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YOUR ARE INVITED TO IMMERSE YOURSELF IN THE WORLD-MAKING PROCESS OF MY IMAGINARY WORLD 

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YOUR ARE INVITED TO IMMERSE YOURSELF IN THE WORLD-MAKING PROCESS OF MY IMAGINARY WORLD 

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Today we visited the Science Gallery where were introduced to the SWARM Exhibition Tour. During the tour, I found myself thinking about the idea of speculative fabulation and how I could approach my imaginary world through this lens. To blur the lines between humans and animals and create a new interpretation that was honest and relevant to me. Furthermore, I seek to tell a story and rely on research and questioning to curate my imaginary world.

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Furthermore, a discussion about on how to design an exhibition that is meaningful and engaging was touched upon. Ensuring that the audience feels liberated and informed enough to navigate through the aesthetic I present to them.  This makes me wonder how I will arrange my final creative product in our exhibition and ensure that what I seek to convey is received.

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Figure 1.1: First artefact from SWARM exhibition

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This is the first artefact I came across, here the researcher wanted to know what happens when you apply shark pheromones on the human skin. I smelled each beaker that contained the pheromones, there were only two that emulated perfumes worn by humans. Furthermore, I resonated with the idea of smell because smell can elicit distinctive memories about who we were and the our experiences. For example a story can emerge from smell. This makes me wonder how I can incorporate sensory knowing in my imaginary world.

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Figure 1.2: Artefact from SWARM exhibition

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This is another artefact, I am fascinated with medium used here because it produces an embodied and immersive aesthetic. I see threads of metal surrounding me, I hear familiar and unfamiliar sounds, I think this artefact could encourage deep listening if the content of the sounds were different. I wonder if this concept could transform into a fictional character that belongs to an uncanny imaginary world.

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Figure 1.3: Video of sounds from artefact

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Materials: Paper, etching needle, drypoint plastic and etching ink.                        

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Figure 1.4: Materials for dry point etching 

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Figure 1.4: Materials for dry point etching 

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I seek to explore the nuances within the process of deterioration, as a result I engaged in dry point etching because I was looking to create a distressed appearance that reflected the deconstruction of things. I went over some of the etchings again because I wanted some parts of artwork to have more ink for an erratic aesthetic.

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Figure 1.5: Sketch for dry point etching 

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Framing how I want the print to look like with pencil.

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I see lines consuming a face and at the same time giving it form. I think destruction and reconstruction of something is taking place. I wonder what other shapes I can use to construct a new character or even creature.

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Figure 1.6: Jottings and exploration about imaginary world

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Figure 1.7: Jottings and refinement of drawing

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I decided to jot down for five minutes ideas and potential narratives that I wanted to explore in my final creative product. At first I wanted to incorporate an emotional aspect into my imaginary world however I shifted to focus solely on physical characteristics. Even so, when I was jotting and drawing today, I found myself gravitating towards the emotional aspect of humans, this is evident when I jotted down the words 'pain' 'confidence' and happiness' and as a result, I decided to explore the relationship between emotions and physical characteristics.

I see a another layer of skin pervading the woman's face. I think it is healing her, adding a new vigour within her. I wonder how I could use emotions to symbolise something, possibly create a new conlang.

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Materials: Water, watercolour, paper an brush. 

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Experimented with pigment ratio in watercolour at home.

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Figure 1.9: Jottings and exploration of watercolour on pencil

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At first, I was going to stick ripped pages on to the drawing to highlight my theme of deterioration. However, I wanted to also show the theme of regrowth and resurrection so I thought it was appropriate to convey this through watercolour.  Consequently, the use of watercolour over the cracks in the skin represents new skin forming.

I see a hand that is deteriorating however surviving under a new layer of skin. I think they will have a hybrid skin. I wonder how hybrid skin could enhance both the earthly and unearthly.

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Figure 2.2: Photograph of pebbles and flowers 

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I went outside today and took a picture of something that related to my themes and imaginary world. When I was looking at the pebbles they almost reminded me of people- kinship. Then I realised that the withered flowers were not just on the surface of the pebbles but intertwined with the rocks. This encouraged me to reinterpret the photograph.

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Continually, I sketched the picture I had taken outside. I see a group of people or creatures engulfed by something unearthly. I think the people and creatures will be transformed into something new- powerful. I wonder how this transformation will allow them survive.

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I decided to focus on humans first and explore another way the skin reacts to deterioration.

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Figure 2.6: Jottings about my imaginary world 

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Figure 2.6: Jottings about my imaginary world 

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Today, we were put into groups to discuss how each one of us would be presenting our artwork. I was in the group called 'Evolving Hybrids' and proposed that I would need a table because my artwork needed a firm base.

Later, I jotted down the imaginary world I wanted to present. For example, I explored the themes of hybridisation, growth, creating and destruction.

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Figure 2.7: Framework of my final creative product 

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Figure 2.7: Framework of my final creative product 

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Today, I created a framework of my final creative product. I also considered the technicalities of my artwork, for example making sure that the hand was not too large and was proportionate to the people and animals.

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Materials: Air dry clay, water and rectangular plastic plate 

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Figure 2.8: Experimenting with air dry clay

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Figure 2.8: Experimenting with air dry clay

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Using water allowed me to smooth and blend pieces of clay together, giving it a natural and realistic appearance.

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Figure 2.9: Experimenting with air dry clay

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Figure 3.1: Experimenting with wire and air dry clay

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Figure 3.1: Experimenting with wire and air dry clay

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I decided to reproduce the hand using wire instead of clay. The shift in material was due to the fact that I wanted to highlight the application of new skin on the people and creatures. The wire is emblematic something extraterrestrial that is extracting and adding new features furthermore, the clay represents new skin or features being given.

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I am collecting some materials for the exhibition. I am not sure if I will continue with the game show concept however I still printed out a sports arena because it relates the concept. Continually, I found a wooden board that I would like to use in the exhibition.

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Today I went outside to attempt deep listening.

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Figure 3.4: Reflection on deep listening 

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During deep listening, I wanted to apply sensory knowing through one feature. I decided to choose eyelashes because my imaginary world would be exploring human features. Furthermore, I discovered that in a way there was a kinship forming between my eyelashes and the physical environment. To further illustrate, my eyelashes were absorbing information from being outside, being immersed in the wind. As a result I seek to incorporate this concept in my final creative product.

Furthermore, I also drew a sound map. I discovered that the speed and pitch of the song influenced how hard I pressed into the paper. Additionally, I realised that the direction of the wind also influenced where I drew on the paper. For example when the wind was directed towards me, I drew towards my body.

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I am thinking of experimenting with watercolour on the monoprint to make the artwork appear more defined and animated.

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Figure 3.9: Monoprinting and watercolour painting 

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Figure 4.2: Dipping newspaper into water

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Figure 4.2: Dipping newspaper into water

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Materials: Water based blue ink, plastic, paper and watercolour paint

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Figure 4.3: Printmaking and watercolour painting 

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Figure 4.3: Printmaking and watercolour painting 

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This relates to imaginary world because the erratic appearance reflects a process in the deterioration of things, where the former skin and new skin combats each other.

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Figure 4.5: Printmaking with foil and watercolour 

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Figure 4.5: Printmaking with foil and watercolour 

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At, first I was only going to print with the foil however I decided to add thick strokes of water colour to represent something uncanny consuming the landscape. I added more watercolour strokes to highlight the erratic nature of the art work which in a way reflects the destruction of things.

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17/10/22

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This is my final rendering of my imaginary world. I decided to use the concept of a game show to curate frame my imaginary world because I sought to convey a sense of urgency, highlighting that the deterioration of physical characteristics and emotions can foster growth and survival in unfamiliar settings. Furthermore, I explored the deconstruction and reconstruction of features as one aspect of my imaginary world and attempted to also convey the restorative process through the green clay that represents new skin.

Moreover, "breathing under skins" can be a form of survival  and growth that supersedes our former self.