Robyn L. Ord (JSTOR)

• "The strong desire of mourners to tell their own story, unedited and un-policed by others, is in part driven by resistance to medicalization" (Walter, 2000, p. 1 10).

• Most therapeutic storylines about grief are about coping, symptoms, and returning to normality.

• The body plays a crucial role in how we experience and respond to everyday life.

• "The body implies mortality, vulnerability, agency: the skin and the flesh expose us to the gaze

  of others, but also to touch, and to violence, and bodies put us at risk o

  becoming the agency and instrument of all these as well" (Butler, 2004,

  p. 26

• Individuals grieve, cope with, and experience loss in many ways, and these experiences are worthy of exploration and re-imagination. Sometimes grief does not look the way we feel it should. Sometimes it is colourful. Sometimes we can taste it; smell it; hear it. Sometimes it can be permanent. Sometimes we can feel others' grief just by looking at them- their bodies, their photos, their artwork, their artefacts. Maybe it is in their

  eyes.

After consulting with the screenprinting technicians, they told me that I can work on developing my positive using the drafting film directly, as it comes in a roll, which means I can custom it to the size that I want easily. This also means that I can illustrate it by hand, rather than doing it digitally.

I decided to choose images through google image that showcases the flower's shape and form and use it to build a rough composition of the placement and flow within each section.

my initial design was too big for the paper that the workshop provided, so I decided to redraw and resize everything. I decided to build the collage on illustrator, where I can focus on scale. The size of the artboard is the same size as the paper that I am working with, and the square on the side of the first artboard is the width that I am working with, which I measured to be the portrait length of an A3 sheet. I added it as a reference when collaging to see if it lines up properly and I can refer back to it when looking at the big picture.

I wasn't sure whether I will be happy with screenprinting as this will be my first time, so I decided to go with a test design. I knew that this would require a lot of time, but this would determine whether it is appropriate for me to work with screenprinting as part of the process for my project.

I found this piece to be absolutely beautiful. Partly because it was a sunny day, I was able to draw in the shadows and observe the bamboo plants as it interacted with the space and light. The beauty in the piece is about cyclicality. Likewise with my work, how things begin and end situates in this piece, and it was refreshing to see how the audience can interact with the piece, soon contributing to the ecosystem that the artist sets in place.

This is when I learned that it was actually the ink itself. When I was printing it created these marks that indicated that the ink was used and manipulated too much, losing elasticity. Because I was working on such a large area the ink became very inelastic and became harder to print.

However, given the constraints of the time and scheduling with the workshop, I soon deducted that the best way for me to approach this feedback is to apply it to the exhibition. In which Leigh did mention that these can be made into editions, which through lasercutting would speed up the production.

But, I will stick to papercutting by hand for the final major project submission.

My next steps are:

• discussing paper compatibility with lasercutting

• photographing and vectorising the illustrations

• creating outlines so that it is compatible with RUBY

• aligning and calibrating the design with the lasercutter

• bring in test designs, adjust and bring in final designs

Lisa told me that it would be very difficult if I were to papercut, and then print on it as the ridges and cutouts of the paper would interfere with the squeegee and make printing more difficult.