musings of an overloaded mind

Creation Myths and the Hint of Higher Understanding

Creation Myths are the explanations of the origins of our world/universe, and no matter where or when, they have existed since the dawn of Reason.

In creation myths, there are ideas explored through the imagination of our ancestors thousands of years ago, and through the logic and facts of science nowadays,
which ideas, strangely enough, are strikingly similar to one another.

Is it crazy to think that there may have been some higher knowledge involved, a collective consciousness?

In terms of space and time, myths and the people who told them had little if not nothing in common, and often didn’t interact as they developed separately, on different continents, divided by vast impassable oceans.

So what could have enabled them to have the same ideas if they had nothing in common?

the prism could be representative, where each colour would be a different interpretation of the same story – the white light.

There may be more than a thousand stories about how our world and our universe as well as ourselves came to be, yet they all rely on the same basic principles.

~ At the beginning there’s nothing/darkness/infinite emptiness and chaos.
~  Then the egg cracks/there’s an explosion of light/the emergence of consciousness or the primordial creator god.
~ Then the creation of the heavens and the earth/night and day/celestial bodies.
~ Then the humans, made of clay/mud/dust/washed up wood…

What was there before the Big Bang?
The Big Bang, the giant explosion, which marked the beginning of time.
Matter takes new shapes and configurations/gas clusters/stars /planets/galaxies.
Humanity as the product of an evolutionary process, moulded throughout time to what we are today, with the same chemical consistency as the earth we live on….

Could we claim that it could be one and the same story seen through a prism? A different language bringing the story down to understandable terms for the different cultures?

Science gives us yet another explanation (this time based on fact and logic, rather than imagination and logic) and that is still almost the same story, excluding the narrative and the humanised creative forces called gods and goddesses.

Can scientists say what was before the Big Bang? They may still speculate but one thing is certain and that is the black void which lies beyond our cosmic horizon. (Not entirely void, as there is still energy emitting from it, so there must be something in that infinite darkness which is believed to have been billions and billions of years ago, before the BB. FYI: TED Talks, Distant Time and the Hint of a Multiverse)

cosmic horison (from illustraTED, 2015)
before the beginning of time (illustraTED, 2015)

Another interesting comparison:
In Ancient Egypt they had Nut and Geb, the Sky and the Earth, as lovers in a tight embrace until they were separated by Ra, the sun deity.
In Norse mythology after the death of the giant Ymir, his head was separated from his body so his skull could become the dome of the sky and his body the earth, and the skull was held up by four guards – East, South, West and North.
Chinese myth tells the story of Pan Gu, the giant who was asleep in an egg shell and once he awoke and the shell broke, heavier bits that came out of it became the earth, the lighter ones became the sky, and fearing that they’d mix once more, he held them apart, growing simultaneously as they continued to separate.

These three bits of the respective creation myths clearly emphasise that the earth and sky were once mixed, or really close together.

As if playing on the idea that at the dawn of time temperatures were much higher, and matter was much denser. Closer together. And that’s scientific fact:
The universe is expanding.
It’s cooling off.
We have scientific studies right here, explaining to us that simple yet fundamental idea which actually existed for thousands of years beforehand.

So when we say “the universe is expanding, it used to be much denser” our ancestors would have said things like “the sky and the earth were once so close together that there was no room for light and air, so [insert name of god here] came between them and pushed them away from one another”.

Of course, when talking about the universe and the creation of the world, we must think in a much larger scale or time frame, which is one of the things that would have been unfathomable for our ancestors.
– Pan Gu held the sky and earth apart for 18,000 years as he grew and matured.
– God created the heavens and the earth and everything in them in 7 days, according to the old Biblical texts.
But what if those are just the understandable measures the concepts had to be translated into?
– The official age of maturity around the world is most often 18.
– A week consists of 7 days (6 to work and one to rest).
So perhaps these creation stories are metaphors for things we are already aware of… but if we’re aware of them already what is the point?

Could we not have discovered some scientific truths much earlier if only we had paid attention? Instead of denying people’s faiths and calling them pagan and their gods false, and burning people at the stake for their radical ideas which could put the authority of the church in jeopardy, where could we have been today if we had been even a little bit more receptive of external knowledge and ideas?

Because of such a violent history between science and faith, it is understandable why these two fields wouldn’t really look for common ground, but as we advance (and at high rates as well) we can start to see how boundaries between spheres of knowledge are merging and producing the most astonishing results which drive us even further on.

So why is it so difficult for science to work together with mythology towards the possibility of a higher understanding of our universe, and perhaps even discoveries waiting to be made?

Pointless? Nothing is pointless if you know how to look at it.

All scientific advances have been for the purpose of a higher understanding, but so have creation stories. Just as science works with facts and figures, myths about creation were built on the basis of people’s immediate surroundings, the recognition of possible cause for specific effect. They weren’t ‘foolish’ or ‘crazy’ at all when they talked of giants, gods and magical creatures. They just had different tools to work with, and different terminology, most widely recognised as metaphor.

If you showed an iPhone to someone a thousand years ago, it would have been perceived as magic and you would have been accused of witchcraft and burned. We would call that stupidity and blindness, but magic is just the word for science we don’t have yet. Communicating across oceans was an idea beyond belief and yet today our friends or family on the other side of the world are just a phone call away.

Interestingly enough in Tarot, The Magician card, number I, represents just that: someone who can do what they do so well and with such knowledge, that others believe it is magic. That’s how illusionists work, they keep your attention while they do their tricks without you even realising, until you find yourself amazed and in disbelief.

Yes, there is magic in myth. There are creatures made up of different animals; could that be the first notion of genetic modification?
Yes, there are gods of unimaginable power, but what is the meaning behind? A ‘god’ would be a masculine energy, a physical force, a catalyst for action and often destruction. In the same sense, a ‘goddess’ would represent the feminine energy of creation, a mental force, a representation of connection and protection…

Why is it so strange and hard to remember such simple concepts? We end up taking everything so seriously that we lose sense of that transcendent aspect of what these stories are meant to teach us.


Creation stories are the roots.
They are the beginnings to entire mythologies, which in turn became the foundations of religions and different belief systems today.
Cults, religions, worship are all culture-specific. And cultures more or less differ in accordance with territory and population.

Yes, it is the people that make the culture, and yes, it is the people that choose their faith but it’s actually a mirrored effect – it is the culture hand in hand with the faith that moulds the individual. When you place two mirrors facing each other, you just get an infinite loop, much like this one; we are who we are, thanks to our knowledge and experiences, thanks to the culture we grew up in and what we have faith in on a spiritual level.

But does anyone ask themselves the simple question: What if?
What if I wasn’t born where I was?
What if I was raised by a different family in a different country of different a different culture, with different traditions and faith?
I would have had a different upbringing, different associations to things, perhaps even different views on what’s right and wrong.
And maybe I would’ve been blind enough to think that other places, cultures, peoples, have it all mixed up and don’t know the truth…

The truth…
Truth is singular, its versions are mistruths.” –Sonmi-451, Cloud Atlas
How can we deny what others believe to be true?
When it comes to the material world, it’s easy, just look at the facts. But when it comes to spiritual understanding, that’s where things get tricky.

Religion is a form of identification, just like nationality and language, but where these are focused on territorial background, religions, or faiths, represent a spiritual kinship, a bond beyond the immediate familiarity. To believe in the same thing as another, creates an unmatched connection which is the foundation for collaboration and advancement. We move forward because we move together for the same purpose, in a sense.

But when we look at religion today, do we just see a set of rules for a ‘sinless’ life? Regulations and commands of what to do and what not to do in order to secure a good afterlife in heaven? In order not to be punished and sent to hell to suffer for an eternity? Really? Is that all it comes down to?
Let’s do good things so we don’t go to hell? How is that moral in any way? Isn’t religion meant to teach morality, compassion, love and acceptance rather than fear?

And what happened to the metaphors? We have people all over the planet, believing that there’s a place in the clouds waiting for them after they die, but what if that, like all religious and mythological teachings, is too a metaphor?

Do good and you’ll go to Heaven.
Sin and you’ll go to Hell.

How about:
Do good and good will come to you, and you’ll feel good after.
Do bad things and you’ll feel horrible about it after, not to mention the vengeance and/or justice that would immediately befall you as a result of your actions.

Are those ideas trying to teach us that there’s such a thing as cause and effect? Perhaps this is just the contemporary slang for it, or I’ve gone mad, thinking that there might be a hidden meaning behind religious texts… right.

By saying all of this I don’t deny the existence of a Heaven or Hell, I simply try to understand concepts for which there is no physical proof. Or at least no physical proof on our frequency.

Is it possible that our world functions like a radio or a TV? With radios you get different frequencies or different stations – when you change the frequency from A to B, A doesn’t disappear, but we simply stop hearing it. Instead we can only hear station B. It’s the same for channels on TV, they don’t stop existing just because we’re not watching them. And we can’t watch or listen to one channel/station while we’re occupied with another.

In this sense, could our world be a layer of such frequencies, with us only existing on a specific one? Could those notions of Heaven and Hell and other realms actually be scientifically plausible if they existed on a different frequency?

the light spectrum

Another example could be light. A light spectrum is the many different wavelengths of energy produced by a light source. Light is measured in nanometers (nm), where each nanometer represents a wavelength of light or band of light energy. Visible light is the part of the spectrum from 380nm to 780nm, which make up a tiny fraction of the spectrum – we can’t physically perceive ultraviolet, x- and gamma rays, which are lower than 380nm, and neither can we see infrared, radar, FM, TV or AM waves (above 780nm). Sound is almost exactly the same – we simply can’t hear anything outside of the sonic range, anything below is infrasonic, and anything above is ultrasonic or even hypersonic.
And yet we are aware of these wavelengths, there is proof of them even though they are unperceivable. Can we become aware of new frequencies of existence in the same way with the right tools?

What if right now we are simply blind to something which is right in front of us, right under our noses, that we just haven’t realised we can perceive?

What if we are able to transcend the barriers of our physical bodies and consciousness by simply changing our own frequency? Our way of thinking? Our mindset?

Could we be truly unified? Cooperating, understanding, caring, and loving? Working together towards a higher purpose, a higher knowledge, a transcendence of sorts?

Try and imagine what we could achieve if we only stopped dividing ourselves – gender, race, nationality, language,… religion? How come religion, which is meant to be the most unifying factor of all end up as one of the most severely dividing one? And this isn’t even about the mistrust and downright hatred between different religions and faiths, this is about the subdivisions within a single faith such as Christianity – it is not just that anymore, you have to be specific when you refer to this religion as there are so many ‘denominations’ of it…
There’s Orthodox, Catholic, Protestant, Anglican, Restorationist, Nontrinitarian… It’s like each one is its own different religion. How can we say we’ve changed so much since ancient times, when, really, we haven’t changed one bit – everyone still believes whatever suits them best, with major disregard and/or denial of everyone else’s belief systems. “My Truth is the only Truth, and everyone else is just wrong”, is this what we truly believe?

How crazy is it that all those different religions and faiths are just the different sides to the same pyramid, all leading up to the same Truth? The Truth which is transcendent of all else?
In order to get where you want to go, you need to know where you are. There are countless ways to get to London for example but depending on where you are, those can vary drastically. In the same sense, religions and such could just be the different paths to the ultimate Truth that we are all aiming for. Why would we deny or accuse a path of being wrong, if it leads to the same place?


Mythologies nowadays are widely regarded as outdated, as ancient stories and fables with some moral value. They are in fact the results of cultural particularities; different territories, languages, population, habits, etc. Our ancestors told the stories in understandable terms, they made do with what they had in front of them to go by, what they knew from their own experience and surroundings. That makes general myths difficult to compare (although the well known Ancient Greek myth of Orpheus and Eurydice, is told in almost the same form in Japan where it’s about the creators of the world, Izanami and Izanagi). This makes Creation stories much more appropriate for such an attempt of pointing out similarities hiding in plain sight for thousands of years.

illustration by Noah Macmillan, African Creation Myth

No matter who you are, where you’re from, how you live your life and whom/what you worship, you have come across or pondered at some point the notion of how everything began. Where did we come from, what made us exist, what made or world the way it is? It’s the type of story we should expect to hear most answers to, and yet as many Creation Myths and Stories of Genesis there are, they all build on the same basic concepts, regardless of where or when they were told.

The matter of Creation is probably one of the most significant questions contemplated, and further studied by scientists, since the dawn of humanity, and it may just be one of the most important things we have not yet fully understood.

“He who thinks he knows, doesn’t know. He who knows that he doesn’t know, knows. For in this context, to know is not to know. And not to know is to know.”
Power of Myth , p.55



Subject / reflection

alien tropical moonflower
alien tropical moonflower (personal works, mind things)

This entire year could be defined as ‘fast and furious’. From the start we were getting all kinds of briefs, all designed to help us get used to working under pressure and developing our work in a thoughtful and professional way. Though none of the briefs had any connection with each other, we had to think of a way to introduce our work as our own – find our visual language that would speak on our behalf no matter the context. So in this sense, this year was mainly and mostly about experimenting and exploration.

After working on the ‘Biographies’ project this summer (and getting really deep into the research part of it) the start of the year felt like an overwhelming explosion of blogging, workshops and new briefs. It shouldn’t be overwhelming, and yet it was, the main reason being the time restrictions – all our projects were fast-paced and required outcomes not necessarily finished to a high standard. I realised I was struggling because I couldn’t focus as much on the research part as much as I wished I could. However, after I stopped thinking about the briefs themselves and started thinking about why we have so little time to work on them, I soon came to the realisation that it was all about how we develop ideas, and how we can come up with creative decisions in a short space of time, often accompanied by large amounts of excitement, which later on would (potentially) grow into stress.

In all honesty I can’t say that I enjoyed any of the projects as much as I wished I had, at least not until the end of term and the TED Talks project (which I still think we had too little time to work on). The reason for this would be my inability to deeply research and truly understand my subject at hand, so I can accurately and meaningfully reinterpret it visually. It’s easy to tell us to focus on ‘empathy’ but empathy is something much more complex than what our tutors made it sound. Empathy is about a true, deeper understanding, an intrinsic connection which allows you to feel another’s emotions. You can’t truly create that feeling of empathy in your work, if you don’t fully understand what you’re talking about, and I don’t really think it’s possible to do so in the space of a week or two.

A brief I found very confusing at the start and which I am still unsure about was ‘Visual Languages’. Not because I don’t understand it, but because I found out, after a lot of experimentation, that my work depends highly on the project itself. It’s funny because our tutors speak of it as a ’language’ and here I am, a multilingual person, having a really hard time, because I can’t stay true to just one. It made me realise that I can’t use one approach over and over again, because when I do use one, I use it for a reason. I use it because of its meaning and because of the effect it has on the viewer, which is one of the most important aspects of my work.

In this sense, this year has been mainly about exploring that meaning within different visual languages, the meaning within colour, line, proxemics and composition. I am really pleased with all the work I’ve done this year, even though I believe I didn’t (even remotely) reach the full potential of my capabilities. I realise that it is impossible to wait for that perfect brief to come and rescue me, but I do believe I am on the right track with my ideas for next year, all of which would correlate with my dissertation, which I am even more excited about.

Cheers to a year of illuminating progress, and here’s to the exciting mystery of next year!

'I want to go to the seaside' (sketch, personal works, mind things)
‘I want to go to the seaside’ (sketch, personal works, mind things)

Painting Performance / film

I feel incredibly happy about my experience in Painting Performance. It proved to be a necessary reminder of what art could do for me, for my mind, body and soul. It felt incredible to release all the emotions embodied in the paint, right there in front of everyone, and the most beautiful part of it was how incredibly exhilarating and FUN!

As an illustration student I felt strange, almost overwhelmed, but I soon realised that that kind of performance art was just a way to illustrate pure emotion and the power of influence (of any kind) on the grand scale that they deserve.

And as an artist, it was release. It was like my mind was singing ‘yes! finally! god f-ing damn it!’. I was in my element, in my Zone. I felt no pressure, and no boundaries, even though I was in a group with 3 other people. It felt great to be surrounded by so many fine artist friends.

In the end we were each asked to produce a short film based on our experience.

Space sounds from NASA –
(we used it for our final performance)

final Charity Project presentation / final idea

Slide1 This was my final presentation for the charity brief, containing parts of my latest research and the development of my idea towards a finalised piece. As I was verbally explaining most of it this might not make sense but I hope the captions will be helpful enough for you (the random viewer) to understand.

a bit of insight on my idea for a final piece (an installation) and some of the questions I want to explore with it
pills in art, some of the artworks I came across during my research online (all can be found on my Pinterest page Ideas & Research)
after the last tutorial Anna wrote as a suggestion note that I should look at Damien Hirst’s work. I am very pleased to say that I actually went to his exhibition at Tate back in 2012 and even though these images look quite descriptive, being there and experiencing the installations in person was very different and quite an interesting experience.
some more work I discovered through Pinterest. I admire the simple use of colour and the juxtaposition of elements in the composition as well as the contrast between foreground and background on the cover artwork (left)
that was actually what led me to these – curtain-like bead strings. they perfectly embody the transparency and the hindrance of pharmaceuticals.
through some deeper research towards that curtain idea I discovered some artwork by Susie Freeman, one of the creators of Pharmacopoeia… it turned out that most of the ideas I was trying to engage with for this project have already been intensely worked on. I had solid ground to build upon – an idea to take further.
what I came up with was simple – a corridor installation made up of separate pill curtains. this is a rough sketch of what it looks like in my head.
“a maze of half-curtains of different-sized, differently placed pills” it’s as simple as. every pill influences the body in a specific way and is felt in a specific way by the one who consumes it. according to that each pill curtain will be different in the size and arrangement of its components.
I was considering adding some information on the side in a little pocket, where people could take leaflets if they are interested to find out more. I imagined little cards with an illustration of the pill and a little information and useful links on the back but at this stage this is an extra I could do without.
as I was stuck with the project for about a week (and that’s before the extension of our deadline so i had no time to be stuck, really) in the end I just went with my intuition and just produced the artwork that’s been adding up in a little folder inside my head that I could no longer ignore. I needed to clear up some space up there and these were the perfect product of my frustration and my confused creative flow.
in the end I constructed a little “plan of action” which is purely suggestive. by contacting tutors from both universities (Chris was pretty insistent that I speak to people in Cardiff University’s School of Pharmacology) I will gain objective and specific information that I otherwise wouldn’t have access to and I will also have the ground for future work on the project.

I was trying to be as descriptive and informative during my presentation and I was generally worried about the feedback. As everyone else on our course had already settled on either a short animation or a series of posters I felt a bit odd, trying to get my installation across.

But no matter what, I believe that this is the best way to communicate my idea, undoubtedly raise awareness and ultimately make people question their own dependencies and pharmaceutical needs. As someone who has been treated with homeopathy my entire life, I can firmly say that there is always a different way to cure ourselves from illnesses and stay healthy without the use of antibiotics (doesn’t the word worry you even a bit? anti + bio ; aren’t we “bio” as well?).

I will be building a small maquet (or making a series of illustrations/sketches), depicting my idea in a more realistic way, easier to pitch to potential supporters.

I was very pleased with the feedback from the presentation (by tutors and peers) especially with the comment that in a way this is “more of an MA project than a BA one”. That really lifted my spirits and inspired me to work on this project even harder, especially since it could potentially really go live. How exciting is that?


Final Outcomes


My final ‘pieces’ for our Gorillas in the Roses field module this term.

I made the two books from scratch – binding, stitching and, of course, the collages inside. I decided to go all out for the formative assessment this module as soon before I got the feedback from my Subject term 1 assessment. Amelia (Johnstone) mentioned that I haven;’t really been completing my artwork to the fullest extent in a sense of – weak in context and because of that unable to finalize whatever I produce. (I’m being quite vague because the examples wouldn’t apply in this case) At the very beginning of this field project James explained to us that with collaging we don’t need to make perfect sense, in fact, we don’t need to make sense at all. What he wanted us to focus on was exploration. In a way, whatever we come up with will add to the final body of work that was expected of us by the end of the 5 weeks.

These two books are a product of the absolute chaos and order of my mind. My process was quite simple, go through all the imagery (scan it) and then cut out what I like and what I feel might be useful (without actually specifying what for). Then I try to look for more in the same way, but with that first cut-out in mind – what would fit, what would work well with that? I do that until the collected bits start interacting with each other – they start revealing narratives, settings, composition challenges and specific colour schematics which ultimately lead to the image in my mind’s eye that I need to arrange down on the page. The entire process happens almost subconsciously, the only way I am now able to talk about it is because during the first few sessions, James (Green) and Tom (Martin) were asking us about our process, do we work in any specific order or just randomly putting stuff together, and I wasn’t sure how to answer at the time, the question was just as confusing as the collaging I was doing.

What I was really doing was spiraling in and letting go, going as crazy as it suited me. I felt like I was in a completely stress-free environment, no pressure of working on a brief, no outlines our work needed to fit in, just free to do whatever. And that was like a tap of creativity pouring down a well of inspiration. I find collaging entrancing, meditative, inspiring and sometimes frightening – whatever comes out on the page, is the product of my own imagination so obviously the more twisted the outcome, the more I question my own sanity.

In that sense, these two books are a sort of revelation, a reflection of how my mind works in various states and situations. Whether sleepy or hyped up, at uni, at home, after a night out, after having lots of food, when I haven’t really eaten all day; whether sad or happy or bored… the results always fit with my mood, without fail.

Mind States, album book
size: A3 (29.7 x 42 cm)
contents: 25 collaged pages

nature, human nature, cosmic nature, concertina book
size: 12 x 12 cm
contents: single-page collages, collage spreads and pop-ups

Here you can see a short preview of what is actually inside. :)

The footage for this clip was quite plain and  I thought I might spruce it up a bit on Magisto, an app I’ve had on my phone for ages but never really used before. How it works is, you select the videos you want in your short clip, choose an effect setting, a style, and then either choose a soundtrack from the app library or add your own music from your device. Could not be more simple – you don’t do ANY of the editing and you still end up with a decent little video. One of its effect settings (Rock On) just seemed perfect for my idea, as it was using stop motion collage frames and transitions which fits perfectly with our field module. The only feature I didn’t fully agree with was the black and white bits as the use of colour is quite an important feature, although after seeing it a few more times I realised that it actually works quite well – in order to inspire interest, you don’t show everything straight away, do you… The song I used is from the soundtrack of Scott Pilgrim vs. the World (“Garbage Truck” by Sex Bob-Omb), it is one of my favourite films based on a comic book (story & artwork by Bryan Lee O’Malley). I thought it’d be quite fitting for a few reasons, like the grungy footage, and the fact that we’ve been working with and looking into comic books during most of this module.

Group Outcome

This is our group experiment outcome from our Hermann Nietsch research experiment in painting performance.

Painting Performance

Our Painting Performance module is on twice a week, on Tuesdays and Thursdays. The first Tuesday, after the keynote lecture was our first actual performance, or at least exercise to get us into the spirit of what we’re going to be doing over the next few weeks. Each of us had to fill a bucket with “Almost-Klein Blue” and go from one end of our allocated sheet to the other, making whatever marks we desire.

The results were beautiful and surprising. We weren’t concentrated on the meaning or the correctness of our marks, we just did them, there was no one to judge, no one to criticize, no rules and no limits. It was like once you stepped onto that paper you were in a different universe, like there was nothing else but you and the paint which just wants to get out of the bucket in your hand, and it’s all you can do to help it however you can… so what if you slip and fall down? So what if you dive into a puddle of acrylic? It’s too much fun to bother you even for a bit.

In the end every other group cut up their paper and put it up in their group cubicle space to dry. We made a group decision to put ours up on the opposite wall until it fully dries and keep it full size. We thought it would enforce the idea of time and movement, and the notion of leaving a trace and the uniqueness of each individual compared to the collective outcome.


IMG_5821-0.JPGKirstin Crocker :))




When I first came to Cardiff I was afraid. Excited and happy, but afraid at the same time. I didn’t know anyone, I didn’t know the place and I didn’t know what to expect. One of the only things I had to look forward to was going to uni to make friends and have something to do.

I started the year with great enthusiasm. I couldn’t wait to get a new brief and then I couldn’t wait to start working. We got a lot of projects during that first term. Some of them seemed insignificant – short, one-day briefs like Words to Draw By and the Colour Workshop. Others took more time and effort, like Time Passing, and Prophecy. But the one thing all of the projects had in common was how different they were to what I’d imagined them to be.

Throughout the first term I got a taste of what people do as illustrators (puppetry, shadow theatre, book making, comic book making, etc.). I got to make an actual Tarot deck (just 7 cards, but still), from scratch, which I never thought would be possible. Now that I finished my final piece, I noticed how many things have changed about my work and its process. I am much more serious about drawing and my works in general. I pay much more attention to what colours I use, in relation to what message I want to send the viewer. I can say that I have become more careful about what exactly I capture, I now turn  to the little things, the ones that people overlook. I now find ordinary objects and things I see on the street or in the forest to have a much higher artistic value than ever before. I’ve realized during my time on this course that my (currently) preferred medium is watercolour. I’ve also realized that I’m capable of more than I know and I just need to try out more new things as the course goes.

I am really looking forward to next year. I would really enjoy the projects and it would be great if in these projects we have to work on a large scale as well. To enlarge the scale of my work is one of the things that I tried to do during the course but didn’t really get the chance to during most of the projects. I feel like I’ve moved forward but I still have something to work on.


Final Piece Development

During my time back home for the Easter break, I had time to think and by spending my time every day all day out in town with my friends I managed to clear out and polish my ideas. I came up with a final piece consisting of a series of A2 paintings/illustrations.

But in order to do my pieces the way I wanted, I needed to learn how to use masking fluid. It was a really exciting and unexpected experience and I did enjoy the first tryouts.

Here I have uploaded the results of my experimentation with and without effects because they work both ways. :)


1. Eye,  watercolour & masking fluid

IMG_3543[1] IMG_3534[1] IMG_3533[1]



2. Green, watercolour & masking fluid



3. flower, watercolour & masking fluid

IMG_3537[1] IMG_3539[1] IMG_3538[1]


4. Shapes, watercolour & masking fluid




5. I don’t even know.  watercolour & masking fluidIMG_3540[1]




Combining Images

While filling up my sketchbook with images I had the idea of combining them to create a single piece. A sort of artistic mashup.

abs 001

So this here is the weird, repetitious, abstract cityscape with loads of straight lines, just like the images above suggest.

abs 002

The next couple of images were chosen randomly but then arranged to create a feeling of a concealed, unknown narrative.

abs 004

In this piece I combined elements from each image but this time I mixed that with a bit of colour and different media.

abs 003

These images sort of fit together on their own when I was glueing them to the page and in the end I decided to leave them as they are because the result is a simplistic collage which inspires different thoughts with every new look.

abs 005

Experimenting with combinations of existing images has been quite fun and I will definitely do more of that in my Research & Ideas sketchbook.