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I took a few photos of myself sitting on my bed with my LED lights set to purple. Since I almost always have the lights on in my room, it felt like an important detail to include, and it also helped make the scene more vibrant and true to my personal space.

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To begin my final piece, I started by monoprinting an outline of myself. In the right photo I struggled with the size of the prints and the positioning on the page, as the print shifted accidentally a few times and I also used too much ink. On the left i had same issue with size of the print and also not enough ink. Although It was a good way to experiment and see how the image would look in this style.

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Starting research for this project wasn’t easy at first. I struggled to find what kind of work I wanted to explore or be inspired by. With so many possibilities, narrowing down a focus felt overwhelming.

I eventually decided on Tim Burton after visiting his art exhibit at the Design Museum, I felt like it gave me a place to start thinking visually and I already have a love for his films and art style, so it still offered a way to connect to my theme of self-identity.

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This and following series of images show the creation process of the final piece:

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This and following series of images show the creation process of the final piece:

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I started again, this time using larger paper. I monoprinted just the outline of my figure and then sketched the rest in pencil as I planned to erase slightly and paint over with watercolours.

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For the beginning of my Final Major Project, I started by considering the pre-determined themes for me to choose from by creating mind-maps of the themes that interested me most and then started the same process for my interests as well - as my desire to focus my project on learning new skills as well as things that will interest me are to further engage me in the project more.

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Tim Burton is an American filmmaker, animator, and artist known for his gothic, whimsical style. Born in 1958, he started as a Disney animator before gaining fame with films like Beetlejuice, Edward Scissorhands, and The Nightmare Before Christmas. His work is a blend of eerie fantasy and bizarre whimsy, creating unique, striking worlds filled with odd characters. Films like Alice in Wonderland and Miss Peregrine’s Home for Peculiar Children are some of my favourite movies he was a huge part of creating that represent his love for the strange and unusual, turning the eerie into something enchanting. His unique visions go beyond film into illustration and concept art, always carrying his signature spooky and charming style.

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The following is my first rough mind map of the predetermined FMP themes, with coloured keys that link to all initial ideas of potential original themes to explore.

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I took a step back to reflect on the project while creating concept mind maps, thinking carefully about all the artists I had studied so far. On the second page, I began to consider the idea of incorporating elements from each of them into one piece and the type of layout the page might have. This felt like a fitting way to express different aspects of my identity through the lens of the various artists and styles that had influenced me throughout the project.

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This is my second mindmap where I eliminated the ideas that interested me the least to help me focus in on one theme - I summarised into 4 main themes; Animals and Creatures, Faces, some of the assigned themes, and Self Identity. Each theme has branches with potential concepts I can explore if I chose them.

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I began by identifying the colours and shapes I would start blocking in, making sure not to go too bold at first so I could leave room to build up layers gradually. This helped me map out the composition.

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Before deciding on my theme, I created mood-boards to help me visualise the process and gain inspiration for each potential theme. This was my first one, with the theme Fear & Desire from the predetermined themes. I really think that this theme had a lot of potential and I almost regret not choosing it, but my desire to cultivate my own theme with my own thoughts was the biggest factor for why I didn't go with it - which I don't regret.

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Here is mood-board two for the theme of Faces, when creating this mood-board I had one thing in mind which was to show the diversity in faces through species and formats, from digital media to portraits to wildlife and nature. This is also what I visualised when I initially thought of the idea, excited by the diversity to draw my specialty with such potential. I find myself drawing faces or just facial features a lot in many forms, so it was a difficult decision to not pick this theme but again, I don't regret it because I feel that sticking with my comfort zone was not what I wanted from his project, I want to use it to develop my skills.

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The following is the third and last mood-board I created, with the theme loosely being self-identity – therefore being about me. It displays aspects of my identity that I wanted to represent and potentially create art about, such as: Relationships (platonic, romantic, familial), my own hobbies and interests, and photos of myself. My thought process behind considering this theme was that it would allow me to explore almost anything that interests me, despite my concern that it would make me seem self absorbed which I soon realised was silly since this project's for me and this theme would give me a broad and exciting variety of points of interest.

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For deciding what my theme would be, my biggest mental debate was that choosing Faces as the theme would allow me to draw them and them alone, which I really enjoy. There was also the interesting concept of pareidolia (where you see faces in your surroundings or inanimate objects) that would also be quite unique. Then there was self-identity, I'd be able to explore anything in any style, from any media and any artist. I'd also still be able to create faces within the theme as well just a lot more loosely.

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This was the final mind-map I created regarding my theme, which was because I had now chosen the theme to be 'Aspects of self Identity' which was more of a placeholder title. I wrote down anything that I believed contributed to someone's self identity, as well as using my own as a reference. This helped me gather points of interests to begin exploring and starting off my project.

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This and the following two images feature a collection of photos taken at the Tim Burton art exhibit in the design museum, featuring movie props, costume displays, Tim Burton’s personal artworks, concept artworks and a special inclusion of a moving art piece bringing his 2d work to life.I thoroughly enjoyed the experience, finding Tim Burton’s work both inspiring and exciting, especially as a fan of his art and films.

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These small artists copies I did of Tim's work were essentially a warm-up to his style as I'm not used to drawing such exaggerated autonomy, for example the large eyes and long slender limbs. I had a lot of fun with his style especially with the bottom drawing of Tim's character Jack Skellington - which features the use of watercolour layered over a fine-liner illustration.

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To further explore Tim's style I decided to create a page dedicated to sketches and medium tests related to his works, including attempts of drawing his characters from the movie corpse bride, as well as others movies. The materials used on the page were charcoal pencils of different intensities, mechanical pencil, and different widths of fine-liners. In the page's centre I featured my attempts at illustrating myself in a Tim Burton inspired aspect, it was a really enjoyable process trying to adapt human facial features to his style - making my eyes rounded and somewhat sad looking. I also added a black cat as part of the drawings to further represent myself and as well as the fact he has previous cat themed illustrations that also inspired this decision.

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After deciding I was satisfied with what I had explored through Tim Burton’s work, I felt ready to branch out and search for new inspiration. I turned to Pinterest, hoping to discover something that would push me in a slightly different direction. I had a growing interest in developing my skills with and exploring a more colourful or expressive medium - which caused watercolour to stand out to me. It's something vibrant that contrasts the different darker nature of Burton’s style, which I felt was what I wanted.

As I explored the artists presented to me, I eventually came across the work of Lucinda Rogers. I browsed through more of her works on her website and felt fascinated by the way she could evoke the character of a place so accurately with just a few splashes of paint combined with her detailed linework. The observational and authenticity of her style felt creative and fun. Her work made me think about how the environments you grow in can play a role in shaping a persons identity, which tied back into my central theme in an unexpected but pleasant way.

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Here is a a collection of photos I have taken at the Yayoi Kusama Infinity Mirror Rooms exhibition from a trip to the Tate Modern from the end of last year. It was an immersive walk-in experience that surrounds viewers with mirrors, water and lights. The display creates the illusion of endless space and leads you to become fully absorbed in the environment. I thoroughly enjoyed the experience, it felt magical, like I had stepped into a portal to another dimension. It was both peaceful and inspiring which since then I’ve felt an interest in Kusama’s work.

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Lucinda Rogers is a British illustrator known for drawing real-life city scenes. She works directly in ink without using pencil first, which gives her work a loose, fun feel. She often adds light watercolour to bring out certain details, but her main focus is on capturing the vibe of places.

Her work shows busy urban environments like markets, buildings, and construction sites.

I like her style because it feels alive and natural. It’s not perfect or overworked, but full of personality. She inspired me to try drawing in her style, despite a lack of confidence in landscape illustration.

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Stage 3: Darkening areas and building composition

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I started filling in the walls and darkening areas that felt too light, aiming to build more depth and contrast. Trying to achieve accurate colours using only shades of purple proved to be quite difficult, as it was hard not to default to painting things based on what I know their colours to be. For example, the lower part of my walls are green, but I had to reinterpret them as a shade of purple to match the lighting. This was challenging as it required me to think about how the colours behaved under a tinted light.

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When creating these outcomes, I decided to use photos from my DSLR workshop, specifically ones that captured the theme of friendships, which could tie directly into my overall project. I felt that Lucinda Rogers’ style would lend itself well to this idea, helping to create a vibrant uplifting feeling in the overall outcomes.

However, I actually struggled quite a lot with the process. Starting with the colours first before adding any linework which proved to be more challenging than I expected. It was difficult trying to map out where everything should go without clear outlines, and I found myself second-guessing placement and composition. Even though I had intended to reflect Lucinda’s style, I don’t see much of that influence in the outcomes. I think I used too much paint which made the work feel heavy and too precise. Looking back, I realise I should have focused more on the linework, keeping the paint lighter and more suggestive like she does. I also realised I don’t have much confidence in my watercolour skills yet, which added to the pressure. Despite this, the experience helped me push outside of my comfort zone, and gave me a better appreciation for the complexity behind such a seemingly effortless style.

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Feeling unsatisfied with my previous outcomes, I was determined to give it one more try and make a stronger attempt at capturing the essence of Lucinda Rogers’ style. I decided to work from a photo I had taken of my house. Since my project theme revolves around aspects of identity, I thought bac to the idea of environments we grow up in shape who we are. Lucinda’s work really sparked that line of thought for me, her ability to capture the atmosphere and character of a place made me reflect on the importance of my own surroundings.

I’ve lived in the same house my whole life, and I feel a strong personal attachment to it. Choosing this subject felt like a meaningful way to connect both to my theme and to Lucinda’s artistic approach. A drawing of a house also aligns more closely with her body of work, which often focuses on architecture and place, rather than people. This time, I approached the process with more intention - being careful with the use of watercolour and paying greater attention to the linework. I also used a pencil sketch just to have a little more caution and not just diving straight into it. As a result, I was much more satisfied with the outcome. It felt more honest, more personal, and visually much closer to what I had hoped to achieve.

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In the midst of trying to figure out what to work on next, I decided that experimenting with a variety of materials was important for pushing my ideas further. This led me to test out ink using a range of tools, including brushes, lollipop sticks, clay sculpting tools, and a dip pen. While the experience wasn’t particularly new or exciting as I’ve done similar tests in the past - it was still an enjoyable reminder of the fluid nature of ink and the depth of its dark tones.

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a picture taken of printed out sketches from adobe illustrate that are stuck into my sketchbook

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I continued experimenting, this time shifting to digital methods by using Adobe Illustrator. I created a series of simple cat drawings and as well as part of a torso of a cosplayers outfit which I had seen on my Pinterest homepage, while practicing different brushes - mainly relying on the oval brush. This stage was purely about experimentation with no deeper concept behind it, just a chance to explore see how I felt about using Illustrator again. It gave me a break from the more hands-on materials I had been working with, and allowed me to approach drawing in a cleaner, more controlled environment. While it wasn’t deeply connected to my theme, it was still a useful exercise in broadening the range of techniques I was engaging with.

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Here are some additional Adobe Illustrator drawings, featuring two of my own pet cats and an unfinished observational piece based on another photo from Pinterest. Honestly, I haven't felt much excitement while using Illustrator this project. The program feels quite rigid and limiting to me and personally lacks the fluidity I enjoy when working with traditional materials or other programs. Every time I return to it, I’m reminded that it functions more as a graphic design tool than something suited for detailed, expressive illustration. While it's useful for certain types of work, I don’t feel it aligns well with the kind of creative freedom I’m looking for in this project.

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Besides exploring my hobbies and interests, I also want to consider exploring my relationships whether it's familial, platonic or romantic connections - or my pets too. These relationships are all important parts of my identity that offer other paths I could take my project into. This would also allow me the opportunity to explore a wider range of materials and techniques, while developing potential ideas for a final outcome. I hope to create work that feels honest and emotionally engaging, while continuing to experiment and grow.

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This page was utilised for mainly trying out other visual techniques by combining or layering materials but in a smaller/ compact range - featuring ballpoint pen, charcoal pencils again, fine-liners with the incorporation of alcohol markers too.

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Before creating this sketch I realised that, although I wasn’t far into the project yet, I hadn’t actually created a single self-portrait. With self-identity being such a central theme, I felt it was important to include myself more directly in the work. To refine my skills in realism, I decided to attempt a self-portrait using a 4B pencil. I’m really pleased with the outcome and feel that I captured the reference image fairly accurately. Of course, there’s still plenty of room for improvement particularly when it comes to drawing hair, which I found especially challenging.

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My next artist research was focused on Yayoi Kusama, an artist I had actually been waiting to explore until I was further into the project. Up to this point, I had mainly been expressing aspects of myself through experimenting with other artists’ styles, and I wanted to apply that same approach to Kusama's work as well. I was already familiar with her through a past visit to one of her exhibitions, which left a strong impression on me. However, after researching her more deeply, I realised her work was quite different from what I had initially expected. Despite this, I remained intrigued and inspired, and was eager to try incorporating elements of her bold visual language into my own outcome.

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Yayoi Kusama is a famous Japanese artist, known for her bold use of polka dots, bright colours, and repetitive patterns. She was born in 1929, and works across many different forms including painting, sculpture, and immersive installations. I first experienced Kusama’s work in person at the Infinity Mirror Room exhibition at Tate Modern, which is one of her most iconic exhibitions in my opinion. Walking into the space felt like stepping into another world - it was visually overwhelming but also calm and dreamlike. At the time, I didn’t know much about her, but the installation really stuck with me. Later, while searching on Pinterest for art style ideas for my FMP theme, I stumbled across her work again.

Seeing her work with fresh eyes surprised me, her centralisation on the use of circles in her work wasn't what I had expected considering my experience with her exhibit - but I still wanted to utilise Kusama’s style because it made me want to be more experimental and to step out of my comfort zone while developing ideas for my FMP.

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Yayoi Kusama - Artist response/ Experiment

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Yayoi Kusama - Artist response/ Experiment

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This particular piece of Kusama’s work inspired me to create my own version, as I found it fascinating how she portrayed herself through such a unique and stylised approach so accurately. I wanted to explore that same idea of self-representation by attempting to create the same visuals (such as the colours). However, the process turned out to be much more difficult than I had expected especially since I used alcohol markers. This decision not only made the work unexpectedly less vibrant than I wanted but because I didn’t have a black alcohol marker I had to use a whiteboard pen for the black areas instead, which unfortunately led to a lot of smudging. There was also drawing all the individual circles that made the process incredibly tedious and hard to keep consistent.

Overall, I wasn’t happy with how the piece turned out visually, but the experience gave me a deeper appreciation and respect for Kusama’s work. Attempting her style helped me realise the level of precision and patience it demands.

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For my next area of research, I wanted to shift focus to my hobbies/interests - especially after my less enjoyable experience working in Kusama’s style. Referring back to my mind maps, I decided to explore two themes that are particularly important to me and directly link together: anime and cosplaying. This direction genuinely excited me, as I tend to use a more cartoon-like or stylised approach in my drawings anyway, so it felt like a more natural and comfortable space to explore.

I began thinking about the series I love most and the characters I’ve already cosplayed as. This led me to look into the work of Tatsuki Fujimoto, the creator of one of my favourite shows - Chainsaw Man.

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Tatsuki Fujimoto is a succesful Japanese manga artist known for his unique visuals and storytelling. I really like his rough, expressive art and also his cinematic framing in manga panels. His use of panel layout feels like you're watching a film, which makes his work stand out from other manga artists. His stories often feature dark, chaotic action and emotional/personal themes like grief, loneliness, and identity.

What I particularly enjoy about his art is the way he draws people; the designs being visually pleasing, with a subtle mix of realism that brings out their designs.

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I’ve loved cosplay since I was about 11 years old, and with my project theme being identity, it felt like something I definitely wanted to explore. Dressing up as characters I connect with has always been more than just a fun hobby it’s a way for me to express different parts of myself and step into other identities. It’s not just about wearing a costume, but about becoming the character. It's a fun and freeing hobby that comes with a wider community of people who share the same passion. I'm happy to be able to explore this part of myself through Fujimoto's style as I've never had this opportunity in previous projects.

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I began experimenting with Fujimoto’s style by creating sketches of characters from panels of the Chainsaw Man manga I sourced from Pinterest. I focused on maintaining his distinctive approach to character design, for example the unique use of facial features. His detailed style of illustrating eyes stood out to me because of the semi-realistic quality that gives his characters that signature look. Using his style was a way to push my understanding of character expression and design.

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Here I made a few small attempts without using any references to draw his character Power, just to see if I could capture Fujimoto’s style from memory. I felt that I managed to do this quite successfully in the left image, where the features and expression felt closest to his distinct aesthetic.

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referenced images of myself cosplaying as Power, though in the original photo I wasn’t wearing the horns, so I added them into the drawing. I aimed to keep the piece recognisable as both the original photo while still reminiscent of Fujimoto's style. It was an interesting challenge to blend my own features with his visual language, but I think it helped create a more personal and relevant outcome to the project.

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So far throughout the project I'd noticed I had created self-portraits or versions of myself in the styles of different artists, so I decided to do the same again but this was the one I was most excited to try - especially because of how much I love this particular art style. I really wanted to do it justice, so I spent a lot of time erasing and redrawing the features to get the proportions right. It was a more time-consuming process than I expected, but it felt worth it to get as close as I could to the feel of Fujimoto’s work while still maintaining some sense of myself in the portrait.

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Thinking about final piece and next research

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Thinking about final piece and next research

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At this point in the project, I was quite far along with around a month left before the deadline. Keeping that in mind, I started to reflect on the journey so far. Although I had explored several artists, I often found myself struggling to form a strong connection or draw the inspiration I was hoping for. So, I decided to shift my focus and look for an artist whose work felt more personal and directly connected to their own identity. I hoped that by doing so, it would be easier to explore my theme more deeply and potentially spark new ideas for further outcomes - or even inspire the direction of my final piece.

That’s when I remembered an artist I had considered researching for a previous project but never explored further: Tracey Emin. Her work is deeply personal, raw, and emotionally expressive, which felt like a perfect match for the direction I wanted to take at this stage.

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Tracey Emin is a British artist whose work covers a range of mediums like drawing, painting, sculpture, and installation. She's known for her very personal and expressive style, which was what drew me to her in the first place. A lot of her art is based on her own life experiences, often exploring emotional themes like love, trauma, heartbreak, and vulnerability, and she presents them in a very raw, honest way. One of her most famous pieces, My Bed (1998), depicts her actual, real unmade bed that's surrounded by personal items like clothes, empty bottles, and other traces of her life. I and anybody else who's seen it find it to be a powerful statement about mental health.

She has also created neon text artworks featuring handwritten-style phrases that feel like private thoughts or diary entries, short and emotional but really stick with you. Her work is like a reflection of herself, because it's so open and personal I felt really drawn to it especially since the theme for my project is identity.

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What inspired me to create my first outcome for Tracey Emin, was the visual elements of her painting "There Was Blood" and her sculpture "My Bed". The sculpture is a raw, unfiltered presentation of Emin’s actual bed, surrounded by personal items, symbolising emotional vulnerability and a reflection of her inner state. This made me think about my own living space and how it could also represent parts of my identity. That idea influenced the way I approached my outcome, wanting to incorporate her visual language and emotional honesty.

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To achieve that goal, I came up with an idea: while I was in college, I asked my mum to take a picture of my room after I had rushed to get ready in the morning. I felt this would provide an honest and unfiltered reflection of that everyday process- capturing the kind of raw, personal moment that Tracey Emin often explores in her own work while still being about my own identity. Inspired by There Was Blood, I used a red watercolour paint for the background to evoke a similar emotional tone, then layered charcoal pencil over the top. This allowed me to achieve a rich black effect while still keeping control over what I was drawing. I chose not to overwork the details, aiming instead for a sketchy, interpretive quality to echo Tracey’s style.

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After seeing my interest in Tracey Emin, my tutor gave me a book about her backstory, work, and personal experiences. This turned out to be quite an eye-opening experience, I was captivated learning about more intimate details of her journey and what shaped her as both a person and an artist. It gave me a much deeper understanding of the emotions behind her work and why she creates in the way she does. It was a valuable research experience that not only enriched my perspective but also filled me with new inspiration and motivation for my own project.

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Pages of the Book that resonated with me

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Pages of the Book that resonated with me

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I photographed the pages that resonated with me, featuring pieces of writing that felt poetic and vulnerable, hitting on quite a personal level. There was also some of her sculptures too, they seemed to capture a place or a memory so vividly, it gave me a feeling of nostalgia.

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Upon the recommendation of my tutor, I explored Tracey Emin’s monoprint works. I really liked their loose and expressive style, especially the ones that included handwritten text, which gave a bit more context or emotion to the piece. I found the mix of image and writing interesting, and it inspired me to try creating a couple of monoprints of my own.

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I really love the way they turned out, them being quite the opposite of each other. One had too much ink, while the other didn’t have enough. However, I think the effect it gave to each print is really fascinating and unique. One felt pale and almost ghost-like, while the other appeared much harsher and more intense. It was interesting to see how the same image could create such different moods just through the amount of ink used.

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These are my next set of monoprints, I decided to use photos of myself and to see if I could create more interesting effects by introducing another colour. I chose red again because I had already been working with that colour while exploring Tracey Emin’s work.

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I did some observational pencil sketches to see how my drawing skills have improved, and I think I captured the form and anatomy quite accurately. I also did a small charcoal drawing over a scrap from my monoprinting, which turned out to be a nice little experiment with texture.

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I did another freehand sketch using charcoal pencils, as I feel the effect works well with Tracey Emin’s style. The words included don’t carry much meaning as they’re just lyrics from a song I was listening to while drawing - but I wanted to experiment with how writing felt within the piece. I really liked the rough quality the charcoal gave to the text, and overall I’m happy with how the drawing turned out and I think it reflects inspiration from Tracey’s monoprints in my own way.

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This workshop was the one that significantly interested me to try since I've got a fascination in photography, although unfortunately I couldn't come in on the day it was held and I had missed the lesson, but I was happy my friends made time to take our own photos with the cameras, which I felt was more personal and connected more deeply with my theme anyway - it turned out to be a good representation of friendships in the theme of Self Identity.

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I then moved on to filling in the darkest parts of the painting which were under the bed. This helped give the piece more structure and depth as well as making it easier to judge how the lighter tones and mid-tones would need to interact with each other.

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After working with all these materials and really enjoying the pace I had settled into, I felt ready to start planning my final piece. With around two weeks left in the project, it felt like the right time to begin bringing everything together and thinking more intentionally about how I could reflect the themes I’d explored in one final outcome.

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I explored these beginning concepts further in this and the following two images, experimenting with different formats and creating mini mock-ups to help visualise how the final piece might look. The main idea I was developing was a self-portrait segmented into different artists’ styles, which felt like a strong way to reflect my theme of identity. This approach allowed me to test out multiple compositions and better understand how I could blend the various artistic influences into one cohesive outcome.

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Next, I filled in the last gaps of white across the piece to unify the piece. I also built up additional layers where needed to correct any colours I felt unsure about and to refine a few minor details.

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I was feeling unsatisfied with my previous idea, as it seemed to stray from what my project had been building toward and didn’t feel like a strong or meaningful representation of my theme. This prompted me to revisit my recent work focused on my bedroom, which felt much more personal and connected to both my identity and project. While I didn’t completely discard the idea of using different artists in a split layout, I quickly decided it wasn’t the right direction to take. I created loose rough drawings with fine-liner just to quickly get my visualisation jotted on the page

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I created a larger, slightly clearer but still rough sketch to better ground my idea and make it easier to imagine and compare the ideas.

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Here I split the page, sketching rough ideas for my final piece on each side. I also wrote down the reasons why I was drawn to or hesitant about each concept, which helped me weigh my options and come to a decision. Concept 1 didn’t feel focused enough or like a strong representation of my theme, but it would allow me to incorporate multiple mediums and techniques, making it an opportunity to experiment and refine my skills. Concept 2, on the other hand, felt more personal and focused, offering clearer direction through specific artists’ influences, which I believed would make the creative process easier and more meaningful.

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I then smoothed out areas that felt uneven and focused on the right-hand wall. I made sure the yellow lighting blended naturally into the space and felt believable to give an accurate and realistic atmosphere.

To enhance the wall’s texture, I softly suggested a brick pattern by adding a few rectangular shapes in lighter and darker shades using watercolour pencils, just enough to create the illusion of brick without distracting from the rest of the piece.

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With that, I decided to move forward with concept 2. I began by plotting out what the piece might look like, starting with a very small, rough sketch. I then layered watercolour over it to block in the tones and get a sense of how my bedroom could potentially appear in the final work. Next to this, I created a small pencil sketch practicing a pose I might use for myself in the piece, testing how I felt about incorporating it into the final composition.

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I added the final missing details from the photo, like the shelves and a few other vague elements such as the bed. I also shaded areas that needed last touches, including refining some outlines on my own figure.

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My final touch was an incredibly tedious process, I added the phrase 'Here I am vivid' using individually cut pieces of paper. I chose this method because using white pencil or paint wouldn’t have given the strong white colour I wanted. The text also serves to highlight my figure within the composition. The meaning behind it is that the world, represented by the colour white, is where I feel I’d blend in unnoticed. But in contrast, my bedroom, filled with colour, is the place where I can truly stand out. It reflects my personality, identity, and comfort. It’s where I spend most of my time, and that familiarity and warmth is what I wanted to capture.

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After creating the layout, I reflected on the purpose of the piece and what inspired me to create it. Realizing that Tracey Emin was my biggest influence, I wanted to incorporate some kind of element of her work. This could be the materials I would use or the colours, but I also need to represent myself to convey some kind of meaning- so how I portray my bedroom was especially important. I had been thinking that I wanted to make it colourful and vibrant, reflecting the personal significance it holds for me - being where I spend all my time and feel safest. I then had the idea to incorporate Tracey Emin’s use of text from her monoprints into my piece. I experimented with creating phrases that felt both interpretable and impactful, aiming to convey relevance to my concept in a way that echoed her approach.

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FMP Evaluation - aspects of self idenity