TWO DIMENSIONAL IDEATION: WHAT IS FEAR?

Fear of the dark, fear of pain, fear of disapproval, fear of missing out…FOMO is an accepted part of pop culture! It’s not rational,
not thought through. It’s visceral, instinctive, subconscious, and therefore erratic, fluid, like a flash flood after rain; inevitable,
like an encroaching desert. It cracks relationships and dissolves will. It cripples, impedes communication, clogs the will to do and
create. It is arguably the greatest obstacle faced by man.
What does fear look like? How can art be of
service in visually representing, and thus
‘naming to tame’ the beast of fear? Fear is
invisible and insidious, and is therefore all
the more terrifying for its threatening
mystery. In visually presenting such a
beast, the artist might undermine its
power. Like in one of the novels in Ursula
K. Le Guin’s Earthsea Trilogy, when the
protagonist faces his shadow and perceives
the terror and darkness that is his, he finds
he can overcome it by accepting and
inhabiting it.
So then, a beast. In what form does it
come? What makes it so frightening?
Perhaps fear has tentacles. Tentacles that
can take control of words and gestures and
actions. Tentacles can smother and
strangle, but they are not necessarily
rough. Their touch might even feel gentle
at first. Only later might the full extent of
their damage be felt.
I will create an image of this beast, and by
doing so remove it from power.
“Scale: In this quick water colour sketch, I drew the ‘beast’ very large in relation to
the human figure to illustrate how large and concrete fear can be.”
DEVELOPING COMMUNICATION OF IDEA
 Figure 1: My own sketches with water colours and fineliner,
inspired by Henry Moore’s sketches.
CRITICAL STUDY: HENRY MOORE

Photograph from National Geographic Magazine

 EXPERIMENTATION &
COMMUNICATION OF IDEAS Inspired by the
iridescent lines of
CRITICAL STUDY: The elongated neck of the humanoid light in the National
figure in Fig. 3 is inspired by Linda Geographic
LINDA VACHON Vachon’s physically distorted human photograph on the
figures. It remains recognisable as a previous slide and
human by its essential form, but the how they accentuate
surreal aspect created by line and shape and create
colour demonstrates how emotions such focal points, I
as fear can warp the natural state. experimented with
foil in an attempt to
achieve the same
effect. I like the lack
of control of shape
when tearing foil
because it conveys
the sense of chaos
that fear can create.

I am also pleased
with the simplicity of
the yellow water
colour background
that contrasts with
Figure 5 (above): the black and silver
“Tout à L’envers”, Linda lines.
Vachon
n.d., Multimedia I wanted to
redbubble.com experiment with
yellow and red lines,
so I created an extra
layer using tracing
paper. I think the
composition becomes
too busy with the
additional lines, so
Figure 3: My own experimentation will continue with
with charcoal, water colour and foil Fig. 3 as a basis for
on paper.
developing future
Figure 4: further experimentation – compositions.
Fig. 3 with another layer.
SKILLS, TECHNIQUES & PROCESSES
FURTHER CRITICAL STUDY & EXPERIMENTATION

Figure 6: My own
experimental
work of acrylic
paint, liquid glue
and aluminium
foil.
ARTIST STUDY: HENRY MOORE, 1898 – 1986
Henry Moore is best known for his sculptural work, and emphasised the necessity of an artist having direct contact with and
understanding of the materials they manipulate. Most prolific during the 30’s, Moore was very important in the post-war art
world of Britain. However, much of his inspiration came from non-western work, in which human figures are often distorted; this
laid the groundwork for his exploration of ‘biomorphism’. He developed these techniques using inspiration from natural forms
such as bones and shells as well as landscapes, aspects of which he managed to weave into his human-subject work by employing
abstraction techniques. His sculpture and 2D work alike was also influenced by the Constructivism and Surrealism movements,
which occurred during and after WW1, respectively. Information based that on the http://www.theartstory.org/artist-moore-
henry.htm webpage.
The time period in which Moore worked was an era of great societal flux due to the sociopolitical climate in post-war Europe. His
exploration of the human form as a culmination of nature and abstraction symbolises the need to redefine values concerning
humanity and our relationship with the natural world. He explored some questions that remain important today in a time when
we face a similar period of cultural evolution; what can we learn from the perspectives of other cultures, and what is not ours to
take? what is it to be human, and what are our responsibilities in relationships with others? The latter question he explored
particularly through the recurring emergence of the mother and child motif (http://www.theartstory.org/artist-moore-henry.htm),
and in pieces such as the linen hanging on the previous slide which shows two figures angled very subtly towards each other,
suggesting a tenderness or at least some sort of relationship between them.
In the linen hanging on the previous slide, the figures’ genders are ambiguous, undermining the stereotypes and roles we would
usually immediately assign them. Moore employs varying values to emphasise certain portions of each figure’s body, thereby
achieving balance in the overall composition. The suggestive, abstract lines he uses to imply their physical features are
reminiscent of contour lines that might be found on the map of a landscape, imbuing the figures with an organic, timeless
ambience.
I find it interesting that one figure has a sort of black halo around its head and is less morphologically recognizable as a human;
there are no distinct facial features, and where the other figure has distinct limbs, the one with the halo’s legs taper off into one
mass and its arms are just suggested. The overall effect of the semi-human nature of the figure with the black halo is that the
viewer can infer it as being more vulnerable than the other because it seems less whole in the way that we are most familiar
with. This effect is something I would like to attempt to emulate with my own project since fear is very closely related with
human vulnerability.
FURTHER EXPERIMENTATION WITH TWO DIMENSIONAL TECHNIQUES
Figure 7 (below): I floated drawing ink mixed with linseed oil on
water, and experimented with differently textured materials. Paper,
the rectangle at top right, absorbed ink more effectively than
canvas, which the other three rectangles are made from.

Figure 8 (above): Experimentation with powder pigments

fixed to paper with acrylic paint. I like the texture and
the serendipity with which the powder falls on the paper,
as well as the contrast in colour between the duller
background and the vibrant hues of the pigments.

Figure 11(above): The top most

square is with acrylic paint and
crackle medium, the middle and
lower squares with ink floated on
water.
Figure 10 (right): It
is possible to
manipulate the
lines of ink by
agitating the water
once the ink and oil
have been poured
on. These fluid,
inconsistent,
organic lines are
very aligned with
the effect I am
trying to achieve in
Figure 9: Wet paper rubbed into the ink and oil residue left the development of
on a plate. The wet paper means a complete lack of control this piece…
aside from the pressure exerted on the paper. I really like
the result.
REVIEWING & REFINING

COMPOSITION
STUDIES
REFLECTING
Through the completion of this project, my voice as an artist has developed and matured. I now feel able to confidently and
competently express emotional experiences and ideas in visual forms.
The critical investigation phase was vital to this development because through interpreting the work of other artists, my
understanding of the way in which I personally interact with symbols and meaning in artwork was enhanced. This in turn gave
me the confidence to manipulate materials to convey my own message. I especially enjoyed experimenting with mixed media
techniques such as incorporating foil into pieces to create a larger variety of texture and colour and to create focal points and
lines. The inspiration for this came from the effect of long exposure in a photograph, which opened up a huge amount of potential
for future experimentation blending the visual arts disciplines.
Below left is an image of my final compositional sketch, at least in terms of the form it will take. Based on experiments, I have
decided to use water colour on canvas for the final piece because I like the slightly rough texture of the untreated side of the
canvas and how it absorbs and dulls the hue of the paint. The compositional sketch is too busy in terms of colours; I don’t like the
blue human form, so will revert to using the weight of
line to distinguish between the human form and the
‘beast’ at its throat, as in previous experiments. In
addition, I will not use the combination of brown and
yellow in the background, but rather just the yellow.
The intensity of the hue will be decreased by using
canvas also. The bottom right image shows a section of
the resolved artwork. I used charcoal to draw the lines
of the throat, and paint and glue with foil embedded
into it to create the ‘beast’. This achieved the desired
effect of differentiating the forms of throat and ‘beast’
though the weight of lines.
The last amendment from the compositional sketch is
the removal of the earrings, which suggest a particular
gender. Fear is experienced universally by humans, and
I want to transmit that ubiquity.
THREE DIMENSIONAL IDEATION
Systems can be complicated or complex, and are imbued with
an intelligence of their own. A system is a whole made up of
smaller, individual units functioning together in a cohesive
way. A complex system is made up of parts that are all
basically the same, or have the same goal in mind.
Complicated systems are composed of different parts,
components that each have a separate goal. A mechanical
engine is a complicated system in that it has many different,
small parts that carry out different functions. If one part
breaks, the entire system becomes useless.
Bodies and ecosystems are complex and work more on the
basis of fractals; at any level, the same essential principle of
survival applies. If one component of such a system is removed
or damaged, the rest of the system will compensate creatively
by evolving and readjusting the order of things. There is a
point of self-organisation in complex systems, a point at which
the whole becomes more than the sum of its parts.
As a lover of biology, the idea of emergent properties
within complex systems fascinates me. When does a Figure 12: This water colour sketch symbolises a paradox faced by humans today; in a world of
sophisticated technology, how do we retain our humanity intact? The parallelism of the circular
collection of cells become an organ? Equally, this concept shapes of the woman’s breast and stomach and the mechanical gears embodies the paradox of the
applies on a larger scale to belief systems, the systems of fact that technology can simultaneously enhance life and also prove to be frustrating or even
society (complicated or complex?), ecological systems damaging to health.

which we must treat with utmost care during this era, and to protect them we must understand how they function.
I want to explore that point of emergence, or self-organisation, visually. It might relate to the feeling of exhilaration experienced
when you have been learning a very difficult skill for a long time, struggling with every detail, and then suddenly there comes a
point when each stage flows together, and the whole process becomes effortless.
Biological systems appeal to me as the most elegant example of systems reaching the point of self-organisation, and I imagine
that working in three dimensions will prove an effective way to convey the complexity and multi-dimensionality of the subject
matter.
 TECHNIQUES & PROCESSES (2D LEADING TO 3D)
Figure 13 (below): A tentative
idea of using fossils as a
possible form for this project;
they sit on the threshold
between 2D and 3D and will
allow experimentation with
both forms.

Figure 15 (above): An attempt at

capturing the 3D nature of a
withered, semi-eaten mango
using shading techniques. This,
like the fossil experiments, could
be cut out and the paper folded
or otherwise manipulated to
create some sort of sculpture, but
I am beginning to feel that these
attempts are too tentative, and I
need to dive into experimenting
with entirely 3D forms.

Figure 16 (right): I like the

Figure 14 (above): I used thick layers
of acrylic paint to create raised
texture. I may experiment with
creating a sculpture out of these flat
experiments.
volcano and fossil cube sketch at
the bottom of the page as a
possible sculpture idea because
of its combination of organic and
geometric line and form, and the
convergence of 2D and 3D.
However, I am not satisfied with
the message and symbolism. It
definitely needs to be developed,
if not discarded and replaced
with a more subtle, clearly
formed idea.
 (Below) Peter Mcfarlane is
(Top): “Obsolete” (Middle): “Nest” Bottom: “Volcano”
Bookmark Slice 2001 a painter and
n.d., Circuit board n.d., Circuit board n.d., Circuit board
From Volumes Series sculptor who
petermcfarlane.com
Soaked, dried, scraped, worked a job as a
CRITICAL STUDY reformulated book computer sales
assistant, so was
components
H13 x W13 x D11 inches continually
In Collection of Mr. & exposed to the
Mrs. Charles Perrin, NY amount of
technological
waste,
particularly of
computer
components such
as circuit boards,
that followed
technological
advancement and
the relentless rate
of obsoletification.

The subject of
Mcfarlane’s work
is almost always
natural forms,
with the twist of
being created from
synthetic
materials that
would otherwise
be polluting
nature. In a
description of his
own work,
Mcfarlane writes
“the challenge and
contrast of re
creating no tech
“nature” with hi-
tech electronic
components.”

Petermcfarlane.
com

Mcfarlane’s use of
used materials
that could be seen
Shrunken Encyclopedia (From Ex Libris) 2000
This is a book high-fired in a kiln without any clay or slip intervention.
as ‘trash’ appeals
H6" x W9" x D7" to me, and I hope
H15.5 x W23 x D18cm to use this
In Permanent Collection of the Honolulu Museum of Art, HI Photo: Brad Goda technique in my
own work.
DEVELOPING IDEAS
I was very inspired by the processes of transformation that culminated in the finished work of Jaqueline Rush Lee. Her work also
revealed to me the possibilities that paper has that I had not previously considered. The ways to manipulate such a versatile
material are essentially unlimited.
Continuing with the idea of visually representing biological complexity, I began thinking about naturally occurring processes of
transformation. Despite being quite a cliché concept, I am struck by the profundity of the metamorphoses of moths and
butterflies from pupae, and began to explore the concept of the cocoon and what takes place therein…

Figure 17: Sketches of potential sculptural pieces.

TECHNIQUES & PROCESSES
REVIEWING, REFINING & REFLECTING
Anthropomorphism: Being
insects, moths and butterflies
are about as different from
humans as any other moving
organism on earth can be. In
science fiction, aliens, which
humans are of course terrified
by, are often depicted as being
most anatomically similar to
insects. Vertebrates and
insects carry out most of the
same processes necessary for
life, but key differences such
as their exoskeleton, lack of
vascular circulatory system
and strange social structures
completely defamiliarise
humans from insects. In order
to make this project relatable
on a human level, and to
bridge some of the discomfort humans experience in relation to these strange organisms, I think I will pursue the design on the
right when I create my sculpture. There are two arms – a recognizably human feature – but they have only two fingers, retaining
the symbolism of ‘otherness’. Combining the themes of otherness and transformation makes this project a societally relevant
comment on the growing rift between humans and nature which is having devastating impacts on the earth’s natural spaces, as
well as our natural resource reserves.
This intention behind this piece has become a request to the viewer to at least entertain the idea of transforming their attitudes
regarding others, be they of another species or even of our own species but another race, thereby creating a healthier, more
resilient and harmonious system in which we can all coexist. Perhaps social systems can take inspiration from ecosystems and
turn more towards collaboration and community as opposed to individual gain at the cost of all else.
Despite beginning with the theme of Systems, this project was intimidating to begin with because it was completely open. It took
a while, and a lot of experimenting, to come to an idea that had a message that wanted to explore.

Once I had decided that I wanted to work with the cocoon as a symbol and form, I started making the shape of a cocoon out of
paper mache. Because of the experimentation I’d done making a small cocoon, I felt confident making a bigger shape and this
piece has ended up being about 2 - 2½ feet. I kept to the same simple, elongated-oval shape that the small experimental cocoon
had.

I had been aiming to create a somewhat sinister or otherworldly ambience around the cocoon, which I had thought would be easy
since cocoons themselves are usually associated with the unknown and the dark. However, once the shape was made it seemed
very unsophisticated because of the paper mache, which has childish connotations attached to it. I painted the entire thing white,
and added three wire ridges to the back to make it more realistic and similar to the image of a real cocoon. I experimented with
different colours and methods of painting the surface and discovered that, using a palette knife and acrylic paint to create a very
thick layer, I could fill in the holes in the paper mache and make the whole structure more cohesive and less child-like. The
uneven surface texture of the paint also gave it an organic feel. The only drawback to this method is that it uses up a lot more
paint than simply brushing on one layer.

Not entirely satisfied with the colour scheme - a tone of blue on the back and green on the front - I experimented further with
diluting acrylic paint with water and spritzing it on in layers of different colour using a spray bottle. Although I am happy with
how the paint turned out, it was at the same time frustrating not to have a completely clear idea of how I wanted the cocoon to
look, and enjoyable to let the creative process take a spontaneous route.

I found a piece of rusty wire on the floor which had multiple strands that came together to create a very organic shape. I used
this to suspend the cocoon so that it can freely hang like it would in nature. This inspired me to experiment more with wire. I had
had the idea of creating arms for the cocoon, with a hand but without 5 human fingers. Making the arms presented its own
challenges since I am very inexperienced in manipulating wire. I made the arms separately and glued them to the back of the
cocoon with a hot glue gun, however they were too heavy to stay in the same place and so began to rip the layer of acrylic paint
off. Combined with the fact that the cocoon was caught right under a deluge of tropical rain that soaked it through and made it
fragile, I needed to find a new approach.

I liked the way the paper mache worked with the wire that suspended the form, so decided to make a wire frame that encircled
the entire thing in a spiral and went up the spine of the cocoon while threading through the wire arms to attach and keep them
stable. The wire looked messy, so I tightened it using pliers which created wire curls that ended up adding to the overall
aesthetic appeal because they added more organic forms and focal lines that emphasised the form’s outline.
I made the hands to have two fingers so that they would be
recognisable as hands, but so that they would not be seen as
human. We anthropomorphize everything we see, and often in
nature we do not consider processes that take place in non-
human organisms to be as complex as those that happen in
humans. The process of metamorphosis that takes place inside
cocoons is very mysterious and complex. It is driven by
enzymatic activity, which also drives human biochemistry. We
are much more similar to insects and all other life forms in
general than we may initially believe.

To the hands I attached a piece of cloth soaked in glue (so that

it would harden), inspired by my experimenting with cloth
after my critical study of Jaqueline Rush Lee’s paper
sculpture. The white of the cloth between the hands
represents a creation that is pure and beautiful, clean from
judgement based on what or who is doing the creation. I made
the wire arms very erratically shaped to contribute to the
tension created by the convergence of the anthropomorphic
arms and the alien hands.

Despite my attempts to create an organic texture using acrylic

paint, it was too clearly synthetic to create the desired effect.
Moreover, the colours became too busy and therefore detracted
from the simplicity of the statement made by the form. Having
experimented successfully with textures created by using
powder pigments, I spray painted the entire cocoon white,
layered on plaster in an irregular coverage to achieve the
desired matt, rough texture, and blew powder pigment onto
the surface. I was very pleased with the result. On the right is
an image of the resolved artwork.

My own resolved work:

“State”, 2017
Plaster, wire, cloth, glue, newspaper.
65cm x 50cm x 99cm