The Surreal Life of Leonora Carrington

Carrington was a prominent surrealist artist, whose work intertwined themes of feminism, alchemy, and mythology. Her painting The Giantess reflects her exploration of female power and mysticism.

Her biography and art in the book The Surreal Life of Leonora Carrington (available from Thames & Hudson). This visual chronicle offers a deep dive into Carrington’s life, her spaces of creation, and her evolving feminist philosophy.

https://thamesandhudson.com/surreal-spaces-the-life-and-art-of-leonora-carrington-9780500025512

https://en.wikipedia.org/wiki/Leonora_Carrington

• （Remedios Varo）

  La llamada (The Call)

Like many figures in Remedios Varo’s paintings, the subject of The Call (1961) projects a sense of solemn preoccupation, as though in the midst of a momentous adventure. Wearing flowing robes and carrying alchemical tools, including a mortar and pestle at her collar, she traverses a sort of courtyard. Her hair forms a brilliant swirl of light, which seems to bring her energy from a celestial source.

This work reflects Varo’s characteristic color palette—the central figure, illuminated in fiery orange-gold tones, walks through shadowy, more muted surroundings. Precise lines reveal unexpected details, such as walls that appear to entomb figures in tree bark.

Varo’s own features, particularly her large eyes and long, straight nose, often appear in the faces of her protagonist, emphasizing the importance she placed on her perspective as a woman. However, as in The Call, her works do not feature direct self-portraits. The figures are frequently androgynous or not-quite-human alter-egos, with witty and delicate features of fauna or otherworldly creatures.

Varo created this work near the end of her life, while living in Mexico and growing in artistic reputation. It reflects her Surrealist influences and her interests—she dabbled in alchemical experiments—as well as her talent for evoking ambiguous narratives through art.

https://nmwa.org/art/collection/la-llamada-call/

• The Witch Hunts and Feminism

  • The Witch in History （The Witch in History: Early Modern and Twentieth-Century Representations)by Diane Purkiss offers a detailed exploration of the cultural and political forces behind witch hunts, which can be tied into how feminist artists like Carrington reframe historical narratives of female persecution into stories of empowerment.

• Malleus Maleficarum

https://hauntedoc.com/the-malleus-maleficarum/

The Malleus Maleficarum, The Essential Handbook for Witch Hunters by Charles Spratley

http://www.dianesavonaart.com/blog/2019/1/3/malleus-maleficarum

• The Pleasures of Dagobert (on show in Surrealism and Magic)

https://www.guggenheim-venice.it/en/whats-on/exhibitions/surrealism-and-magic-enchanted-modernity/

Leonora Carrington (1917-2011)

The Pleasures of Dagobert, 1945

https://biblioklept.org/2024/07/15/the-pleasures-of-dagobert-leonora-carrington/

The Surreal Life of Leonora Carrington

Carrington was a prominent surrealist artist, whose work intertwined themes of feminism, alchemy, and mythology. Her painting The Giantess reflects her exploration of female power and mysticism. You can explore her biography and art in the book The Surreal Life of Leonora Carrington (available from Thames & Hudson). This visual chronicle offers a deep dive into Carrington’s life, her spaces of creation, and her evolving feminist philosophy.

https://thamesandhudson.com/surreal-spaces-the-life-and-art-of-leonora-carrington-9780500025512

https://en.wikipedia.org/wiki/Leonora_Carrington

• （Remedios Varo）

  La llamada (The Call)

Like many figures in Remedios Varo’s paintings, the subject of The Call (1961) projects a sense of solemn preoccupation, as though in the midst of a momentous adventure. Wearing flowing robes and carrying alchemical tools, including a mortar and pestle at her collar, she traverses a sort of courtyard. Her hair forms a brilliant swirl of light, which seems to bring her energy from a celestial source.

This work reflects Varo’s characteristic color palette—the central figure, illuminated in fiery orange-gold tones, walks through shadowy, more muted surroundings. Precise lines reveal unexpected details, such as walls that appear to entomb figures in tree bark.

Varo’s own features, particularly her large eyes and long, straight nose, often appear in the faces of her protagonist, emphasizing the importance she placed on her perspective as a woman. However, as in The Call, her works do not feature direct self-portraits. The figures are frequently androgynous or not-quite-human alter-egos, with witty and delicate features of fauna or otherworldly creatures.

Varo created this work near the end of her life, while living in Mexico and growing in artistic reputation. It reflects her Surrealist influences and her interests—she dabbled in alchemical experiments—as well as her talent for evoking ambiguous narratives through art.

https://nmwa.org/art/collection/la-llamada-call/

• The Witch Hunts and Feminism

  • The Witch in History （The Witch in History: Early Modern and Twentieth-Century Representations)by Diane Purkiss offers a detailed exploration of the cultural and political forces behind witch hunts, which can be tied into how feminist artists like Carrington reframe historical narratives of female persecution into stories of empowerment.

• Malleus Maleficarum

give ur method a title

make a better me

For me and my tutor

Shows the process of abilities of work

(The background of the content)

How to Ensure Reflections Are Critical

To ensure that my reflections are critical, I:

• Regularly question my assumptions and approaches, asking whether they are supported by research or artistic intent.

• Compare the outcomes of my experiments with the initial goals, analyzing where they succeeded or fell short.

• Seek diverse perspectives from peers, tutors, and external sources to challenge my own biases and push the work forward.

Critical reflection involves not only describing what happened but also evaluating the effectiveness of those actions and identifying strategies for ongoing improvement.

The project focuses on a supernatural feminist reinterpretation of art history, exploring how witches, goddesses, and other female archetypes reclaim their narratives from historical and patriarchal oppression. The aim is to challenge traditional depictions of women in mythology and history, transforming them into symbols of power and agency.

2. Describe (Short!)

This illustration project reimagines historical and mythical female figures through a feminist lens, drawing on alchemy, mythology, and domestic symbolism. The focus is on portraying witches and goddesses as central figures in control of their narratives, using historical references and symbolic visuals to reclaim their place in history.

3. Explore/Analyse

The project delves into feminist reinterpretations of cultural and historical representations of women, particularly around the themes of witchcraft and domestic spaces. Drawing inspiration from artists like Leonora Carrington and feminist theorists like Marina Warner, I explore how witches and other female figures have been depicted as both victims and powerful symbols of transformation.

Witchcraft as Empowerment: Historically, witches were persecuted, but in this project, they are reclaimed as figures of strength and autonomy. The symbolism of domestic spaces (e.g., the kitchen as a cauldron of transformation) shifts the narrative from subjugation to empowerment.

Alchemy and Creation: Themes of creation, transformation, and magic are visually explored using alchemical symbols like eggs, cauldrons, and mythical landscapes. These elements act as metaphors for rebirth and self-determination.

4. Outcome/Action Points

Action Points:

Develop illustrations that portray women as powerful figures in both mythical and historical contexts.

Simplify complex symbols while retaining their feminist and alchemical significance.

Integrate mixed media techniques to add texture and depth to the artwork, representing the transformation and magical aspects of the theme.

Continue research into historical texts on witchcraft and feminist reinterpretations of domestic spaces.

Refine narrative storytelling by incorporating sequential imagery to guide viewers through the symbolic journey.

The project ultimately seeks to reframe historical perceptions of women through empowering visual narratives that blend myth, history, and feminist theory.

Where and how do you locate and develop specific knowledge?

Through investigating, being curious, following a process.

How does this relate to your own interests?

Use critical reflection to embed your research into your practice.

It is important to know what other illustrators, practitioners, academics, have observed

about the themes you might be interested in.

Do you know of any practitioner who is interested in the same themes as you? How does

their work relate to yours?

It is also important to know how these practitioners are understanding /using materials and

technology to interpret the themes that interest you.

How do you feel about their work? How does it relate to your own ideas/identity as an

illustrator? How is your work different?

I have been focusing on a range of sources to support the feminist reinterpretation of witches in art. These include:

- Feminist art history texts such as those by Marina Warner and Diane Purkiss, which examine the historical and cultural significance of witches and their symbolic representations.

- Surrealist and magical realist artists like Leonora Carrington and Remedios Varo, whose works heavily feature female autonomy, mythology, and transformation.

- Primary historical sources on witch trials and persecution, like court records or accounts from the 17th century, to understand the social and political environment.

- Modern feminist literature that explores contemporary attitudes toward witchcraft and its resurgence as a symbol of female power.

### 2. Feelings: How do you feel about the range of sources you’ve found? Your ability to research?

I feel positive about the diverse range of sources I’ve been able to gather. They allow for a rich interdisciplinary approach, blending feminist theory, art history, and mythology. However, there are moments when I feel overwhelmed by the depth of these subjects, especially when trying to narrow the focus for my project. My ability to research feels strong, but synthesizing the information into a coherent narrative remains a challenge.

### 3. Evaluation: What are the implications of these feelings? How will you respond to what they are telling you?

The feeling of being overwhelmed suggests that I may need to focus more on specific aspects of my research instead of trying to cover too much at once. I will respond by creating a clearer structure for my project, focusing first on how witches have been visually represented in art and then gradually expanding to their feminist implications. I will also allow more time to process each source before moving on to the next.

### 4. Analysis: How does your research relate to/develop your ideas/practice? Is this research a new direction/a continuation of previous interests? Can you make connections between other interests/elements of your previous work?

This research directly develops my project by giving a stronger foundation to the feminist themes and historical depth I want to explore. It’s a continuation of my previous interest in how women are represented in historical and contemporary art, but the witchcraft angle is a new and exciting direction. I can connect this to my past work on the representation of domestic spaces in art, using witchcraft as a lens to reinterpret these traditionally "female" spaces as powerful and transformative.

### 5. Conclusion: How can you explore these further…what other types of research is this suggesting? Can you identify any gaps?

To explore further, I should dive deeper into visual symbolism associated with witchcraft and alchemy, perhaps exploring specific symbols like cauldrons, broomsticks, or magical animals in more detail. I also need to look at how contemporary artists are using witchcraft and the supernatural in their work. One gap I’ve noticed is the lack of diversity in the sources — most focus on European witchcraft. I could explore non-Western representations of witches to broaden the scope of my project.

### 6. Action Plan: What do you need to do to develop your research further/link ideas?

- Refine my research focus: Prioritize sources that focus on visual representation and symbolism.

- Deepen analysis: Further investigate the role of alchemy and domestic spaces in relation to witchcraft.

- Expand cultural scope: Look into witchcraft representations from non-Western cultures.

- Create a timeline: Structure my research process to ensure I’m digesting each source fully before moving forward. This will help me synthesize ideas more effectively.

For Project 1, I’ve chosen to explore **Leonora Carrington’s painting "The Giantess"** (1950), which relates to feminist reinterpretations of historical art. This painting is particularly fascinating due to its blending of mythological, supernatural, and feminist themes.

2. Why is this interesting to you?

This work interests me because it challenges traditional representations of women in art. Carrington presents a female figure that is not objectified but instead embodies power and control, aligning with my research on the historical symbolism of witches and women in positions of authority.

3. Themes it suggests:

The themes in Carrington’s painting revolve around **feminine power, mythology, and transformation**. The Giantess holds an alchemical egg, symbolizing rebirth, while standing dominant in a male-dominated space—reminding me of narratives about reclaiming female autonomy in art and history.

4. Questions it raises:

The work raises several questions:

- How have female artists like Carrington used myth and symbolism to subvert traditional patriarchal narratives?

- What role do supernatural or magical elements play in feminist reimaginings of historical events and figures?

- How do these themes connect to modern feminist movements?

5. What do you need to find out?

I need to investigate how other artists, both historical and contemporary, have used similar mythological and magical symbols to challenge the status quo. Additionally, understanding the socio-political environment in which Carrington created her work would provide deeper insight.

6. Research Types:

To address these questions, I’ll focus on:

- **Primary research**: Visiting galleries and exhibitions featuring Carrington’s work and similar artists in person, if possible.

- **Secondary research**: Consulting feminist art criticism, such as Marina Warner’s writings on mythology and female power, and analysis of Surrealist art.

7. First Step:

As a first step, I’ll review **academic texts** on Carrington and **feminist reinterpretations of mythology**, as well as investigate practitioners like **Remedios Varo** and **Frida Kahlo**, who similarly used magical realism and the supernatural to explore female identity.

8. What’s missing?

What’s missing is a broader cross-cultural perspective. I need to compare Carrington’s depiction of female power with representations of women in other cultures’ mythologies, such as African or Asian traditions, to expand my understanding and enrich the project’s scope.

How is the process of listening useful in observing and documenting your surroundings? How can we observe with multiple senses/with our bodies?

Sensory perception is developmental, political, responds to power structures - who is been seen? Heard?

How do you pay attention to these dynamics within your practice?

How would you describe your storytelling? What did excite you about listening to others' stories? And telling yours?

"Lost really has two separate meanings. Losing things is about the familiar falling away, getting lost is about the unfamiliar appearing. There are objects and people that disappear from your sight or knowledge or possession; you lose a bracelet, a friend, the key. You still know where you are. Everything is familiar except that there is one item less, one missing element. Or you get lost, in which case the world has become larger than your knowledge of it."

(A Field Guide to Getting Lost Rebecca Solnit)

Date/Time: 215 and 22nd October (Jhinuk & Sara)

10.30 am - Meet at the V&A (Exhibition Road entrance)

Today is about expanding, growing, increasing, enlarging, adding, collecting and extending.

It is about creating multiple versions of the same thing or multiple versions of many things!

More is more is more is more, etc. - today we are maximalists.

"There can be many different motivations for doing or making something again, only this time in your own setting and doing it yourself. It might be that you need your own version of it, or others do. ... It might be a way of bringing the extant thing closer, or for you to draw closer to it. It can be a way of understanding what the extant thing is or was, and a way of making it behave or mean differently-producing new knowledge and understanding."

Kate Briggs, This Little Art (2017)

Last week we positioned ourselves in space; we mapped, observed and paid attention to how our bodies move in space. Today we are positioning ourselves towards objects.

What is the relationship between us and objects? What do we collect? We are going to explore the human act of collection and why it is important for us.

To do so, we will start from exploring our relation to one single object first then move towards a collection of objects.

TASK 1

Collecting information about the object:

Choose one item from the collection you want to focus on. This should be one specific object (i.e. one specific cup).

Using the material you have brought, document the object. Learn as much as you can about the object through the making. Gather information from a spatial, material, cultural, historical, geographical etc. point of view.

"Curators and conservators exhibit a strong emotional attachment to their collections.

Something that extends beyond any sense of duty they may feel as keepers of the collections. [...] This comment ties powerfully to the notion of affective space and the associated questions of proximity and distance. Curatorship requires an outgoing interest in

TASK 2 | 2:00

Collecting information about yourself:

What does the object say about yourself? What can you learn about yourself from the chosen object?

In the same way that last week we considered the relationship between our human bodies and the spaces, what is our connection to the object in front of us?

Write down three reasons that explain why and how you are linked to the object. You can refer to the previous spatial, material, cultural, historical, geographical etc. points of view.

Reflecting on the three reasons and on the subject you are exploring as part of Project 1, using the brought material, imagine what this object would look like if it was part of your collection.

How does this object relate to the subject you are investigating? What are the connections between the object and your chosen subject tid the kept our collection, would it have the same material/colour/texture? Where would it be kept? Would it have the same function?

TASK 3

Your collection of objects:

https://search.credoreference.com/search?q=Witch+OR+Witchcraft&concept=Q29uY2VwdDoxOTY5OQ%3D%3D&articleType=ENTRY

a selection of research sources related to the theme of witchcraft, feminism, and cultural reinterpretation:

### 1. Fiction Text:

Title: The Witching Hour by Anne Rice

- Why It’s Interesting: This novel delves into the long, mystical history of a family of witches, focusing on female power and legacy across generations. It explores the complexities of matriarchal lineages and their connection to witchcraft, aligning with themes of feminist reinterpretation of history and power dynamics.

- Link: [The Witching Hour by Anne Rice]

https://www.goodreads.com/book/show/11901

### 2. Non-Fiction Text:

Title: Witches, Witch-Hunting, and Women by Silvia Federici

- Why It’s Interesting: Federici’s work examines the historical and political roots of witch hunts, offering a feminist analysis of how women’s power has been systematically undermined. This is crucial for understanding the socio-political underpinnings of witchcraft as a symbol of feminine rebellion.

- Link: [Witches, Witch-Hunting, and Women](https://www.versobooks.com/books/2856-witches-witch-hunting-and-women)

### 3. Image:

Image: The Witches' Sabbath by Francisco Goya

- Why It’s Interesting: This painting portrays witches engaging in sinister rituals, reflecting societal fears of female power. Goya’s work provides a historical representation of how witches were demonized, which can serve as a visual reference for your exploration of feminist themes in art.

- Link: [The Witches' Sabbath](https://www.museodelprado.es/en/the-collection/art-work/the-witches-sabbath/0ef942f7-17a7-4fc0-8bde-bfa50b802af8)

### 4. Film:

Film: The Love Witch (2016) directed by Anna Biller

- Why It’s Interesting: This film explores the concept of the witch through a feminist lens, blending retro aesthetics with contemporary issues. It critiques societal expectations placed on women, using the figure of a witch to challenge gender norms and reclaim feminine power.

- Link: [The Love Witch](https://www.imdb.com/title/tt3908142/)

### 5. Poem:

Poem: Her Kind by Anne Sexton

- Why It’s Interesting: This poem uses the figure of a witch to express themes of female otherness, rebellion, and self-definition. Sexton reclaims the “witch” identity, aligning it with feminine strength and autonomy, which fits well with your feminist reinterpretation.

- Link: [Her Kind by Anne Sexton](https://www.poetryfoundation.org/poems/47536/her-kind)

### 6. Object:

Object: A broomstick from the Museum of Witchcraft and Magic, Cornwall, UK

- Why It’s Interesting: The broomstick is an iconic symbol of witchcraft, often used in historical accusations against women. Its significance in popular culture can be explored as part of your feminist narrative, reclaiming objects of persecution as symbols of empowerment.

- Link: [Museum of Witchcraft and Magic](https://museumofwitchcraftandmagic.co.uk)

### 7. Interview/Article:

Article: Witches and Feminism: Exploring the Rise of the Witch as a Feminist Icon by Sophie Wilkinson

- Why It’s Interesting: This article explores how witches have become symbols of feminist resistance, tracing the evolution of this figure in contemporary feminist movements. It offers insights into how witches are being reinterpreted today, both culturally and politically.

- Link: [Witches and Feminism](https://www.vice.com/en/article/7b7zwq/witches-feminism-witchcraft-revolution)

### 8. Artist/Practitioner:

Practitioner: Leonora Carrington

- Why She’s Interesting: Carrington’s surrealist paintings often feature witch-like women who defy traditional roles. Her work intersects with feminist and mystical themes, making her a key figure in the feminist reinterpretation of witches and mythology in art.

- Link: [Leonora Carrington](https://www.tate.org.uk/art/artists/leonora-carrington-762)

### 9. Museum/Exhibition/Performance:

Exhibition: "Witches and Wicked Bodies" at the British Museum

- Why It’s Interesting: This exhibition explores depictions of witches in art, from the Renaissance to contemporary times. It provides a historical overview of how witches have been portrayed and offers valuable context for your project’s exploration of cultural symbolism.

- Link: [Witches and Wicked Bodies](https://www.britishmuseum.org/exhibitions/witches-and-wicked-bodies)

These sources can help deepen your research by providing a multi-faceted approach to understanding witchcraft through various cultural, historical, and feminist lenses.

In many African societies, witchcraft is both a **spiritual and social force**. It is often viewed as a form of hidden power used to explain misfortune, illness, or death. Witchcraft, or “**juju**,” can carry both negative and positive connotations depending on its use. The concept of the “witch” can represent someone with malevolent powers but can also involve healers, known as **sangomas** or **traditional healers** in Southern Africa, who use their knowledge of herbs, rituals, and divination for positive outcomes.

In some communities, witch hunts still occur, particularly when societal structures face stress or conflict, and accusations of witchcraft can be a way to explain crises such as famine or disease. For your project, this presents the theme of **community fear and control**, where female figures often become scapegoats, tying back to the feminist angle of power dynamics and persecution.

### 2. Asian Witchcraft:

In Asia, witchcraft manifests through a wide range of practices that blend local religion, folklore, and supernatural beliefs.

- China: In ancient China, the practice of “**Wu**” (巫) refers to **shamanic traditions**, where female shamans played crucial roles as intermediaries between the gods and the human world. The character **Wu** itself is composed of symbols for women and ritual, linking women directly with mystical power. These practices often revolve around divination, healing, and invoking the spiritual world. However, over time, these roles were marginalized by Confucianism, which emphasized patriarchal order. This suppression offers an interesting contrast to the ways women were perceived in both religious and social hierarchies.

- Japan: In Japan, the figure of the **Onmyoji** (陰陽師) represents a practitioner of Onmyodo, a mix of esoteric cosmology, Taoism, and Buddhism. While traditionally male, the **yamanba** or **yokai** (supernatural creatures) often manifest as female witches or crones who challenge societal norms. These figures embody chaos and transformation, themes central to witchcraft and feminist reinterpretation.

### 3. **Indigenous Cultures**:

Many indigenous cultures across the Americas, Oceania, and other regions have unique understandings of **magic, shamanism, and healing**, which blend into broader understandings of witchcraft.

- Mesoamerican Witchcraft: For example, in ancient Mesoamerica, the figure of the **curandera** (female healer) still persists today, linked to pre-Colombian traditions of using herbs, rituals, and spirits for healing. These curanderas hold knowledge of plants and healing rites that have been passed down through generations, blending indigenous and Catholic practices after colonization.

- Australian Aboriginal Cultures: In Australian Aboriginal communities, shamanic figures known as **clever women** or medicine women play important roles in maintaining the health and spiritual balance of the tribe. They use dreams, rituals, and nature-based practices to guide their communities. These roles are deeply respected and rooted in **sacred landscapes and ancestral knowledge**.

### 4. Thematic Expansion:

These non-Western representations of witchcraft offer rich possibilities for expanding your project. Here are some angles you might explore:

- Power and Marginalization: Compare how women across different cultures have been both revered and vilified for their connection to the supernatural.

- Healing vs. Harm: Many of these traditions focus on the duality of the witch as both a healer and a potential threat, which aligns with your interest in the symbolic power of witches.

- Feminine Mysticism: The role of women as spiritual leaders, shamans, and intermediaries can deepen your project’s feminist exploration of how these figures were often erased, demonized, or marginalized by dominant male hierarchies.

### 5. Further Research:

- Anthropological studies

on African witchcraft practices, especially on how they influence modern feminist movements.

- Shamanism in East Asia

and how gender influences spiritual authority in these traditions.

- Indigenous perspectives on magic and healing, particularly in relation to colonization and modern-day revivals of these practices.

Date/Time: 30th September, 10.30 - 15.30

10.30 - Meet in the courtyard outside the Peckham Road canteen

Mapping - TASK 1

Document your journey from college to the meeting at Greenwich Park Bandstand. Use your visual (making) material and create 8 images minimum.

12.00 - Meet at Greenwich Park Bandstand (https://maps.app.goo.gl/8R5ubUnNdxRDMrng9)

"Everyone sways. You may think you're standing still, but actually you're drifting, shifting slightly to the left, your ankle twitching as your weight moves to the ball of your foot, your knee bending slightly as you take in a breath. [...] Stillness is always on its way to movement. When you stand still, you don't feel the "how" of movement stilling unless you're asked to feel the stillness. Then you find you can't stop thinking about how you're moving. You feel your wobbly ankle, your thoughts moving, your nose itching, your back aching. All you really want to do is move through the movement."

Manning, Erin. Relationscapes: Movement, Art, Philosophy, MIT Press, 2009

Listening as Observing - TASK 2

A series of short exercises/individual tasks:

• Listening to the body - Use your visual (making) material to document your experience through drawing or mark-making.

• Listening to otherness - Use either your visual (making) material or your camera phone or microphone device to document and record specific images, moving images or sounds from your surroundings.

• Writing exercise - Write from the point of view of the being - the plant, stone, river, wind you have been recording or you have interacted with.

Be reborn as dirt, as water, as cloud, as worm, as lava, as fungus, as whalebone. What is the language you are reborn with each time? Where do the words live? And what happens to the words when you die?

*This exercise is borrowed from Corporeal Writing Deck of Portals aimed to be used as invitations to cultivate a deeper relationship with language, your environment and yourself.

Project 2 Outcome

· Or image of the outcome if the original is too big, unwieldy, delicate etc.

Project 3 Summary

· 1 word naming the position you’ve chosen

· 3 observations of your material and conceptual methods and outcomes from projects 1 and 2 that relate to this position

· 3 images showing the work of artists/designers you are using to explain your understanding of the position

Project 5 Summary

· 1 sentence on why your enquiry needs to exist and whether it relates to community, site or collection

· 1 sentence on what you are exploring

· 1 sentence on how you will explore naming some of the most important methods

Reflective Journal Padlet

· And bring a device you and others can comfortably access this on, not a phone

Lines of Inquiry

You have a collection of visual material on a subject. Now you need to identify and realise a line of inquiry. In this workshop you will identify potential lines, and begin to develop and refine these ideas, beginning your journey towards producing an outcome.

1. Consider the displays. They use exhibition material from the free museum and library, Welcome Collection. In each display, there is a collection of gathered and made items and an overall subject. Each item allows an audience to learn something about or explore an angle of the larger subject. These different angles are potential lines of inquiry.

(10 mins)

2. Consider your collection. Identify and note down 3 lines of inquiry.

(30 mins)

3. Select 3 lines of inquiry and identify:

• What forms would suit the material from these lines of inquiry?

Object? Images? Book form? Film? Animation? Recording? Etc

• What subject areas would help you learn more about these lines of inquiry?

Psychology? History? Sociology? Anthropology? Etc

(15 mins)

4. Take your 3 lines of inquiry and produce a new work for each.

(45 mins)

1. Chosen Element:

For Project 1, I’ve chosen to explore Leonora Carrington’s painting "The Giantess" (1950), which relates to feminist reinterpretations of historical art. This painting is particularly fascinating due to its blending of mythological, supernatural, and feminist themes.

2. Why is this interesting to you?

This work interests me because it challenges traditional representations of women in art. Carrington presents a female figure that is not objectified but instead embodies power and control, aligning with my research on the historical symbolism of witches and women in positions of authority.

3. Themes it suggests:

The themes in Carrington’s painting revolve around feminine power, mythology, and transformation. The Giantess holds an alchemical egg, symbolizing rebirth, while standing dominant in a male-dominated space—reminding me of narratives about reclaiming female autonomy in art and history.

4. Questions it raises:

The work raises several questions:

- How have female artists like Carrington used myth and symbolism to subvert traditional patriarchal narratives?

- What role do supernatural or magical elements play in feminist reimaginings of historical events and figures?

- How do these themes connect to modern feminist movements?

5. What do you need to find out?

I need to investigate how other artists, both historical and contemporary, have used similar mythological and magical symbols to challenge the status quo. Additionally, understanding the socio-political environment in which Carrington created her work would provide deeper insight.

6. Research Types:

To address these questions, I’ll focus on:

- Primary research: Visiting galleries and exhibitions featuring Carrington’s work and similar artists in person, if possible.

- Secondary research: Consulting feminist art criticism, such as Marina Warner’s writings on mythology and female power, and analysis of Surrealist art.

7. First Step:

As a first step, I’ll review academic texts on Carrington and feminist reinterpretations of mythology, as well as investigate practitioners like Remedios Varo and Frida Kahlo, who similarly used magical realism and the supernatural to explore female identity.

8. What’s missing?

What’s missing is a broader cross-cultural perspective. I need to compare Carrington’s depiction of female power with representations of women in other cultures’ mythologies, such as African or Asian traditions, to expand my understanding and enrich the project’s scope.

KEY WORDS:

Location, experimentation, orientation, processes

Brief:

This project begins with an investigation into a central subject, initially focused on feminist themes and the empowerment of women through the figure of the witch. As the project evolved, the focus shifted to a more personal and imaginative perspective—a child’s view of their mother as a witch. This transformation allowed for the exploration of how everyday roles, such as that of a mother, can be imbued with hidden powers and strengths, challenging traditional gender roles and societal expectations. The aim was to employ a variety of visual methods, materials, and approaches to build a collection of visual information that captures this duality and reinterpretation of the witch figure.

Assessment Evidence:

An edited collection of visual material reflecting the experimental process and thematic evolution.

Project Development and Thematic Shifts:

- Initial Focus: The project started with a feminist lens, aiming to highlight the historical marginalization of women, drawing parallels between the witch trials and modern-day gender discrimination.

- Evolution of Perspective: The perspective shifted to explore the theme through the eyes of a child. This allowed for a nuanced exploration of the everyday 'magic' of women, particularly mothers, who balance multiple roles. This imaginative angle introduced a fresh way to discuss empowerment and visibility.

- Visual Experiments: Using carbon paper for creating layered imagery mimicking printmaking techniques, the project visually represented the concealed yet powerful identities of women. This method symbolized the hidden strengths and resilience of women, akin to the hidden nature of witches.

LEARNING OUTCOMES:

- Enquiry:

Through this project, I demonstrated the integrated use of sustainable, coherent, and critically engaged research methods. The project drew from a wide range of sources, including feminist literature, folklore, and personal narratives, to build a comprehensive visual and thematic collection. This enquiry allowed for an in-depth understanding of the witch as a symbol and its reinterpretation in a modern context.

- Process:

I showed a high level of autonomy in managing my independent Illustration practice. By proactively defining and refining the project’s direction, I employed critical reflection and self-evaluation methods. This included iterative visual experimentation, feedback integration, and thematic refinement, resulting in a cohesive body of work that connects personal imagination with broader cultural narratives.

This project has deepened my understanding of how illustration can be a powerful tool for reinterpreting and communicating complex social issues, blending personal perspectives with broader cultural and political contexts.

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Stage 2 - Context

1. Unpacking the Context of Visuals:

- Cultural: What cultural values, beliefs, and understandings are being used? Which communities are they working in, and how does this affect their visual language?

- Commercial: Do they sell their work? If so, where, how, and why? If not, why not, and how is their work and practice sustained?

- Social: Who is the maker? What is their social and economic status? Who are the audience they are serving? What social issues and trends are at play at the time when they are working?

- Political: What is the political stance of the maker? What is the political make-up of the audience they are presenting their work to? What is the political make-up of the country in which they are working? What events and issues are current at the time and place in which they are working?

2. Applying the Contextual Analysis to Project 2:

- Apply the same process of unpacking to your Project 2 outcome, referencing your visual materials and positioning them next to your statement.

3. Follow-up Task:

- Review your statement and rewrite it to be as specific as possible in defining your intention, position, and contexts.

Potential Outcome Formats:

• Illustrated Zine or Art Book: A narrative-driven work combining storytelling, symbolic imagery, and research about fungi, witches, and feminist themes.

• Interactive Print Series: Large-scale prints combining layered textures, thread-like motifs, and mystical symbols to create an immersive visual experience.

• Multimedia Installation: Combining printed works, projections, and tactile materials (e.g., natural fibers, soil) to reflect on the interconnectedness of mycelial networks and feminist histories.

Encapsulation of Interests:

• Focus on visualizing hidden connections (e.g., fungi as networks and witches as knowledge-keepers).

• Experiment with ritualistic motifs (circles, threads, symbols of growth and decay) to create a sense of narrative and immersion.

Key Focus:

• Exploring fungi as metaphors for hidden networks, resilience, and interconnectedness within the context of feminism and witchcraft.

• Investigating how witchcraft rituals and feminine narratives relate to nature, history, and ecological systems.

MAJOR PROJECT IDEAS

1. PROJECT THEME: Feminism and Witchcraft

   • FOCUS: Exploring fungi as metaphors for hidden networks and resilience, using witchcraft as a narrative framework to connect ecological and feminist themes.

   • METHODS: Symbolic illustration, zine creation, immersive print series.

   • OUTCOME: A visual storytelling piece that intertwines ecological awareness with feminist narratives.

2. PROJECT THEME: Women's Histories and Rituals

   • FOCUS: Reinterpreting women's ancestral knowledge through symbolic threads and rituals, using witchcraft as a cultural lens.

   • METHODS: Research-based illustration, combining hand-drawn elements and digital compositions.

   • OUTCOME: A multimedia installation featuring tactile materials and symbolic imagery.

Me

Accusation of witchcraft

The Lancaster Witches: examinations of Margaret Johnson, Mary Spencer, and Frances Dickenson

I created a small zine in the form of a dummy book, framing my carbon paper drawings with vintage-style borders and showcasing each illustration individually. This design mimics the feeling of unrolling an old scroll, allowing the audience to explore each piece with curiosity.

This format is particularly engaging for children, as it presents different witch characters in a playful and approachable way. By seeing each witch’s unique personality and small symbolic objects, children can reimagine witches as vibrant, multifaceted figures. This approach helps to spark curiosity and offers a fresh perspective on how witches—and women—can be seen in their truest, more authentic forms. It adds a sense of whimsy to the project while tying into its broader theme of redefining female identity with creativity and imagination.

This format reflects the journey of witches from being marginalised in history to being redefined and empowered. The miniature and standardised nature of stamps adds a sense of universality to the imagery, while the traditional lithographic technique retains the depth and beauty of historical craftsmanship. Through this combination, I aim to integrate the witch’s image into everyday life, challenging stereotypes and highlighting their new cultural significance in modern society. The stamp format bridges the gap between history and the present, offering an intimate and accessible way for audiences to engage with the work.

This visit provided a tangible link to my project, as it allowed me to observe how the identity of witches is celebrated and reinterpreted in the modern world. The experience deepened my understanding of how witchcraft is no longer seen as a symbol of fear but as a lifestyle that embodies self-discovery, empowerment, and community. These observations have informed my creative process, inspiring me to further explore how historical stereotypes of witches can be deconstructed and reframed in a contemporary context, while highlighting their relevance in modern society.

These projects all hold strong connections to my larger project, highlighting the need for more thoughtful planning and decision-making beforehand. Moving forward, I recognize the importance of deliberate consideration, especially in areas like color schemes. For instance, the copperplate prints relied predominantly on monochromatic tones, which prompts me to explore how tonal variations and brushwork can enhance detail and depth. On the other hand, screen printing offers an opportunity to create more dynamic results through color contrasts. These are aspects I aim to refine in my work next semester, focusing on how to effectively use both tonal subtleties and bold contrasts to convey my ideas.

The name "Baba Yaga" itself originates from the Slavic word "baba," meaning "old woman" or "grandmother," while "yaga" is believed to signify "witch" or "sorceress." She is both a malevolent witch and a wise guide, albeit an unpredictable one. Her pervasive presence in Slavic mythology and folktales has cemented her as a central figure in Eastern European cultural imagination.

Baba Yaga's stories vary widely, but they typically involve her testing the courage, wisdom, and moral integrity of the protagonist. At times, she aids those who are polite and hardworking, offering them magical gifts or guidance. On other occasions, she is a terrifying figure who threatens to devour those who fail her trials. This dual role underscores her capricious nature and the belief that wisdom and danger often go hand in hand. Baba Yaga's mythological significance extends beyond mere folklore, embodying the ancient Slavic understanding of the balance between nature's nurturing and destructive forces.

In mythology, Baba Yaga is often depicted as an old woman who lives in a hut deep in the forest, perched atop chicken legs. Her dwelling is surrounded by a fence made of human bones, with skulls atop the posts that glow in the darkness. She travels through the air in a mortar, steering with a pestle, and uses a broom to sweep away her tracks. These vivid images portray her as a powerful and enigmatic figure, blurring the boundaries between the natural and supernatural realms.

Author: Dubravka Ugrešić

Baba Yaga Laid an Egg is a contemporary reimagining of the classic Slavic folkloric witch Baba Yaga by Croatian writer Dubravka Ugrešić. The book is part of the "Canongate Myth Series," which invites modern authors to reinterpret global myths.

Synopsis

Ugrešić employs an experimental narrative structure, dividing the book into three sections:

1. Modern Storyline: An aging female scholar (implied to be the author herself) reflects on her relationship with her mother, exploring themes of aging, feminine wisdom, and marginalization.

2. Fairytale Reinvention: A surreal and humorous retelling of Baba Yaga’s legend, blurring the lines between reality and fantasy.

3. Academic Deconstruction: A pseudo-scholarly essay analyzing Baba Yaga’s symbolic meanings, revealing her deeper significance in feminism, mythology, and Eastern European culture.

Key Themes

- Women and Power: Baba Yaga is both a terrifying crone and a keeper of wisdom, challenging traditional demonization of elderly women.

- Narrative and Myth: Examines how stories are told, distorted, and reinvented, reflecting collective fears and desires.

- Eastern European Identity: As an exiled writer, Ugrešić uses Baba Yaga as a metaphor for trauma and resilience in Eastern European history.

- Creators: Mike Mignola (Writer/Artist), Dave Stewart (Colorist)

- First Published: 1998, included in Hellboy – Volume 3: The Chained Coffin and Others

- Core Narrative:

- Hellboy travels to Russia in 1964 to investigate a series of child disappearances.

- He tracks the trail to a cemetery, where Baba Yaga returns annually to count the fingers of the dead (a folkloric witchcraft ritual).

- After a fierce battle, Hellboy shoots out her left eye, forcing her to retreat from the human world—yet her curse lingers: "She can never die so long as Russia endures."

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### 1. Harvest Ritual: The "Baba" Sheaf

In Slavic harvest ceremonies, the last sheaf of wheat or grain is symbolically called "Baba". To mark the end of the harvest, farmers would dress this sheaf in women’s clothing (e.g., a scarf or apron) and carry it ceremoniously to the village. This ritual honored fertility, the earth’s bounty, and ancestral spirits tied to agriculture.

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### 2. Naming in Nature

The word "Baba" is deeply rooted in Slavic languages as a name for various natural elements:

- Mushrooms: Certain mushroom species are colloquially called baba (e.g., Boletus).

- Butterflies: Some regional names for butterflies include baba.

- Fruits:

- A type of pear (*Baba* pear).

- A variety of cherry (*Baba cherry*).

- Bread: In Poland, the traditional Easter cake "Babka" (a sweet, yeasted bread) derives from the same root.

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### 3. Geographic Names

"Baba" appears in Slavic mountain ranges, towns, and villages, often symbolizing "old woman" or "grandmother" in folklore:

- Mountains:

- Velika Baba ("Great Baba") – Slovenia.

- Mala Baba ("Little Baba") – Slovenia/Croatia.

- Stara Baba ("Old Baba") – found in Serbia, Montenegro, etc.

- Landmarks:

- Babina Greda (Croatia) – Translates to "Baba’s Ridge."

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### 4. Seasonal Expression: "Baba’s Summer"

A long, warm autumn period in Slavic folklore is poetically called "Baba’s Summer" (*Babí léto* in Czech, Babie lato in Polish). This term parallels the English "Indian Summer," referring to unseasonably warm weather in late autumn, often associated with the appearance of spiderwebs glinting in the sun.

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### Cultural Context

- Etymology: The word baba originally meant "old woman" or "grandmother" in Proto-Slavic, but its usage expanded to symbolize fertility, wisdom, and the cyclical nature of life (e.g., the harvest ritual blending agrarian gratitude with matriarchal symbolism).

- Folklore: In myths, "Baba" figures often represent primal forces, such as Baba Yaga (a ambiguous witch-like figure in Slavic tales) or earth-mother deities.

This multifaceted term reflects the interplay between language, nature, and cultural memory in Slavic traditions. 🌾🍄⛰️

(Translated from Original Text)

Baba Yaga’s status, role, and power vary across stories, folkloric regions, and narrators. Throughout history, she has been read, studied, told, adapted, interpreted, and reinterpreted in countless ways.

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### Theories of Origin

1. The Great Earth Mother – A primordial goddess tied to fertility and nature.

2. The Slavic Death Goddess (*Jaga zmeja bura*, "Storm Serpent") – A chthonic deity of destruction and rebirth.

3. Mistress of All Birds – Her chicken-legged hut and beak-like nose symbolize avian dominion.

4. Rival of Mokosh① – Once a gender-fluid deity, she later merged with bird/snake goddesses before acquiring distinctly feminine traits. Some link her to Zlatna Baba② ("Golden Woman"), an ancient mother-goddess figure; her hut’s chicken legs may echo fertility cult remnants.

---

### Roles & Symbolism

- Spinner & Weaver – Representing control over human fate (e.g., giving heroes a guiding thread).

- Warrior – She sleeps with a sword and battles knights (sometimes as a dragon-mother).

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### Footnotes

① Mokosh: A tall, long-armed Slavic goddess of weaving, sheep-shearing, and childbirth protection.

② Zlatna Baba: A "Golden Old Woman" worshipped by Northeastern European and Siberian tribes, often depicted as a ragged elder clutching a child.

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Key Themes for Your Project:

- Ambiguity of Power: How her evolution from goddess to witch mirrors patriarchal erasure of female divinity.

- Material Metaphors: Weaving (threads of fate) vs. warfare (sword) as dual aspects of aging femininity.

inspired by how Kosuke Ajiro builds an entire “other realm” in his work—drawing on medieval scrolls, tapestries, frescoes, quilts, folklore, and dreams to fill his paintings with mandrakes, winged cardinals, puppets, mysterious scripts, forest creatures, and regal figures. (THE SHOP FLOOR PROJECT ltd) His seamless blending of mythic imagery across acrylic painting, ceramics, animation, and even music shows me how to push beyond flat prints into a multi-layered world. (biscuit gallery)

- Women Who Run With the Wolves (Clarissa Pinkola Estés) – Explores the witch as an archetype of wild femininity.

- The Witch: A History of Fear (Ronald Hutton) – Anthropological study of witch folklore.

- Artistic References:

- Jana Brike’s surrealist witch paintings.

- The visual aesthetics of the film The VVitch (2015).

I’ve connected a few key ideas:
First, in Slavic folklore, Baba Yaga already has shapeshifting abilities.
Second, a faceless design adds visual mystery and a sense of openness.
Third, it subtly challenges the stereotype that “older women = unattractive,” shifting the focus toward her as a force of nature rather than a literal person.

In the story development, I aim to balance several elements:
Keeping core symbols like the chicken-legged hut, but giving them new meaning;
Highlighting the philosophical idea behind being “faceless”—both everything and nothing;
And using other senses (sound, smell, touch) to replace the narrative function usually held by facial expression.

Animals like goats and roosters in his art stand for soul and redemption. I plan to use ravens in a similar way to show meaning and feelings. His floating figures also show escape from real-world problems.

In my project, the witch’s hut floats above the ground but has deep roots, symbolizing women’s strength, resistance, and connection to history. These ideas help make my project stronger.

The bread in Lammas symbolizes nourishment and passing down knowledge, much like the egg in my project. Lammas highlights the work of agricultural communities and women’s traditional roles as caretakers and keepers of wisdom, especially older women.

This connection supports my project’s focus on feminine strength and the passing of knowledge across generations.

In a quiet forest village, Baba Yaga finds a strange egg hidden in the grass. From it hatches a faceless child, whom she carefully raises, hoping she will find her identity. The child is silent and mysterious.

When the child enters the village, people fear her and see her as a monster. Out of fear, they kill her. Baba Yaga finds her remains beneath a tree and buries her.

Years later, another egg appears under the same tree. Baba Yaga picks it up, and the cycle begins again.

Page 2
Image: Baba Yaga holding the egg gently, walking toward her crooked little hut on chicken legs.
Text:
She feels something inside—an old memory, maybe a soul.
She takes it home.

Page 3
Image: The egg cracks open. A child with no face emerges.
Text:
From the egg comes a faceless girl.
Silent. Blank.
But alive.

Page 4
Image: Baba Yaga brushing the girl’s hair, feeding her, teaching her.
Text:
Baba Yaga raises her with care.
Maybe, one day, the girl will remember who she is.

Page 5
Image: The girl walking toward the village. Villagers stare, afraid.
Text:
But the village sees something else.
Something wrong.
A monster.

Page 6
Image: A fire. The villagers shouting. The girl lying still.
Text:
Fear grows louder than love.
And in the end, they destroy what they do not understand.

Page 7
Image: Baba Yaga kneeling under a large tree, the girl's grave.
Text:
Baba Yaga buries her beneath the old tree.
The forest is quiet again.

Page 8
Image: The same tree, seasons passed. Another small egg rests beneath it.
Text:
One day, another egg appears.
She picks it up.
And the story begins again.

Through my research, I found that Baba Yaga is often seen as genderless or even dual-gender. So I played with that in my lithographs—creating reversed images and contrasting a young Baba Yaga with an old one. This was a way to explore how we see aging today: the older version has age spots and wisdom, while the younger one is fast and full of energy. I even turned this idea into a tarot card design, which I plan to develop further in later work.

My project uses the witch as a way to talk about shared female stories and turns old folk symbols into quiet, personal resistance.

My project focuses on two main aspects:

1. Narrative – I explore the witch’s story as a shared, intergenerational experience of womanhood, revealing how historical violence still echoes in everyday life.

2. Visual Symbolism – Folk symbols like the egg and the hut become political: the egg stands for lost reproductive rights and inherited knowledge, while the hut’s mobility reflects exile and reclaiming space in a patriarchal world.

2. Printmaking Experimentation
Continue exploring lithography, etching, and monoprint techniques to develop abstract and symbolic imagery around the Baba Yaga figure. These prints will serve both as visual research and as standalone works that reflect the duality and mythology of the character.

3. Illustrated Installation Art
Combine illustration with three-dimensional and spatial elements—such as printed fabrics, sculptural components, or zine-based storytelling—to create an immersive installation. This direction would allow me to translate narrative illustration into a physical experience, engaging the viewer with texture, space, and atmosphere.

🔍 Field Research Plan: Epping Forest Exploration

As part of my visual storytelling project centered around Baba Yaga, I plan to explore Epping Forest to build a stronger narrative setting and develop visual language grounded in real environments and mythic associations.

• Investigate local folklore and legends

  • I want to explore the ghost stories and mysterious sites in Epping Forest—like Hangman Hill and the Suicide Pool—to inspire a mystical, haunting atmosphere in my story.

  • These tales will help me deepen the tone and emotional texture of my Baba Yaga-inspired narrative.

• Observe biodiversity and symbolic wildlife

  • I will document plant and animal life in the forest, focusing on species that can carry symbolic meaning (e.g. mushrooms, crows, owls, ancient trees).

  • These natural motifs may become part of Baba Yaga’s environment or appear in my illustrations as metaphors for aging, change, or power.

• Visit ancient and historical landmarks

  • I plan to visit Iron Age hill forts like Loughton Camp, and Queen Elizabeth’s Hunting Lodge to better understand the layers of human history in the forest.

  • These places could influence the setting of my story or inspire the architecture of Baba Yaga’s mobile hut.

• Study seasonal changes and forest ecology

  • I’ll return to the forest during different times of day or seasons, documenting how the light, color, and texture of the landscape shift.

  • This cyclical natural rhythm mirrors the themes of rebirth and transformation in my story, and can guide the visual tone of my project.

🌿 London Field Research Locations for My Baba Yaga Project

1. Highgate Wood & Queen’s Wood (North London)

I plan to visit these ancient woodland areas, which are remnants of the historic Middlesex Forest. Queen’s Wood, in particular, has spiritual and mythic associations, including links to Druidic rituals and seasonal celebrations.
It feels like the kind of place Baba Yaga might live—wild, quiet, and full of mushrooms, birds, and hidden stories. I want to study the textures, natural patterns, and atmosphere for visual storytelling.

2. Parkland Walk (From Finsbury Park to Alexandra Palace)

This is an overgrown path along a former railway line, with sculptures of mythical creatures like the Spriggan.
I’m interested in the in-between feeling here—where nature and city mix. It could help me imagine how Baba Yaga’s mobile hut moves between spaces, or how she appears in a forgotten corner of the urban world.

3. Bruce Castle Museum (Tottenham)

This Tudor-era building is connected to local ghost stories, especially the legend of a woman who died tragically.
I want to explore how forgotten female figures are remembered in urban myths, and how that reflects Baba Yaga’s own story—as someone feared, misunderstood, or erased.

4. Tower of London

The Tower is full of stories of women in power and women punished—like Anne Boleyn or Lady Jane Grey.
I think this place represents how women’s bodies and voices were controlled or silenced in history, which connects to my project’s themes of power, transformation, and rebellion.

• British Library
  I’ll dive into their medieval and early-modern manuscript collections—looking for folk-tale variants, witch trial transcripts, and illustrated books that reference Slavic or pan-European witchcraft traditions.

• Victoria & Albert Museum (Prints & Drawings and Theatre & Performance Collections)
  I plan to study woodcuts, engravings, and stage-design sketches of witches and female archetypes. Their extensive folk-art holdings will help me trace visual motifs (huts on chicken legs, eggs, animal-hybrid figures).

• Wellcome Collection
  I’ll explore their archives on historic medicine, herbal lore, and magic. The “Medicine Man” and “Magic & Medicine” thematic exhibitions often include objects and documents that touch on how women’s bodies and knowledge were demonized or celebrated.

• London Metropolitan Archives
  I intend to consult parish records, local newspapers, and 17th-century court documents for references to witch hunts, local superstitions, and community attitudes toward “outsider” women—adding a real-world layer to my narrative.

• The National Archives (Kew)
  I’ll look at state papers and legal documents from the Tudor and Stuart periods to better understand the political context of European witch trials, which can inform the power dynamics in my story.

Using these resources, I can build a richly documented backbone for my Baba Yaga narrative—combining visual research with historical depth.

I’ve been really inspired by the work of Japanese artist TAMASKKU, who fills his pieces with tiny, fantastical creatures that feel both playful and mysterious. His illustrations often blend animal, plant, and mythic forms—little hybrids with insect wings, mushroom caps, or curling horns—all rendered in fine, almost delicate linework. He’ll tuck them into miniature forest scenes or crowded cabinet-of-curiosities layouts, so each page feels like a hidden world waiting to be discovered.

Seeing how TAMASKKU brings these quirky beings to life has pushed me to think more deeply about my own creature designs for Baba Yaga’s world. I’m now experimenting with smaller-scale characters—spritelike forests spirits and egg-born familiars—that can peek out from the foliage of my prints or hide in the folds of my zine. His work reminds me how much power there is in the tiny details: a single curious eye, a twist of a tail, a hint of pattern on a wing.

I’m also inspired by Kiki Smith’s work—her fearless blending of the human body with animal and natural forms, and her mastery of print and sculpture to evoke transformation and intimacy. Her delicate yet visceral lines, whether outlining a doe’s shadow or a woman’s silhouette, remind me to explore vulnerability and power in my Baba Yaga imagery. Watching her bring mythic figures into contemporary dialogue gives me confidence to push my prints and zines beyond folklore into something deeply personal and alive.

🔮 Critical Reflection Report: “Witchcraft as Feminist Reclamation” – Major Project

1. Project Focus and Evolution

This project reimagines witches, goddesses, and other mythical female figures as empowered subjects through a feminist lens. Drawing from art history, alchemical symbolism, and cultural mythologies, the illustrations aim to reclaim historically marginalized narratives and present alternative visions of female agency. Inspired by artists like Leonora Carrington and the writings of Marina Warner, the work critiques patriarchal storytelling by positioning witches as central, complex characters.

Initially, the project explored broad themes related to gender, mythology, and magic. However, as the visual language developed—particularly through printmaking and symbolic visual metaphors—it became clear that a narrower, more character-driven approach would provide deeper critical impact.

2. Current Challenges and Key Turning Point

A major turning point has been the realization that character development alone is insufficient. Although several key figures have been developed—including a dual-gender witch, a solitary witch in a Halloween cottage, and a Baba Yaga-inspired archetype—the narrative lacks emotional complexity and social tension.

Key Bottlenecks:

• Over-focus on symbolic personas: While visually rich, many of the characters lack emotional variation, inner conflict, or specific personal motivations.

• Lack of narrative plurality: The story remains too linear and centered solely on archetypes. There is a need for broader narrative threads.

• Insufficient connection between character and setting: Settings (like magical kitchens or sky battlefields) are metaphorical, but their symbolic weight is not fully integrated into the characters' experiences.

• Limited emotional range: The illustrations show strength and mystery, but not enough joy, sorrow, fear, anger, or humor—qualities that would humanize the archetypes and make them relatable.

3. Strategies for Progress and Expansion

To deepen both visual and narrative dimensions, the following strategies will be pursued:

🔹 Narrative & Character Development

• Develop multi-threaded storylines, allowing secondary characters or background figures (e.g., animal familiars, spirits, or village outsiders) to add complexity to the main narrative.

• Write short bios or backstories for each character to anchor their motivations, fears, and personal transformations.

• Introduce ritual scenes or interpersonal conflicts that show witches as emotionally nuanced beings rather than static icons of power.

🔹 Visual & Symbolic Expansion

• Integrate more expressive facial and body language into the illustrations to capture a wider emotional spectrum: vulnerability, playfulness, rage, grief, awe.

• Experiment with scene layering, where symbolic objects (e.g., cracked eggs, tangled roots, flickering candles) act as visual metaphors for internal states.

• Use spatial storytelling (e.g., cluttered rooms, ritual altars, hidden trapdoors) to suggest psychological complexity and layered histories.

🔹 Structural and Thematic Refinement

• Create interwoven themes, such as:

  • Domesticity vs. wilderness

  • Ancestral memory vs. present resistance

  • Transformation through pain or joy

• Position the witches not only as symbols of resistance but also as mirrors of contemporary female experiences—particularly in domestic and social power dynamics.

4. Critical Reflection Practice

To ensure continuous improvement, I will:

• Revisit feminist literature and visual archives to challenge assumptions and refresh narrative approaches.

• Solicit peer feedback regularly and apply cross-critique sessions to test visual clarity and symbolic depth.

• Evaluate each visual output against both technical craft and conceptual resonance, asking:
  “Does this image empower or obscure the narrative?”
  “Does it reinforce or subvert traditional portrayals of women?”
  

5. Next Steps

• Finalize character emotional maps and visual consistency sheets.

• Draft storyboard sequences that prioritize relational storytelling over isolated iconography.

• Test audience responses through informal critiques or zine prototypes to gauge narrative clarity and emotional engagement.

(Corresponding to LO: Knowledge)

#### 1. Textual Archaeology & Gender Reassignment

Method:

- Select 3 male-authored Baba Yaga tales (e.g., Alexander Afanasyev’s folklore collections)

- Deconstruct using feminist narratology tools:

- Layer 1: Direct translation with misogynistic terms (e.g., "ugly hag") highlighted in red ink

- Layer 2: Contemporary female poets rewrite the text, preserving plots but shifting perspectives (e.g., the stolen child’s mother narrates)

- Layer 3: Transform into a visual pantomime, replacing traditional witch imagery with your friend’s portrait sketches

Visual Output:

- Foldable Book Installation:

- Outer layer: Original male texts laser-engraved on birch bark

- Middle layer: Feminist rewrites printed on spa hotel stationery

- Inner layer: Tearable "new spell" notes (Tinder swipe card style)

Theoretical Framework:

Cite Hélène Cixous’ The Laugh of the Medusa to analyze how linguistic violence is subverted through visual symbols in the Critical Position Statement.

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### Objectified to Empowered: From Sexy Lamp to Baba Yaga

(Corresponding to LO: Enquiry)

#### 2. Reverse Consumption of Objectification

Research Process:

1. Source Materials:

- 1940s-60s American "sexy lamp women" ads (*Mad Men* aesthetic)

- AI-generated female characters (e.g., ChatGPT’s "perfect girlfriend")

2. Alchemical Transformation:

- Redraw lamps as Baba Yaga’s cybernetic limbs (shade = cauldron, wires = veins)

- Craft ceramic "objectified body parts" (e.g., lip-shaped ashtrays) with Slavic exorcism spells inside

Presentation:

- Glitch Art GIF:

- Use DeepDream to morph lamp ads into your ceramic works

- Display on CRT TVs in a loop

Critical Angle:

Document in the Process Journal: How does glitch aesthetics combat algorithmic bias? Reference Morehshin Allahyari’s She Who Sees The Unknown.

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### Gerontological Ethnography: Corporeal Anthropology

(Corresponding to LO: Process)

#### 3. Non-Fiction Visual Ethnography

Fieldwork Protocol:

- Subjects:

- 1 Eastern European immigrant woman aged 75+ (London’s Babushka community)

- 1 post-menopausal professional artist

- Recording Tools:

- Tactile Diary: Braille paper rubbings of daily objects (denture cases/medication blisters)

- Sound Map: Recordings of their visceral reactions to the word "aging" (coughs/scoffs/silence)

Visualization:

- Wearable Archive:

- Embroider a temperature blanket with red thread marking emotional spikes

- Scent Specimens: Encapsulate their skincare products/herbs (follow UAL safety guidelines)

Theoretical Bridge:

Quote Clarissa Pinkola Estés’ Women Who Run With the Wolves on elderly female bodies as vessels of "wild knowledge".

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Formatting Notes:

- Bold key terms and theoretical references

- Use Oxford commas for lists

- Italicize non-English terms (e.g., Babushka) and publication titles

Physical description: Figure of Baba Yaga the Russian witch. Seated with a black cockerel on her shoulder. Clay face, hands, teeth. Large nose, bright painted eyes, red wart, sinister smile, white curly wool hair, red headscarf, white blouse, green shirt, brown shoes

Museum classification: Images of Witches

Size: 100 × 60 × 100

Information:

From Cecil Williamson's personal collection.

Resource: Object

Materials: clay, cloth, wool

Copyright ownership: Copyright to The Museum of Witchcraft Ltd.

From Cecil Williamson's personal collection.

In addition to my main research, I’ve also been studying the visual designs of different tarot cards. Tarot itself is a significant part of witchcraft and symbolic storytelling, which aligns closely with my project. This has inspired me to consider creating my own series of tarot illustrations. I’ve been especially drawn to works by illustrators like Yuna Akabane, who combine mystical imagery with personal narratives.

During my trip to Marseille, France, I visited several comic book shops as part of my research. One of the displays that caught my attention was themed around sirens — mythological sea creatures whose gaze causes people to speak only the truth. Another featured sketches of various monsters, with very imaginative and strange character designs. I found these visuals really inspiring and took photos to document them. I hope to incorporate some of these ideas into my own poetic illustrations later on, especially as they connect closely with the symbolic and transformative imagery often found in witch-related narratives.

I visited Epping Forest to do some on-site drawing and writing, aiming to capture the atmosphere and the shifting light and shadows. By observing and responding to the environment directly, I hope to bring a more immersive and intuitive quality into my project. These impressions from the forest will serve as visual and emotional references as I continue developing my narrative and character designs.

Although this particular sketchbook is not directly related to my main project, the combination of trees, plants, and animals I observed has inspired me to explore a more diverse visual approach. I see potential in integrating these natural elements into the world-building of my witch character — creating a richer, more layered environment that reflects both folklore and the mysterious connection between witches and the wild.

Digital Archives & Primary Sources

1. British Library. n.d. Witchcraft in Europe. [Online]. Available at: https://www.bl.uk/collection-guides/witchcraft [Accessed 2 June 2025].

2. Wellcome Collection. 2021. Witches in Early Modern Europe. [Online]. Available at: https://wellcomecollection.org/exhibitions/witches [Accessed 2 June 2025].

3. Salem Witch Trials Documentary Archive. 2002. University of Virginia. [Online]. Available at: https://salem.lib.virginia.edu/ [Accessed 2 June 2025].

4. Folger Shakespeare Library. n.d. Macbeth and Witchcraft. [Digital Collection]. Available at: https://www.folger.edu/macbeth-witchcraft [Accessed 2 June 2025].

5. Museum of Witchcraft and Magic (Cornwall). n.d. Online Collections. [Online]. Available at: https://museumofwitchcraftandmagic.co.uk/collection/ [Accessed 2 June 2025].

Art & Image Repositories

6. Rijksmuseum. n.d. Witches in Prints (1500-1700). [Online]. Available at: https://www.rijksmuseum.nl/en/search?q=witches&p=1 [Accessed 2 June 2025].

7. Metropolitan Museum of Art. 2020. The Witches of Dürer and Baldung. [Online Exhibition]. Available at: https://www.metmuseum.org/exhibitions/durer-baldung-witches [Accessed 2 June 2025].

8. Web Gallery of Art. n.d. Witchcraft in Renaissance Art. [Online]. Available at: https://www.wga.hu/html_m/ztheme/16/witches.html [Accessed 2 June 2025].

9. National Gallery (London). n.d. Witches in Art. [Collection]. Available at: https://www.nationalgallery.org.uk/paintings/search/witch [Accessed 2 June 2025].

10. Wikimedia Commons. n.d. Category: Historical Witchcraft Depictions. [Online]. Available at: https://commons.wikimedia.org/wiki/Category:Witches [Accessed 2 June 2025].

Academic Databases & Projects

11. University of Exeter. n.d. The Witchcraft Bibliography Project. [Online]. Available at: https://witchcraftbib.exeter.ac.uk/ [Accessed 2 June 2025].

12. Oxford Bibliographies. 2023. Witchcraft in Europe. [Online]. Available at: https://www.oxfordbibliographies.com/obo/page/witchcraft-europe [Accessed 2 June 2025].

13. Digital Bodleian. n.d. Witchcraft Manuscripts. [Online]. Available at: https://digital.bodleian.ox.ac.uk/search?q=witchcraft [Accessed 2 June 2025].

14. European Institute for Pagan Studies. 2019. Triple Goddess Iconography Archive. [Online]. Available at: https://www.paganstudies.org/triple-goddess [Accessed 2 June 2025].

Museum Collections

15. Louvre Museum. n.d. Magic and Witchcraft Objects. [Online Collection]. Available at: https://collections.louvre.fr/en/search?q=sorci%C3%A8re [Accessed 2 June 2025].

16. Germanisches Nationalmuseum. 2022. Hexenbilder (Witch Images). [Digital Exhibit]. Available at: https://www.gnm.de/en/exhibitions/hexenbilder/ [Accessed 2 June 2025].

Cultural Studies & Symbolism

17. JSTOR Daily. 2021. Why Are Witches Women?. [Online]. Available at: https://daily.jstor.org/why-are-witches-women/ [Accessed 2 June 2025].

18. Public Domain Review. n.d. Familiars, Imps, and Witchcraft. [Online]. Available at: https://publicdomainreview.org/collection/familiars-imps-and-witchcraft [Accessed 2 June 2025].

19. Archaeology Magazine. 2020. The Archaeology of Witchcraft. [Online]. Available at: https://www.archaeology.org/issues/392-features/witchcraft [Accessed 2 June 2025].

20. Women in World History. n.d. Witch Hunts: Gender and Power. [Online]. Available at: https://chnm.gmu.edu/wwh/modules/lesson10.php [Accessed 2 June 2025].

Bona de Mandiangues’ use of the snail as a metaphor for fragmented identity and mobility deeply resonated with my ongoing research into witch narratives. Her view of creation as a near-magical, spell-like process mirrors my own exploration of the witch as a symbol of emotional labor and transformation. The way she fuses sewing, cutting, and assembling reminded me of rituals — small, intentional acts of power. This inspired me to consider how my Baba Yaga character might carry her home or identity through handmade objects, blending vulnerability and strength in a constant act of self-making.

During a ceramic transfer workshop, I attempted to draw Baba Yaga’s little house and transfer it onto a tile panel. However, the result was not successful — the image didn’t come out clearly, and the visual cohesion was lost. In response, I decided to break up the image into six small tiles, each with a different design. Rather than one unified picture, they became fragments — like pieces of Baba Yaga’s story.

This unexpected outcome sparked new reflections. The fragmented tiles mirror how the witch figure has been broken apart and reconstructed across history. Instead of seeing it as a failure, I began to see each tile as a part of her dispersed identity — misunderstood, retold, and transformed. This fragmented visual language now feels central to my project, echoing the silenced voices, hidden labor, and layered memory carried by women throughout generations.

https://www.artworkarchive.com/profile/michael-mcgrath/artwork/night-ride-anthem-for-new-gods

https://www.goodreads.com/book/show/6011268-baba-yaga-laid-an-egg#CommunityReviews

https://education.nationalgeographic.org/resource/witch-trials-21st-century/

https://www.tokyoartbeat.com/en/events/-/Kanaha-Iwasaki-Exhibition/8-FF-84497/2024-11-30

https://cara.app/post/b1b0bdc1-f5aa-43c0-98c8-f4823a984d6a

As part of my ongoing exploration, I created a small experimental zine inspired by the idea that Baba Yaga could also be seen as a symbolic fusion of a snail and a butterfly. This playful interpretation may seem only loosely connected to my main project, but it actually offers me a fresh perspective. By reimagining Baba Yaga through these delicate, transformative creatures, I started to reflect more critically on themes of hybridity, identity, and mobility. The zine became a space to challenge the rigid, often dark portrayal of witches — allowing softness, humor, and ambiguity to emerge in the narrative.