IB HL Art
I have interacted with fear, having it effectively alter my personality. It furthers my curiosity about its consequences, leading my body of work to focus on the nature of fear as a concept: how it may impact one as a person.
This thematic body of work is curated to narrate how I see fear and ultimately how it shapes my personality. This is to expose to others how fear may affect one's connections with others, how it may lead to moments of indifference, and ultimately how fear is created through one's actions. Whilst the concept is based on my experiences and beliefs, my work deals with social experiences within fear, showing that it is omnipresent. The social aspect is created through the understanding of how fear can interfere with one’s life and identity. My experiences are used to help someone not go through it themselves. The narrative is metaphorically configured like a tree. The trunk, consisting of reasons why the fear began and how it transformed, and later branched out. The branches of the tree, represent the investigation of how fear has affected my life and others, and how that impacts identity. Moreover, the genre of my work is typically abstract in formal qualities, depending on line, colour and symbolism to convey my intentions regarding the consequences of fear. Elements of design such as strong diagonal, reflective light, biomorphic forms and distortion are used to create movement, emphasis and contrast within my artworks. The media throughout the body of work is mainly varied, yet consists of several digital photographs, creating a sense of unity.
The artworks throughout my exhibition will be placed close to each other on the wooden board, 15 cm apart, showing connection in the narration. Having it be eye level to average height (5ft7) prompts the belief that the consequences of fear are in the audience’s life, in their eyesight, one just has to look harder. The space provided consists of a room with white walls and a big window allowing for a lot of natural light, as well as 7 white wooden-boards to hang artwork. My organisation of the space consists of a three-sided square opened towards the natural light to contrast with my last artwork, allowing for a dark space in a 2m x 4m room. As the school gave me 4 track lights, lighting will be emphasized in certain artworks such as “Meet Fear” and “No strings attached”, targeting the impact of light in creating shadows. One then sees “Meet Fear” in different manners due to the light’s spotlight, creating different perspectives. The artworks are arranged so that each turn in the square symbolizes a new perspective on fear. Cross lighting is used to unify the curation to show a continuous story line despite subgroups. The artwork, ‘Recognition Competition’ is placed first, apart from other artworks to emphasize where fear and its concept stemmed from. The first side of the square includes the piece ‘Temperamental’, showing the transformation of fear, followed by the boards in the middle, signifying the different manners through which fear interferes with identity. The last wall depicts conclusions of what fear does to the average human, and its impact on identity. The last artwork will be the the interactive site-specific piece, ‘Meet Fear’, which aims to prompt the audience to attempt to be free through the acknowledgement of their own fear, leaving it behind through written word. The lighting will be extremely important in this piece, allowing for the audience to have their own interpretation of what fear is.
I chose to not include my first work, “Build it up, tear it down” because of the lack of conceptual qualities because of the selection of superficial symbols such as a wall and eyes to show how one hides behind a barrier. The idea behind “Closed Lense” developed the concept in “Build it up..”. In creating this body of work I aim to have the audience understand that it’s normal to have fear, and it should not be hidden. It aims to empower the audience through their understanding of fear and its implications on identities, allowing for a change on their perspective of fear.
RECOGNITION COMPETITION
December 2018
Digital Photograph and pencil on hot press paper
32.5 cm x 26 cm
‘Recognition Competition’, is the root of my fear, and its impact on my identity. It demonstrates where fear begins, in the comparison of family. Inspired by Francesca Woodman’s composition; elements are emphasized through the use of perspective, a strong diagonal and a monochrome colour scheme in a picture plane. The comparison in between siblings, where one is more recognized than the other began the fear. Thus showing how one action can have a big impact on one’s identity.
HALFWAY SENTENCE
October 2018
Digital photography on photo paper, Photo Editor, Foam board, Hot glue, Purchased cardboard
114.3 cm x 69.85 cm (Series of 18 photographs, 6 x 3)
‘Halfway Sentence’, as a triptych showing its versatility in subject, aims to expose the process of how one becomes indifferent to the complexity of their fear. Inspired by Rolf Sachs’ photography technique of long exposure, the change in shutter speed aims to emphasize the movement of a biomorphic form demonstrating factors which make up one’s fear. Emphasis on the last picture represents an epiphany towards the indifference to the complexity of fear.
UNCONSCIOUS ACTIONS
June 2018
Digital photograph on photo paper, Sharpie, Photoshop, Photo Editor
51 cm x 53 cm
‘Unconscious Actions’, inspired by Bec Wonders’ mixed media within photography, challenges the reality of fear and exposes the difference between imagination and reality through the use of pen and photography. The mixed media aims to show that fear is ultimately subjective. These perspectives are shown through the difference in media, posing the question of whether what you think of yourself is real, or what other people think of yourself is real.
TEMPERAMENTAL
May 2018
Acrylic paint on self-made canvas
2.44 m x 1.15 m
‘Temperamental’, inspired by Sipho Mabona’s origami figures, aims to demonstrate the constant transformation of fear through the transformation of paper. Thus portraying the curiosity one has towards fear as it transforms and develops within an individual. As a symbol, fire and gold are used to demonstrate humans’ attraction towards fear. With the distortion of origamis to emphasize the changing aspects of fear.
SHOES OF RESTRAINT
March 2018
Earthenware ceramics, underglaze, low-fire clear glaze, Purchased shoes
27 cm x 20 cm x 12 cm
‘Shoes of Restraint’, inspired by C.J. Henry’s symbol of a shoe and Rachel Whitehead’s media choice, is shown in the artwork for means of confinement and how your shoes may stop fitting and hurting in the process of wearing them. It targets the problem of reaching a point in life where one has to stop living in fear of who they are. Distortion in the toes is used to show that learning how to be yourself can be painful with several mistakes, thus helping you learn.
CLOSED LENSE
February 1st, 2017
Digital photograph on photo paper, Photo Editor, Purchased glass frame
65 cm x 180cm (Series of 15 photographs, 5 x 3)
‘Closed Lense’, aims to demonstrate how humans create barriers that they use to protect themselves from fear. Staged Portraits within the triptych and the effect of movement surrounding the figures signify the relatability of how common humans put up barriers. The movement, inspired by Vivian Galbán in “Entre el cielo y la tierra”, hopes to cause the audience to feel distress while looking at the pictures surrounding the masks. Showing the difference behind each and its displeasingness.
WHEN IN DOUBT, DRAW NAKED BODIES
July 2018
Smoke, ink pen (uni-ball) and acrylic paint on wax paper
130 cm x 80 cm (Series of 3 drawings)
‘When in doubt…’, created by the technique of Fumage to show fear’s versatility, targets how fear of your surroundings affects one's thoughts and actions negatively. The symbol of smoke represents the mindset, and is something that can seep and get anywhere. The two biomorphic forms within the triptych aim to give a more realistic view on how smoke can penetrate through cigarettes and in turn how it may affect your exterior appearance, thus explaining the cause for the distortion of the faces.