在某些能力不足、无法满足姑息治疗需求的国家，此需求将 急速增长。中国、希腊和匈牙利等姑息治疗的供应有限，但需求快速增加，他们需要通过主动投资来满足公共需求。

本次死亡质量指数报告中，只有34 个国家或地区得到平均水平以上的得分。这些国家或地区的人口只占该指数评估所含国家或地区成年人口总数的15%，这意味着，大多数成年人都无法获得良好的姑息治疗，而排名靠前的国家或地区也仍存在这样那样的问题。

根据最近的经济发展状况，某些国家或地区本应在该指数中表现更好，但是在排名中却处在非常靠后的位置。印度和中国在整体上表现较差，分别排在第67 和第71 位。从两国的人口规模来看，这十分令人担忧。

对于中国，人口快速老龄化带来了额外挑战。姑息治疗的普及在中国一直很缓慢，治愈性治疗方法占据了医疗战略的主要地位。这一点可能会发生变化，因为最近出现了一些政策上的转变。

备注：

"临终关怀"经常被用来特指仅在绝症晚期提供的护理。"姑息治疗"是指通过早期识别、无误评估和治疗疼痛以及其他问题来预防和减轻痛苦，并提高生命质量。

重庆青年报记者 曾觅 整理自EIU（经济学人智库报告）

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全球死亡质量指数报告：中国仅排名71位

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排名2010年，经济学人智库(EIU)发布了死亡质量指数报告，对40个国家和地区的临终关怀情况、可负担程度等进行了排。2015年，EIU再次发布死亡质量指数报告，将涵盖国家和地区从40个增加到80个。

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Psychology of palliative care & end-of-life care

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Psychology of palliative care & end-of-life care

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The Quality of Death Index measures the quality of palliative care that a country or region can provide to adults. The UK, where palliative care originated, leads globally in quality. In contrast, China significantly lacks in this aspect, partly due to cultural perceptions: it is commonly believed among Chinese people that death is the result of failed treatment rather than a "natural" process, leading to all possible means being sought to grasp at "a glimmer of hope."

Psychology of end-of-life care focuses on providing psychological support to individuals with serious illnesses or at the end of their lives, as well as their families. This includes helping them cope with the emotional, social, and spiritual issues related to the illness and grief support before and after death. The goal of this field is to improve the quality of life for patients, helping them to face the end of life with dignity and peace, and to support their families throughout the process.

An article by Caixin, titled "Dying with Dignity," mentions that "in 2013, a survey on end-of-life care services in Shanghai showed that there were 242,500 cancer patients in the city, with 37,600 deaths from cancer each year. However, there were fewer than 234 hospice care beds available, accounting for only 0.28% of the total demand." Without subsequent policy encouragement, such a situation is unlikely to improve significantly. Moreover, there are very few professionals capable of providing palliative care, and training and accumulating expertise takes a long time. In other words, developing palliative care in China still has a long way to go.

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2015年度中国死亡质量指数报告

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2015年度中国死亡质量指数报告

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Due to the influence of Confucian concepts emphasizing the importance of life and avoiding death, as well as folk cultural beliefs dating back to the Yin and Shang dynasties where the deceased were thought to become ghosts, Chinese people commonly exhibit avoidance, fear, and taboo towards death.

First, in social life, people actively avoid discussing death-related topics, and even the word "death" is often shunned.

Second, the deceased are marginalized; seeing a corpse is considered unlucky, and it is particularly forbidden for pregnant women, as it is feared to harm the unborn child. There are also taboos surrounding the deceased's belongings, which are mostly discarded.

Moreover, during funeral periods, the bereaved are expected to reduce social activities to avoid bringing bad luck to others and must not visit the sick.

The existence of death taboos subtly affects people's emotions and behaviors, especially their cognition of death. However, it is crucial to recognize that while taboos can avoid certain situations, life cannot escape death. The reality of death taboos, although containing elements of politeness, only serves to obscure the fact of death, adding to its mystique and enhancing the fear of it. Furthermore, as society evolves and civilization progresses, human cognitive abilities expand, and the taboos surrounding death not only deprive people of their creative potential on this subject but also hinder free thought.

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Feeling of love

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Reflecting on a personal experience from my childhood, when my family prevented me from seeing my grandfather as he was nearing death, I realize how deeply cultural attitudes have impacted me as a Chinese individual. These cultural norms make it difficult for me to join my foreign friends in open discussions about death and to face the death of loved ones directly. Even now as an adult, I still fear losing my close friends and family to illness. This has led me to the realization that I need to create a series of works to help myself step outside my own cognitive boundaries, confront death directly, and recognize it as a natural part of life from birth. By doing so, I hope not only to aid myself but also to help others with similar feelings by alleviating the fear and anxiety associated with death, and highlighting the importance of understanding death and death education.

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From this artist's work, I was truly fascinated by how he transformed a near-death experience into visual art. As students, we are always encouraged to explore unique personal experiences and incorporate them into our creations, but seeing him express such an extreme experience in such a visceral way really broadened my perspective. Although his paintings start from a personal angle, I can clearly sense the meaning and purpose he wants to convey.

Using a white pencil on black paper, this simple method not only creates a strong contrast between light and dark in the work but also subtly depicts his feelings at that moment—both isolated and profoundly connected. This has made me realize that sometimes the most intense emotions can be conveyed through the simplest of media.

Moreover, his approach has made me think about how to use contrast and simplification in my own work, especially when expressing complex emotions or experiences. This is not only a technical revelation but also a powerful reminder of how to find and express personal feelings through art.

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<<UNTITLED(PERFECT LOVER>>

This artwork consists of two identical clocks placed side by side, starting at the same time but gradually drifting out of sync as time passes, eventually pointing in different directions. It's like a pair of perfect lovers, who, no matter how deeply in love, cannot escape the simple yet irreversible force of time, ending in separation.

The artist created this piece to express the fear of time passing and the loss of loved ones. Although the work does not directly address illness and death, it was inspired by the death of the artist's partner, hence the underlying theme of mortality. The piece uses the abstract progression of time to depict companionship, estrangement, and death among lovers. Illness, a primary cause of death, extends to its inevitable conclusion, just as the clock hands move forward, symbolizing the progression of life, the spread of disease, and the eventual arrival of death.

I find this theme deeply relevant to my own thoughts. The artist uses the abstract concept of time to illustrate that no matter how strong a love, it cannot withstand the unalterable force of time, which inevitably leads to separation. He aims to convey the fear of time and the loss of a loved one through this artwork.

I believe that, just like the two clocks, no matter how inseparable people may seem, they will eventually part ways. This piece inspires me to deeply consider themes of life, love, and the inevitability of loss. It also encourages me to integrate my own fears and experiences into my art, to inspire and comfort others, showcasing the true power of art. In my creative process, I hope to explore more deeply how to accept the ends and farewells in life, thereby resonating and provoking thought in the audience through my work.

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<<REEF>>

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In the work "REEF," Aerts portrays a rich and mysterious underwater world where active marine life symbolizes "life," while pure white sculptures of human figures entwined by sea plants represent "death." These white sculptures in the film appear as natural spawning grounds, providing vibrant energy and vitality for nature’s renewal. "REEF" is an ode to nature and its surrounding wonders. Aerts is captivated by nature’s extraordinary shapes, textures, colors, and patterns, which inspire him to use digital technology to interpret this beautiful complexity, fragility, and transience. Aerts perceives the impermanence and cyclical nature of life from nature, asserting that vitality in nature is accompanied by death, an inseparable and inevitable part of life. When death occurs, it often becomes a source of new life, benefiting some organisms as food or even habitat, with life perpetually cycling through.

His work immediately reminds me of the natural cycle of life and death in nature, such as the changing seasons, the growth and decay of organisms, and the close connection between birth and death. His art makes me think of new leaves sprouting on dead wood, as if death and separation are not the final endpoints, but rather, memories and love will eventually bloom into new flowers. I need to face death to welcome new life.

I am captivated by the cycle of nature and its manifestation in the life cycle of plants, particularly how plants demonstrate the immortality of life through decay and regeneration. I plan to incorporate this inspiration into my artistic creations to explore the cycle of life and death and this eternal theme in nature. This endeavor is not just a documentation of natural phenomena, but a profound reflection on the philosophy of life. Through this approach, I hope to convey the passage of time and the persistence of life force, and the beauty of new beginnings silently sprouting at moments that seem like the end. This will be a challenge, but I look forward to expressing this continuous cycle and rebirth of life through my art.

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To achieve the goals of my project, I plan to design a series of works, such as posters and illustrations, and intend to upload them to social platforms like TikTok and Instagram. For this purpose, I am also planning to design a special set of title fonts to enhance the visual impact of these works, making them suitable for project promotion and use in posters. The inspiration for this font comes from designer Fabian Aerts, whose design philosophy revolves around the life cycle of plants—from decay to rebirth. Through visual research on withered wood and fresh buds, I plan to extract their formative features and integrate them into the font design.

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The visual inspiration for my font design.

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The visual inspiration for my font design.

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Exploration Interests & Initial Ideas🪐

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Miriam Cahn, a Swiss artist, focuses on feminist themes, often depicting sexual organs in a bold manner that has deeply impacted me. Her paintings showcase the fragility and complexity of life through brutal sexual acts and fragmented bodies coexisting with elements of nature like animals and flowers. Her approach avoids straightforward political provocations, opting instead for subtlety, which has inspired my own work. I am exploring the lack of education on sex, love, and death among Chinese adolescents, and Cahn’s work highlights the potential of art to tackle sensitive issues effectively.

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Jiang Zhaoyan is an illustrator from Beijing whose works spark a sense of childlike wonder and imagination in everyone who views them. Using a mix of collage and hand-drawing techniques, she perfectly captures a tender story about love and death. This story made me reflect: although life may end, love endures forever. In the tale, even though the little girl's horse leaves her, it continues to accompany her in another form. In Chinese culture, people often avoid discussing "death," leading many, including adults, to feel helpless and stuck in the past when faced with the loss of a loved one.

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American Abstract Artist Michael McGrath

Born in 1977, American abstract artist Michael McGrath has a deep interest in religion, magic, and mythology. Driven by his curiosity about mysticism, Michael blends moments of inspiration from his life to depict stories with childlike strokes and harmonious colors. He integrates serious themes such as life and death, divinity and the mundane, in a relaxed and engaging manner.

Michael's subtle exploration of "divinity" offers me a new perspective on nature and life: the intertwining of time and space, the overlap of consciousness and matter, the coexistence of joy and sorrow, and the presence of both gentleness and fear. The artist transforms the deceased and deities into living beings in nature, portraying death with a sense of tenderness and childlike wonder. This blend creates a striking artistic tension, making "death" feel warm and full of vitality.

The artist hopes that through this poetic and whimsical expression, people will reduce their fear of life's end, and be able to discuss and face it freely, stepping into the "jungle" of life to seek the meaning of existence.

I am particularly fond of how his poetic and whimsical approach helps reduce the fear of death, allowing people to discuss and face it freely, stepping into the "jungle" of life to seek the meaning of existence. Michael has made me realize that depicting the theme of death does not have to be a cold and analytical observation of its decay. His illustrations, while describing death, are tender and playful. This aligns perfectly with some of my own views. If I can successfully incorporate this inspiration into my work, these gentle and powerful illustrations could effectively achieve my goal: to heal those adolescents who are also anxious about death.

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The final color palette primarily uses the hues of withered wood as the main color for the letters. The surrounding elements of the letters are depicted in vibrant colors, predominantly fresh green, to represent the new growth of plants. After continuous trials and experimentation, I am satisfied with this result.

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After completing my research, I began creating a series of illustrations. The concept of these illustrations is based on depicting adolescents' feelings about death from their perspective.

Drawing from my own experiences, I attempted to illustrate the journey of a girl who initially feels anxiety and fear towards death, gradually tries to confront it and heal herself, and finally comes to terms with it.

Thus, this series of illustrations tells the story of a girl moving from a fear of death to a state of healing and ultimately being able to face death. In the sketches, I designed a cat character to symbolize my younger self, who had a shadow of fear regarding death.

I incorporated many inspirations from my preliminary research, such as the works of Fabian Aerts. In my illustrations, I included many designs of withered trees and plants. To depict the anxiety towards death, I used withered trees. As the girl starts to heal, new leaves begin to grow on the withered trees, and by the time she can face death, the plants are lush and thriving.

My illustration style also draws heavily from the concepts of Michael McGrath. I designed the story and style to be gentle and whimsical, aiming to reduce the fear of death and allow people to discuss and face it more comfortably.

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The inspiration for the final illustration comes from the book "Seven Deaths" by Richard Shepherd. The author describes death as a feeling akin to slowly relaxing into a warm bath.

As I read the book, it gradually dispelled my stereotypical impressions of death and diminished my fear and anxiety about it. It also made me increasingly aware that life is a beautiful experience, encompassing all aspects—good and bad, fear and happiness, mistakes and victories, even pain and loss.

Therefore, for the final illustration depicting the ability to face death, I designed a warm bathtub with a soothing bath. The water droplets falling from the showerhead contain various memories from life.

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When determining the color palette for this piece, I encountered a small bottleneck. The initial color combinations felt somewhat lacking in depth. I initially tried pink and purple, but they appeared too modern and failed to convey the emotions I wanted.

Reflecting on the inspirations I borrowed from Michael McGrath's style, I decided to try a new color scheme. This new palette helped me find a way that better matched the theme and the overall composition. The green tones made the artwork feel more gentle and whimsical.

Through continuous experimentation and adjustment, I finally settled on this new color scheme. It not only conveyed the emotions I wanted to express but also made the entire piece more vibrant.

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After completing a series of illustrations, I decided to create an illustrated book to showcase them. Since these illustrations are narrative in nature, I believe that a book format would allow for better interaction and engagement with the audience.

Initially, I decided to create an electronic illustrated book, so I began by drawing a series of sketches and designing the book cover.

During the creation process, I began to consider why not also design the illustrated book itself based on my theme. This way, the illustrations could serve as a more intuitive extension of the theme during the reading process.

I started designing the cover and the inner pages of the illustrated book, leaving some blank spaces to insert the illustrations. For the inner page designs, I drew inspiration from Fabian Aerts, incorporating elements of withered trees and plants. For example, in the first few pages that express anxiety about death, I used darker tones and withered tree elements. As the pages turn, the plants gradually grow more lush, and in the pages where the healing illustrations are placed, I designed elements like a dove carrying a fresh leaf.

My idea is that, aside from the illustrations themselves which directly convey the theme, the illustrated book should also narrate this theme. Both the cover and the inner pages follow the process of plants growing from withered to lush, symbolizing the journey from anxiety about death to acceptance. The illustrated book and the illustrations complement each other, together expressing the theme. After the project is completed, I plan to upload the illustrations not only individually on social media but also publish them together with the illustrated book.

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Initially, I attempted to draw the cover of this illustrated book on my iPad. However, after finishing, I found the effect to be unsatisfactory. I realized that since the illustrations themselves were already digital, if the design of the book also used digital art, they might blend together too seamlessly, lacking distinctiveness and depth.

So, I began to rethink the medium of the illustrated book. I decided to experiment with various fabrics to create a physical book. The texture of the fabric not only adds visual and tactile richness but also creates an interesting contrast between the illustrations and the book itself, bringing each page to life.

Through continuous experimentation and adjustments, I transformed the electronic version of the illustrated book into a fabric book. This change not only enriched the expressive means of the work but also enhanced the audience's experience, allowing them to more directly feel the emotions and stories conveyed by the book.

In the end, the fabric book's design and the illustrations complemented each other, presenting a complete journey from the fear of death to acceptance. This development process not only demonstrated the flexibility and innovation of creation but also reflected my deep exploration and application of artistic media.

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After finalizing this idea, I began creating the illustrated book primarily using fabric, combined with other materials such as buttons, beads, and sewing thread.

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After finalizing this idea, I began creating the illustrated book primarily using fabric, combined with other materials such as buttons, beads, and sewing thread.

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During the creation of the illustrated book, I added two new pages. One page expresses confusion and uncertainty about death, using symbols like swirls and question marks. Additionally, the broom on this page symbolizes an item associated with my late grandfather from my childhood memories. This page serves as a transition between the page depicting the fear of death and the page where the process of healing begins.

For the final page, I added a bathtub with warm water, inspired by the book "Seven Deaths." This page further enriches the storyline and makes the theme more cohesive.