"Try to realise it's all within yourself
No one else can make you change,
And to see you're really only very small
And life flows on within you and without you."

- George Harrison
(Sources(s): http://www.youtube.com/watch?v=gsDfbpYXHRI)

I initially created this image (left) based upon a composition I had previously assembled (above). I had traced the figures on laminating sheets and painted behind them with tippex in order to add definition, I believe that this exaggerates the juxtaposition between subject and environment. I then placed the image onto a photograph I had taken in order to recreate the composition. Furthermore,I wanted to emphasise that we are 'only really very small' in comparison to the universe. Upon realising this the individual may feel overwhelmed which is the main reason why I decided to create a juxtaposition of scale. 
This is an idea that had stemmed from looking at Andrew Baines' work, as he seems to use scale in order to portray his concept. 

I then created this painting based upon my previous compositional experiment. 

This was created by roughly painting the image with acrylic paint.

I then traced the the figures from the photograph onto a laminating sheet which I then placed on top of the painting.

Windows ...

While experimenting with compositions I have become interested in the symbolism of windows. Throughout art and literature windows have been considered to be representative of separation from the outside world. Furthermore, a window provides the individual with a narrow view as they cannot see beyond what the window is showing them - thus suggesting that they have a limited view of the world. Existentially, the individual is sheltered by the window and protected by any of the hazards that exist on the outside.

This concept has lead my research into artists who have depicted windows in their own pieces to provoke a certain theme or mood. 

Study in Sunlight (1906)

One painter I have been looking at is Vilhelm Hammersoi (1864-1916). I was initially drawn to his work due to the simplicity of it as well as it's haunting melancholic tone. 

Hammershoi often painted the empty rooms of his house but occasionally the painter would include ambiguous figures in his paintings, with their backs towards the viewer. This is an ambiguity that I can liken to some of Baines' work. 


From looking at this image (left) Hammersoi seems to have been working with a limited pallette, which makes his painting seem monotonous. The sunlight, projected through the window conjures a sense of mystery, this is mainly because the window depicted in this painting is translucent therefore stopping the viewer from seeing what exists beyond it - however the sunlight provides a clue. This sense of mystery can be detected when looking at many paintings  by Hammersoi. 

Interior from Strandgade (1901)

Another example of this can be seen when looking at Hammersoi's piece Interior from Strandgade which depicts his wife, Ida, facing away from the viewer while sitting with her head tilted downwards.   It can be seen that the artists has used the same setting for this particular piece however, this time, the windows have curtains hanging from them, which emphasises the individual being 'shut off' from the outside world. The fact that we cannot see beyond the window makes the viewer feel as if they are 'trapped' within the painting this, therefore, creates the need for an escape - making the viewer feel anxious. 

(Source(s): http://www.creativereview.co.uk/cr-blog/2008/august/vilhelm-hammersh%C3%B8i-and-the-poetry-of-silence http://www.guardian.co.uk/artanddesign/gallery/2008/jun/25/art.denmark http://www.theartroomonline.net/2012_10_01_archive.html )

 This is my attempt at creating a sketch of Hammershoi's piece.

I wanted to focus on the geometric shapes as a lot of Hammershoi's paintings have a very geometric style.

I mages

The View

As I sit crouched by the window,

staring ahead at the dark skies folding,

it is realised that without any sunlight,

the view can be much more pleasing.

There's no need to scorn at the litter rolling by,

nor see the crowds huddled on the ground,

nor cringe at the decay on the walls of this town.

Instead-

I could ponder landscapes in the horizon of my mind,

Imagine smells of blossom

and the beauty left behind.

I could cross the bridge to paradise,

that flourished in my thought,

or find another universe that masters never taught.

But -

I witness dawn creeping in again,

exposing fractured branches,

crumpled leaves,

the worn down pavement

and fallen trees.

This reality isn't mine.

After reviewing my work so far, it seems  that a majority of my investigations are done in the medium of pen/ink.
Due to this, my research has become focused towards pen/ink drawings.
One artist that has interested me in particular is Michael J Wiggins who, as of late, has been creating ink drawings rich with symbolic imagery.
Although I enjoyed many of his pieces, one that I find most intriguing is an image entitled 'Corridor' which is a labyrinth type depiction.



No.59 The Corridor Which, according to the artist, is " about the progress

of life on a daily basis."

After discovering Wiggins' email address on his official website I decided to contact him to ask some questions about his ink drawings in terms of inspiration, theme and materials.

In a lengthy response Wiggins stated:

"I have not come across the term ‘Existential anxiety’ (I am a self taught
artist and have so much to learn regarding theory etc).
I have looked it up and found it refers to a sense of worry, dread or
panic that may arise from the contemplation of life's biggest questions,
such as "Who am I?" or "Why am I here?" Existential perspectives in
philosophy and psychology contend that this contemplation leads inevitably
to the realization that everyone has the freedom and responsibility to
find meaning in life. Although this realization is inherently distressing,
many existential thinkers view this form of anxiety as healthy and
productive.
Well, you have introduced me to a term that covers some of what drives the
ideas behind my work. Thank you Sharon.
However, I do not believe that there is no universal purpose for our
existence, that we are simply grains of sand floating about in a giant
cosmic empire. My belief system is based on a so called Christian ethos
but does imply personal responsibility in determining the kind of
existence we and others experience in the society and culture we are born
into.I do suffer very real and problematic anxiety about all sorts regarding
the human and the Earths condition and feel very small and ineffectual.
Despite this I know that change starts with one idea, person, thing,
endeavour etc. So, I’m not an existentialist but I do suffer from
perplexing anxieties.
This is a long way of saying some of my work does explore these themes….phew."

Also, in this email, the artist suggested to me an internet link which presented work of his involving the use of acrylic on canvas. I was initially attracted by the colour of the piece but, due to observing the painting more, I was further intrigued by the compositions as it the middle there seems to be an ascending staircase however the rest of the painting seems abstract and less figurative.











I was also directed to a piece entitled 'Variable Continuance': "...the human race is poured into existence"

After being further introduced to Wiggins' work I have been encouraged to work further with pen/ink drawings.

(Sources: http://michaeljwiggins.co.uk/blog/?page_id=4352 http://www.flickr.com/photos/44428019@N03/7152859817/sizes/l/in/photostream/ http://www.flickr.com/photos/44428019@N03/)