In this exhibition, Owens creates large-scaled paintings so captivating the viewer is overloaded with information, giving us a pause to visually understand the pieces as some abstract forms and shapes have never naturally been seen paired with textures and bright colours. Which then herds us back to pictures for a second look at unique blend of digital and analogue imaging and printing technologies which seem more gridded and more thought out, depicting the awareness of the importance of women artists and the struggles they have experienced in an ad like form. The combination of smaller details with contextual meanings and rougher, less thought out expressions is really interesting, as the expressions can be related to ‘child-like’ art, I like the controversy against historical standards, but it also shines a light on new idea in art, which creates a personal conversation with the viewer and their inner self, coming to an understanding within one’s self.

Owens work becomes self-reflective, leaving the viewer to work out the links between subtle representation through print and deep expressions of paint, whether it be an impasto or playful combination of smooth and textured paint, with no natural shapes or recognisable icons- only vast, emotion driven mark makings. 

In the artist’s work I really liked how there was a lack of detailed visual representation, there was nothing visual I could connect to a realistic object or place, however I could relate and resonate with shapes, movements, and colours displayed throughout the 12 paintings, for the reason that in my mind I associated them to emotion, feeling and the knowledge of my very existence.  Laura Owens paintings captivated my attention, making me feel almost existential. From this idea of ‘existentialism’, I wanted to create my own abstract expressionism paintings, using similar expressionism techniques to Laura Owens, spreading the consciousness of being self-aware, feeling existential and making art become more of a personal connection rather than an exact, visual realistic representation.

Through a variety of mediums- acrylic paint, moulding paste, spray paint, crayon and pencil, V creates work that arouses a playful and energetic sense of organised disorder. Where one would have to look at the piece as a whole to understand the smaller parts of the bigger picture. Ultimately, PaintsV’s work is an expression of her inner child as painting has become a way to her to return to a place of innocence and relentless creativity.

Aside from being an artist, she also studies psychology and philosophy, so through her studies she applied this to her ‘language of colour’, creating a beautiful visual language which arose from learning to be in a flow state and suspending from the idea of perfection. By creating these colourful, large abstract murals with a lack of planning or arrangement the artists almost visually creates spiritual auras which intertwines within itself, in regards to the expressions she has painted. Every wavy line or circle is a smaller piece of the bigger picture, it’s all about the beauty in simplicity. Each painting is simply existing for itself, expressing emotion, and feeling through movement colour and texture- not trying to mirror or represent anything in the real physical world. 

The artist states that, ‘’these pieces are a window to my soul’, which tells us that each painting is her expressing herself through mark making, reacting to the world she lives in, giving us an insight on her idea of ‘relentless creativity’, her selective colour choices within each canvas are mirrored through the name of each piece, for example ‘Botanical Hardware’ (2023), consists of wavy paint strokes in colours that remind me of nature, green hues paired with blues and browns, with splashes of dark reds and rosy pinks. Colours that depict an abstract garden, however these paint strokes are separated with negative spaces and deliberately cut off edges, insinuating a cubistic, futuristic style. 

Existentialism encourages myself as an artist to ‘just do’, not to aim for perfection and see what happens when I become more free with my paintings, it can be interesting to see what happens when I paint in a free, relaxed state. It’s almost like I am painting the inside of my own mind, where others can understand my visual language rather than spoken word. Like PaintsV, I can indulge myself into my own child-like mind. With untainted expressions I can create visual eco systems of my mind without a fear of judgement, its a way of pure self expression captured on canvas.

Opposite to the natural thought processes of existentialists, Structuralism is a method of interpretation and analysis of aspects of human behaviour, like culture, literature and society. Its reflecting back on why we do the things the way we do in regard to social construct ideas like our role in society, what makes us happy, what gives us the motivation to live. Structuralism attempts to analyse world as a production of ideas. This concept effected the process of how I made my work as I had to think to myself ‘’Am I choosing this colour because I've been taught that this is right? Am I choosing this shape because I've seen it before?’’, I needed to focus on freeing myself from previous things I have been taught about painting, to create authentic expressions- forcing myself to steer away from the idea of perfection.

Blue hues can be associated with emotions such as sadness, peace, and harmony, creating a calming aura to a painting which could cause changes to an overall painting. The use of the colour red can have connotations to excitement, energy and passion, however opposite to this, the colour can also represent aggression, danger, fire, blood, war and violence. Red is linked to all things intense, which can be relayed when included in a piece. Within my work I kept a pink- magenta- purple theme because I’m naturally drawn to these shades of colours, I needed to embrace what colours and patterns I’m attracted to naturally to develop my own type of artistic language and personal style. Alongside other selected colours throughout my paintings, to create auras and visual representations of what is inside of my mind. Pink is a playful, and nostalgic colour that takes people back to their childhoods. That said, pink is a colour of opposites since it can make us think of both innocence and burning passion. Bright and hot pinks are associated with love, romance, and even lust. Whereas purple signifies the idea of spirituality and higher beings such as royalty. Yellow signifies joy, happiness, optimism, idealism, and imagination, which all encourage positive energy, lifting a paintings aura. 

In my own work, I thought about how different colours different effects to a viewer may experience as I want to encourage individual internal experiences based off emotional reaction. When combining the idea of free painting, indulging into my child-like mind, rejecting historic norms it sparks a new idea of paintings becoming more personally connected with an audience. As the colours and patterns are not seen in the natural world, it takes a moment for a viewer to make sense of it because of the overload of visual information. I want the viewer to take what shapes and shades resonate with them, to then link and contextualise them based of their own personal life experiences.

Firstly, I experimented with mixing filler and acrylic paint to see if it would thicken or change the texture of the paint itself, creating a whirl pool effect on a rounded MDF board, which created a portal made from paint which transports the viewer into a self-aware state -leaving them staring at something that doesn’t traditionally make sense, as it doesn’t visually represent something found in the natural world. After finding out that filler wasn’t the look I was aiming for because it wasn’t strong enough to form the taller peaks that I envisioned. From this experimentation I used mod rock to create a stronger foundation for a wavy 3D texture on top of an existing canvas, making the surface of the piece raised and deepened in a rippled manner to create the concept of movement in a still image. 

After creating a rippled 3D sculpture from mod rock, I sanded the surface to create a sleeker finish, however I still wasn’t happy with the final result. This is when I thought Vac Forming would be the process that work best, so I drilled holes in the shallowest areas so that air could go through, ready for the Vac Forming process. By using glossy white plastic to wrap around the mould I have created, I then created 8 of the same white tile like moulds. 

I chose to use a white gloss finish on the tiles so that light can be reflected and accentuated against the taller peaks of the waves, opposite to this, shadows will be casted in the shallower areas- presenting us a new way of perceiving the awareness of movement in a still image. While also experimenting with new techniques and processes, widening my project research. The lack of colour is also used while creating these tiles, whereas in my paintings I rely heavily on colour. I think that the subjects of shape and texture need to have their own show, sticking to themes of the unnatural, the feeling of being Existential and having an outer body, mindful experience. 

One being a circular impasto painting, made with an acrylic paint and filler mixture, causing the paint to come off of the MDF board creating texture. Keeping to the purple-magenta theme across my paintings however accented with yellows and blues. I used my hands to push the mixture around the MDF, creating a hypnotising portal on the wall, demanding attention from the viewer.

The other orbital painting on the other side of the vas formed tile presents a busier composition, overloaded with shape, pattern, and colour filled with abstract expressions and shapes. I have kept a purple/magenta running theme throughout my paintings to create my own visual language, as I like to include personal connections to each of my paintings, almost as if I’m having a conversation with each viewer without using spoken word. This main purple theme is experimented with a range of other colours and shapes, which all generate different visual effects as when different colours are in placed together it can create different feelings and auras.

I then collected feedback forms from my peers where they told me their reaction and response to my work and what other reference points could be related to my practice. Which were things like describing my work as psychedelic and microscopic, it was noted across everyone the consciousness of bright colours being used throughout all of my paintings, which may be one of the main reasons why my work could be understood as psychedelic. It was also said that looking at my work makes them feel relaxed and that it portrays a sense of freedom. 

From this feedback, I take into consideration what colours are being used to each painting, understanding that when heavy use of colour is used, each one has an effect on the eyes that look upon it. However, overall I was happy with the reactions from my peers.

I created prints in different shades of blue, varying on the number of layers in each print, some images having more depth whereas others can appear lighter because less layers are applied. My plan with these prints is to create a glitched image of my eyes with different shades of blue, representing the colour of my own eyes as well as the colour phycological effects. The colour blue represents both the sky and the sea which correlated with open spaces and a sense of freedom. Imagination, inspiration, and sensitivity. 

I wanted to make the glitched effect of my eyes to visually create the idea of swarmed thoughts therefore creating a busy mind, so I wanted to visually create a clouded soul. Linking to the influence of philosophy. I’ve been listening to David Nichturn podcasts on enlightenment, where he speaks about how to accept these infinite swarm of thoughts where they come and go. Understanding that you’re not as connected to each one as you may think. Using sense perception to arrive back to the present world around us to become acquainted with the environment and situations that surround us. This presents to us the idea of non-essentialism, accepting things for the reality of what they are rather than a clouded judgment from a flooded mind. This is fundamentally non-essentialism.  

I decided to ‘loosely’ place each painting on the tiles, meaning there is not in a repetitive pattern as my throughout my practice, my artwork displays no order and no rules. It creates an uneasy feeling as it feels as if they shouldn’t be displayed in this way, throughout my art there are themes of rejecting historical art ‘rules’, such as detailed representation or expectation of the display of the artwork, which were set by the most talented artists in history which we were thought previously, rules future artists had to follow. My work is described as ‘eye catching’ and ‘chaotic’, which is another thing I was purposely trying to achieve by having mark makings and colours which done accurately represent anything in the natural world, its all about the artwork and the experiencer having a self-aware visual conversation, the artwork speaks for itself.

Some feedback that I thought was interesting where could develop my practice and knowledge of different processes further is to include the use of digital art as well as physical painting and sculpture. Instead of using the white tiles as a backdrop for the paintings I could use this as a projection backdrop which could make the image being projected appear distorted as the textured surface is covered in high and low curved edges. To expand on this idea, I want to include the use of self-portraiture in my work because I want to add personal topics within my artwork, to create a space presenting what goes on inside my mind, which other groups of people can resonate and relate to.

Firstly, Hugo was talking about primary and secondary sales; primary sales is where an artwork id being sold for the first time, much like what I am doing currently, I come up with a price and I get the full amount which it is being sold for. A secondary sale is where an art piece is being re-sold or being sold in an auction house, and because of this the artist will only get a percentage of the money that is earned through the sale.

Following this discussion Hugo began saying that it is worth to create relationships with local galleries and gallery spaces in bigger cities to get my name out there. Art fairs in places like London and Manchester are also a good wat to find my own bearings in the art world, talk to people and gain connections. From this I thought of easy, cheap marketing ways I could get my own name in places- Instagram, TikTok and an Etsy is a great way to start this. From making an Esty store, I could then begin thinking about other things I could sell from my artwork which would be merchandise such as socks, tote bags and t-shirts, and build the ‘Sophia-Loren Smart’ brand. 

Lastly, Hugo Worthy then told us about different art funding charities who help fund artists into starting their own projects. Arts Council England and Grants for the Arts are good charities to get a jump start into funding research projects, which are used for art installations and public displays.

What I took from this artist talk is different ways I can carry on setting my artwork up as a business, by creating social media accounts to place myself in the real working world and growing my audience so that more people know the name Sophia-Loren Smart.

Mostly from our generation, they create portraits and/or self-portraits displaying different emotions which were mostly sadness and anger. As it has become so easy for young people to connect with each other globally through the development of social media, technology and increasing accessibility to a larger pull of influence from the ‘Hollywood’ lifestyle. This is shown from the celebrities who make this content which is ploughed through social media. Making it unavoidable to be influenced by as its so ingrained in modern days society, raising social expectations and pressures. In recent years the worlds politics has become harsh and scary, stressing the working peoples everyday lives. Artists visually represent the environment that surrounds them, therefore creating depressing art.

Abstract art is also a running theme throughout both the local art galleries and Nottingham contemporary as Abstract Art is a very key shift in today’s arts history. The real world is so negative people have turn into representing their inner self rather than the physical world we live in.

I took inspiration from this show and enjoyed watching as it shines a light on real world problems, giving the listener different views and insights of human behaviour from people who we wouldn’t normally hear from, like Buddhist teacher and Philosopher David Nicturn, who I particularly like to listen to. Giving us an understanding on human life and ways to cope with it.

In the metal workshop I cut out 3 smaller circular shaped out of aluminium metal using  a metal cutter, I then sanded the edges to blunt them and polished each surface ready for painting. By using metal as the base canvas this could have different effects on the paint, making them brighter as there is so material for the paint to seep into.

In the wood workshop I cut larger circles in 2 different sizes to use as a canvas also, so when al these paintings are placed together they all have similarities and differences, much like people and the way we all think. Relating back to my philosophical influences. 

During the Halloween period, myself and another classmate were asked to paint Halloween murals outside of two Olivia's Townhouse locations, one in Leicester and one in Sheffield. It took us 3 days in total to complete both murals and were paid for doing so. From this I learnt about pricing my work and time in the correct manner so I could have enough money for both equipment and payment of my own time as well as working time. I also gained another connection for my work as well as having my name on display for people to see in two cities.

I have also sold a painting and a drawing this year which I was also paid for doing so to cover all costs, this has also given me the opportunity to gain customers and have my name known in other parts of the UK. From this I discovered the importance of customer service, wrapping up and mailing my artwork to ensure the safety of the work and a happy customer. 

By doing these things I have advertised and sold my work in which I plan to carry on doing so in the future.

Non-essentialism was a heavy influence in the thought process throughout the making of this piece. This is the philosophical idea that there is a disbelief in an essence of any given thing or impression given outside of the reality of human sense perception; like being heavily influenced by emotion, drowning in thought. So much of our suffering arises from believing our thoughts, perceptions, and feelings to be accurate reflections of the world and ourselves. I edited the video to give the impression of my vison becoming misted by infinite thought and not in touch with physical reality, but then always returning to its original, cleared state. 

This sequence is on a continuous loop displaying all the varied layers of the prints, mainly displaying a collaged piece of the image standing together in unison to display a clear image- some being heavy in depth and others lighter in tone. 
Link to video: https://clipchamp.com/watch/vVbXbR52Itj

I have been a part of the ‘One Word’ Exhibition, where a group of strangers nominate their favourite word and explain why. The word I chose was ‘Existential’, I chose this word because this feeling gives me some comfort in believing that there is something beyond the physical world, choosing this word relates a lot to my own practice, as it is something that heavily interests me and effects the way I think and act towards others. Within the display, the original handwriting of all the artists were on the walls, creating personal connections to the exhibition as a whole as everyone involved has their inner thoughts are displayed for groups to see.

My work was also displayed at the Student Union with the DMU Fine Art Society, I chose to display one of my circular pieces which display the most technical development throughout my practice. Combining the themes of abstract self-expressions, selected bright colours, and the use of negative space, cutting off the mark makings in certain areas. It creates a visualisation of my thoughts, cut off and split in some areas and some being bold and bright in colour. 

Throughout my paintings I heavily rely on expression through colour and texture, in order to generate emotion and thought within each viewer. When these paintings are placed together in a cog-like manner, it creates a sense of movement, depicting what I describe as the ‘ecosystem of my mind’. Overall, I have created orbital abstract compositions with infinite meanings to encourage unique subjective perceptions based off the experiences, thoughts/ feelings from each individual. 

I was heavily influenced by philosophy, specifically existentialism, which is the philosophical belief that we are each responsible for creating purpose or meaning in our own lives. This concept heavily affected the thought process during the production of the work, because my aim was to encourage the act of thinking. Due to the of lack of visual representation it is hard to easily interpret, therefore forcing the viewer to find a personal meaning/ connection to and from each artwork. From this, my artwork itself naturally has a non-verbal conversation with the viewer through human thought and the visual language I have created.
Existentialism encourages myself as an artist to ‘just do’, not to aim for perfection. Indulging myself in finding the balance in the endless capability of a child-like mind representing freedom, imagination, and no restraint.  

Opposite to the idea of non-representative art, I have included self-portraiture in my work making my artwork an extension of myself, welcoming people into my mind. Widening my skills and different processes, in particular silk screen printing and digital video. I have created a video piece titled, Windows to the Soul, projected onto textured Vacuum Formed tiles, a flickering image of my eyes switching between a clear print to a jolted, distorted image of ‘my vision’ trying to come back together as one. This illustrates the notion of swarmed thoughts and clouded judgment through my own eyes. Influenced by the discussion of non-essentialism, meditation, and sense perception, I wanted to visually represent the acceptance of infinite thought, the understanding that you are not as connected to each thought as you may think, that you don’t have to grasp and dwell on thoughts as a solution to continue to be alive. Using sense perception to arrive back to the present to acquire information about the world around us to become acquainted with the environment and situations that surround us. 

My years at art school, GCSE, A-Level and BA Undergraduate work within Fine Art, paired with my interest of the art world has helped me to build the skills necessary to effectively teach art and design to secondary school years. As a teacher, my goal is to create a learning environment that is conductive to active, engaged learning. I strive to create a safe space for learning and to make the educational experience fun, passing on my knowledge and passion towards art, aiming to inspire children like I was by my own teachers growing up. Personal qualities that I consider to be good teaching skills are confidence and communication, listening, enthusiasm, empathy, and patience. I think these qualities within my own character will transform a classroom into a thriving, learning environment.

My experience with young teenagers has come from being a prime carer of my younger brother who was diagnosed with severe autism at an early age. This has changed his everyday life socially and mentally, heavily within his secondary years. There is a constant change of environments, keeping up with learning and social struggles which he struggles with. As an older sister I have been a pillar in his support circle, being someone he can turn to for advice and help where he may need it. Experiencing this in my personal life will help me understand the different learning challenges amongst students in classroom, as no two people are the same.

Every day is different when teaching, each student has outer influences that may affect their work and behaviour in the classroom. I know it’s my job to encourage and motivate under challenging times. A teacher should be caring, forgiving, fair and compassionate. A main point is to display a personal touch for all student

, showing them that each one of them matters. Recognizing each students wellbeing is extremely important so that they are each able to reach their own potential, learn, and enjoy positive relationships with others and feel a sense of belonging in a classroom environment.

I could contribute outside of the classroom with art clubs and after school catch up sessions for students who may have coursework that needs completing. Some of my happiest memories are from my school years, in after school art sessions with my friends and teachers, listening to music and eating snacks. I wish to carry on bringing happiness and joy into a classroom. I aim to bring an open mind, a positive attitude, and high expectations to the classroom each day.