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"Covered Flesh" Photographs

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"Covered Flesh", 13/05/24: Makeup and Cling Film

•In a recent exploration within my art practice, I went on a unique journey that involved wearing alternative makeup, capturing photographs, and wrapping my face in cling film.

•At first glance, this may seem like an eccentric combination, but for me, it was a deliberate and deeply meaningful process.

•This experimental venture wasn’t just about creating striking visuals; it was a deliberate exploration of themes central to my artistic identity.

•The alternative makeup served as a form of self-expression, allowing me to embody different personas and bring a sense of mystery and intrigue.

•The act of photographing myself in this state was a way to document and reflect upon the transformation, capturing moments of vulnerability and strength.

•And then, the addition of cling film introduced an element of distortion and confinement, symbolising the complex interaction between external pressures and internal struggles.

•This process was a deeply personal exploration of identity, perception, and the human experience, resonating deeply with the themes that are in my artistic practice.

•Through this unique combination of elements, I aimed to challenge preconceived notions, provoke thought, and ultimately, allow emotion in those who encounter my work.

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More Makeup Looks

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My Makeup

•For many years, my passion of makeup has heavily influenced my identity, allowing me to express myself in an artistic way.

•To me, makeup is not only a routine or to enhance my features, it is a form of art, a medium through which I can express my creativity and meaningful emotions.

•My love for alternative and gothic makeup is highly significant to me and my identity, being able to explore the darker, more mysterious elements of my personality.

•With each stroke of eyeliner and splash of vibrant eyeshadow, I construct a new identity, challenging societal norms and embracing my true self.

•One of my unique techniques involves shaving off my eyebrows, providing a blank canvas upon which I can craft any expression I desire. Whether it’s bold, angular eyebrows, or delicate, ethereal arches, each stroke of my brush becomes a brushstroke on the canvas of my face, a demonstration to the power of makeup as a transformative art form.

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"Delirium" Photographs from Degree Show

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Degree Show

•While preparing for the degree show, I worked straight onto the installation’s structure. I found this process liberating, and peeling off my paintings afterwards was immensely satisfying.

•As the space filled with paintings, my tutors noted that the colours of the cling film paintings faded slightly inside the installation due to the thick cling film material isolating them.

•Yuen suggested that once I filled the windows and one side of the structure, I should paint directly onto the thick cling film to enhance the colours and refresh the paintings and creatures.

•I embraced this idea and explained that the process of my practice was captured on this side of the transparent material through painting and peeling off the cling film, which left paint residue and holes from damage.

•During this process, I needed help from the technicians to reach certain areas due to my height, which sometimes worried me as it interrupted my impulsive nature to do everything myself.

•my main concern was reaching the highest windows in my space. Although the technicians were initially hesitant due to time constraints, I was determined to complete every bit of space and was reassured by Jim that I could use a step ladder to reach the highest points.

•After collaging all my paintings and filling all the gaps in the structure, I worked on the front of the scaffolding facing the studios, marking out the eyeballs and teeth of all the creatures in my paintings to emphasise their most significant features, also reinserting colour where needed.

•Painting the eyes and teeth of the creatures on the other side created a three-dimensional effect and drew attention back to them.

•This step was crucial for my installation, as I wanted to evoke an unsettling feeling of the creatures watching the viewers, which was achieved by repainting the eyes.

•I am ecstatic about the results of my degree show installation, as it perfectly captured my concept and themes. The outside of the installation met my standards, resembling stained glass windows.

•Although the process was challenging and exhausting at times, it made me realise how hard I had worked, as I completed more paintings than my original goal, which was twelve. I am very proud of the outcome.

•I am looking forward to the private viewing of the degree show, where my family, friends, and the public can fully experience my work.

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Artwork: "Predator", 18/04/24

•The central figure in this painting embodies the darkest recesses of the human psyche, symbolising a predatory force that relentlessly consumes the mind. Drawing inspiration from my research on schizophrenia, this creature symbolises the insidious influence of negative forces on the human condition, particularly in the realm of addiction, where empathy becomes an alien concept. The idea that addiction can target anyone struggling with its grip captivates me, driving me to depict the creature's malevolence in raw detail.

•During the creation of this painting, I found myself grappling with profound feelings of despair and vulnerability, seeking to capture the chilling essence of the central subject avoidant of mercy. This creature embodies my deepest fears, reflecting the dread of my mental state spiraling into darkness.

•To underscore the creature's sinister and frigid nature, I stayed away from conventional depictions, providing it with large, lashless eyes, absent of horns or ears, and possessing needle-like teeth that protrude menacingly. Drawing inspiration from horror films, I applied techniques that evoke the most unsettling creatures, including a cold, motionless expression, a wide, unblinking gaze, a small head, razor-sharp teeth, and a lanky physique.

•The creature's raised arm with clawed hands reinforces its predatory nature, evoking a sense of imminent danger for its next victim. The application of red acrylic paint around its features accentuates its lethality, while pink acrylic serves to unify the composition and evoke a sense of rawness and flesh.

•While primarily using a paintbrush, I used scratching techniques to further accentuate the creature's aggression and highlight its claw-like appendages. The inclusion of yellow acrylic creates a deceptive allure, suggesting a false sense of trust, yet the creature's appearance contradicts any attempt at enticement.

•This painting stands as evidence to my evolving artistic journey, representing the peak of my efforts to authentically portray the raw, terrifying nature of mental illness. While previous works may have fallen short of capturing this essence, this painting serves as a poignant reminder of my artistic mission and motivates me to create impactful depictions that resonate with the viewer.

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Artwork: "Corruptive", 18/04/24

•Concerned about the deadline for my degree show piece and the considerable space yet to be filled with paintings, I sought a more relaxed approach for my next painting.

•Opting for a large scale, I believed it would enhance the impact of the piece, thanks to its striking features.

•Unrestrained by a limited colour palette, I took advantage of the full spectrum of paints at my disposal. My confidence in this choice is reflected in my decision not to blend colours, resulting in a vibrant effect.

•As I delved deeper into the creation process, I began to accentuate the creatures' teeth, providing them with a more menacing demeanor. The addition of red acrylic at the tips of the teeth, mimicking the appearance of blood, reinforces their predatory nature and serves as a grim reminder of their malevolence. This choice underscores the raw and unsettling aspects of mental illness.

•Positioned on the left, a bird-like figure gazes fearfully at the creature, its form distorted by horns and a prominent eye, suggestive of corruption.

•The primary creature shares certain features with myself, notably a bridge piercing between its eyes, drawing attention to its gaze—an element originally associated with the piercing.

•Implementing predominantly brushwork, I wanted to convey a sense of aggression and violence present in the artwork.

•To further accentuate the unpredictable nature and purpose of the creature, I applied red acrylic to the background surrounding the subjects.

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Artwork: "Child Unalike", 18/04/24

•I infused the creature in this painting with more childlike traits such as hair in pig-tails and freckles to evoke nostalgia and convey the theme of corrupted innocence imposed by adulthood.

•At 22, I find myself gravitating back to the simple joys of childhood as a coping mechanism for the traumas I've encountered in adulthood, such as revisiting beloved TV shows.

•The anger stemming from these traumas has left me longing for the happiness of my childhood, wanting to escape the responsibilities of adult life. Living independently has forced me to embrace true self-reliance and navigate the challenges of fending for myself.

•The subject's bold eye makeup mirrors the style I would typically possess, subtly alluding to the personal themes and intentions behind the painting while displaying my yearning for the innocence of childhood. Incorporating personal reflections and emotions into the degree show piece is important to me; not only does it allow me to infuse a part of myself into the work, but it also creates an opportunity for viewers to connect on a deeper level.

•Going for a small-scale format, I aimed to accentuate the childlike essence of the creature, serving as a reflective portrayal of my own childhood self. Utilizing a diverse palette of vibrant colors, distributed with pastel pinks, yellows, and oranges, I sought to provide the work with a sense of gentleness and nostalgia, evoking hues commonly associated with childhood and joy. The predominance of warm tones symbolises happiness, while subtle undertones of cooler hues hint at the complexities of adult emotions.

•In application, I mainly used my fingers, intentionally embracing their soft touch to further underscore the painting's tender qualities and to reinforce the presence of personal elements within the artwork.

•The abstract drips at the top of the painting serve as a gut-wrenching metaphor, symbolising the unstoppable intrusion of adulthood, its complexities, and challenges, seeping into the purity and innocence of the subject, as if attempting to corrupt its pristine essence.

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Artwork: "Plaything", 17/04/24

•In this painting, I ventured beyond my typical focus on the head and neck of my creatures, aiming to explore the anatomy of the body in greater detail. The main subject features an elongated, eel-like body absent of traditional appendages, emphasising the abnormal and surreal nature of my creations. Attached to this form rests an oversized head with horns and a menacing grin, revealing a set of razor-sharp teeth. The recurring feature of a large grin in my works is a deliberate choice, symbolising the predatory and malevolent qualities shared by these creatures.

•The head of the main subject possesses a vibrant array of colours reminiscent of a rainbow, a deliberate juxtaposition intended to subvert the traditional associations of happiness and innocence. This makes the underlying theme of corruption and distortion evident throughout my artistic narrative.

•Accompanying the main creature is a detached head absent of a body, serving as a unique contrast to the central figure. This secondary head features a distinct colour palette dominated by cooler hues of blues and purples, evoking a sense of coldness and unease. Its gaunt and ill-looking appearance, similar to a skull, hints at themes of mortality and sickness. Deliberately lacking in vivid colour definition, this detached head is intended to seamlessly blend with other paintings upon final installation, creating a sense of continuity and interconnectedness within the exhibition space.

•While I employed my usual technique of brushwork for the application of colours, I regret not utilising my fingers for the detached head, as it could have allowed for a smoother texture reminiscent of bone or skin. As for the background, I deliberately left it bare, intrigued by the prospect of how it would interact with my other paintings within the installation, fostering a dynamic interplay of visual elements.

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Artwork: "Hungry For My Soul", 17/04/24

•The painting depicts a highly expressive creature characterised by sharp horns, distorted eyes, and a large grin revealing multiple rows of sharp teeth.

•During the creation process, I felt a strong sense of confidence, which is reflected in the painting's energetic vibe, achieved through the expressive application of vibrant colors and bold black lines.

•The creature exudes elements of cheekiness in its demeanor, with its arms and body positioned playfully, seemingly wanting attention with a "look at me! Look at me" attitude.

•Despite its playful appearance, there is a subtle hint of danger conveyed by the presence of red acrylic paint under the creature's grin, symbolising blood and serving as a reminder of its less friendly nature.

•A mixture of blending and unblending techniques was employed to create a sense of dimension and depth in the painting, enhancing its visual impact.

•The background features numerous lines surrounding the main subject, accentuating its erratic nature and adding to the overall dynamic composition. These lines were meticulously applied using a paintbrush for precise but expressive control.

•The decision to leave the creature's body mainly blank was intentional, allowing for future layering with other paintings to contribute to the overall narrative.

•Despite its slightly ominous undertones, this creature remains one of my favourite creations due to its playful and almost likable nature, representing a balance between charm and danger.

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Artwork: "Sharp", 17/04/24

•I devoted considerable attention to refining the line work and utilized the rich properties of black acrylic paint throughout the painting process, resulting in a main subject that displays a distinct and striking presence.

•The creature’s features are all warped, featuring a mouth positioned in an unconventional location and one eye noticeably larger than the other.

•I aimed for a highly abstract representation of the main subject, drawing inspiration from Picasso’s renowned style of distorting facial features to convey a unique artistic influence.

•The colour palette is a vibrant mix of hues, evenly distributed throughout the piece, yet some areas are intentionally left sparse. My primary emphasis was on the bold black markings and lettering.

•In certain stages of my creative process, I incorporate lettering around the subjects, often using words and sentences from my subconscious that sometimes I cannot recollect once I emerge from the painting process. This painting is an example of this.

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My pictures of Art at Festivals and Raves

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Boomtown Festival

•Boomtown Festival is a dynamic music and arts festival known for its immersive experience, blending a diverse range of musical genres with interactive theatrical performances and elaborate set designs. From jungle to techno, house to hardcore, dub to DNB, the festival’s lineup spans a spectrum of sounds, providing a platform for both established artists and emerging talents.

•The festival is renowned for its immersive and electric art installations, which contribute to the festival’s vibrant and otherworldly atmosphere. Each year, the festival’s landscape transforms into a playground of creativity, featuring a diverse array of art forms that engage and inspire festival-goers.

•One of the defining features of Boomtown’s art scene is its commitment to immersive experiences, with attendees finding themselves transported to fantastical realms as they wander through intricately designed stages and themed districts.

•From larger-than-life sculptures to interactive installations, Boomtown’s art showcases a wide range of artistic styles and concepts. These pieces often reflect the festival's themes of sustainability, social justice, and cultural diversity.

•One notable aspect of Boomtown’s art programme is its emphasis on sustainability and eco-consciousness. Many installations are crafted from recycled materials, highlighting the festival’s commitment to environmental stewardship.

•In addition to static installations, Boomtown features dynamic performances and life art demonstrations throughout the festival grounds. From live painting sessions to aerial acrobatics, these artistic performances add an extra layer of excitement and energy to the festival experience. 

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My Photographs of Graffiti/Street art

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Research: Roskilde Graffiti Project by Lars Pederson

•Lars Pederson, graffiti artist, and organiser for one of Europe's largest music festivals at Roskilde took a very present problem amongst the generation’s youth and turned it into a platform for international art.

•The “graffiti project”, started in 2009, redirects negative tagging tendencies and harnesses their hidden artist potential to support street art culture and the overall festival experience.

•Stemming from festival goers painting and tagging tents and various festival equipment, Pederson channeled this rebellious activity by fully supporting it.

•A new zone was created that features the work of professional and amateur artists from all around the world, showing their artistic expression. The idea behind it is to express yourself through your style and to learn from and collaborate with other artists from different parts of the world to create new fusions and explore new boundaries.

•About five kilometres of plain wooden boards, used by the festival to mark off its various areas and perimetres, are now blank canvases for the guests themselves, adding a whole new visual aspect to the festival experience.

•The idea is only to bring international perspectives together to see what can result in their collision, to support graffiti as an art, and to reduce unwanted tagging ingeniously.

•The effort effectively transformed a negative element at the music festival into a healthy, productive global medium for street art, through sustainable thinking and collaboration.

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Festival Artists: Squidsoup

•With the incorporation of light sound and technology, Squidsoup’s (a collective) artworks combine physical and dynamic digital spaces with novel and intuitive forms of interaction to produce responsive and beguiling environments.

•They have made significant contributions to the Glastonbury festival. At the 2023 Glastonbury Festival, they presented “Endless”, an installation that highlighted their innovative approach to integrating art and technology.

•“Endless” utilised an array of LED lights to create a mesmerising environment that could operate sustainably off-grid, powered by solar panels and electric car batteries. This installation was a part of Squidsoup’s broader efforts to ensure their art practices are environmentally sustainable, allowing them to reduce reliance on conventional power sources and minimise their environmental impact.

•Squidsoup's installations are known for their ability to transform spaces into interactive and immersive experiences. Their work at Glastonbury, like “Endless”, exemplifies how they blend technology and art to create captivating environments that engage festival-goers, encouraging them to explore the interplay of light, sound, and space.

•These installations not only provide aesthetic pleasure but also invite audiences to consider sustainability and innovation in art practices.