'Fading Away' A Level film

Fading Away

My film ‘Fading Away’ is a representation of a girl losing herself through drugs, and ends up believing she is a cat, the cat represents the influence of the drugs and the temptation. As the film is an illustration of the girls mind, the film seems very surreal. The film we ended up with is very different to the film we planned to make our initial idea was to do ‘A Day In The Life Of A Cat’, we made our story board for it and even started to film it, we wanted it to be a comical film about what cats get up once their owner has left the house, we wanted to show the cat creating mischief, but when we started filming we realised our idea was nearly impossible to do, as we had to work with cats, and they didn’t do anything which we planned, they also got scared of all the people and equipment, it all became very time consuming. We also realised without having access to certain technology, the film would end up looking very amateur, and the storyline wouldn’t flow very well, it may of even become boring. After long discussions we decided to drop the idea and brain storm a new one, we stayed with the idea of cats but thought we should do something a bit more edgy. We wanted to make our film surreal, so we based our ideas around the Surrealist Theory, this theory was launched in Paris in the 1920's, it draws upon the subconscious mind and rejection or reality. We wanted our film to attract the target audience of men and woman aged 17-50, I feel we achieved this, as the age range is broad and I think many different people would enjoy and understand it, we didn’t think people younger than 17 would fully comprehend the meanings behind the film, as the storyline is not just handed to the audience on a plate, they would have to participate within the film to figure out the metaphors within it.

Within our group we all had different jobs including Director, Cinematographer, Sound, and editing. We didn’t 100% stick with our jobs as we all worked together but we did base ourselves around our jobs. My job was Cinematography, so I had to make the lighting and camera decisions during filming, I also helped with colour and transitions during editing. Within my job I had to think about mise-en-scene, I would have to think about what you can see within the camera frame, and because we were doing a surreal film I had to think heavily into the meanings and representation of objects and camera position, as most things were metaphor of her unconscious mind. 

At the beginning of the film we have shots of the girl’s family talking about cats, it’s from the girl’s point of view. This allow us to put ourselves with her family having dinner, as many people experience with there own families, but as the conversation is based around cats it shows that its obviously a memory of hers which has fixated within her mind. It then moves on to ticking with shots flashing up in time with the ticking, the shots are hard to make out at first as we wanted to show some enigma codes. The shots include, point view shots of a cat in grass, shots of cat or memorabilia around the house and so on, as we get confused by this it shows that girl is feeling confused too, the ticking builds tension as if we're waiting for something to happen. The mise-en-scene of her bedroom consisted of a cat rug, a cat toy, a cat book, a cat model, a cat mug and a cat coaster. This already gives the audience an idea about how the girl feels about cats, it may also show how cats are the temptation of drugs, which are constantly surrounding her, and its now is her life. We then have shots of her rolling up catnip into a rizla (representing the drug use), on a chopping board in the shape of a cat, we then hear and see the cat as if the cat is forcing her drug intake, as if it is her subconscious mind.

Throughout the film we get shots of cats and cat items, we start to realise the girl is dominated by cats (drugs). Before she watch’s ‘The Aristocats’, it’s as if the cat chose the film for her as the cats rubs its body onto the film, already showing she is controlled by them, there then is a shot of her sitting down ready to watch it, and then a flash of the cat comes in the shot in the same chair, this gives the audience the impression that she may believe she is cat, this is emphasised as we see close up shots of her clawing on the sofa. This scene was tricky to do, as we had to rely on the cats to do as they were told, we had to take many shots before we got the perfect one. A shot very good for mise-en-scene would be the shot of all the cat models on the mantelpiece, with her in the background, it’s as if all she can see is cats and herself being a cat, that she can barely see her true self in the background. When filming this I had to try and get the correct angle, otherwise the whole shot wouldn't have worked. As the film goes on we realise she is slowly losing herself even more, she leaves the house as if she is looking for something, this symbolizes her on the path of destruction, the tension then builds up, and we then get shots of her spinning round in confusion, this was the most difficult scene to shoot, because we had to use a step ladder, however the tripod wouldn’t fit onto it, so I had to then use it by hand and try to keep it steady without getting the ladder into the frame, to over come this we decided to film it slowly and then just speed it up during editing. This scene is the first time we properly see her cat mask, this signifies herself as a cat or the temptation of drugs, while this is happening there are shots or her aiming for a tree, when she finally gets to the tree we see her for the first time without the mask looking very lost, the camera zooms in her face make it become more claustrophobic and trapping. We then see her in the cat mask looking back at her; she walks behind the tree in the direction of where she was in the mask, and disappears. This shows her completely losing her identity.

Throughout the film I wanted to subtly hint it was getting more and more surreal and twisted, so with each scene the colour would change slightly more orange, by the end of the film its far more orange, but because it has been building up slightly throughout you barley notice, this is the same with drug use, as the person become acclimatised to their own drug use. The colour orange also has many different meanings behind it, on of them being ‘the relief from things becoming too serious’ which could show that she had enough of the ‘seriousness’ of her life. It also means 'deceit' and 'distrust', which could show the only thing who she really trusts in her life now her feline friends (drugs).

The film we ended up with was very different to the film we attended to achieve. Our original film 'A Day In The Life Of A Cat', was aimed at all age ranges because it would be a light hearted comedy, however our film now wouldn’t be suitable for children, as it represents and includes drug use. We were also not going to include people in our film, and our previous storyboards showed that we would only see the human’s feet leave the house, but now our film is based around a person’s life, not a cat’s. After much deliberation at the start of making our film, I couldn’t be happier with the outcome, although I do wish we gave up on our first idea quicker, so we had more time to plan out our final idea, but all in all I feel we came out with a positive outcome. Most of our target audience agree with this, however they find the film quite confusing and may have to watch it a couple of times to get the full picture, I personally feel we could of make it slightly easier to understand in some places, but I do like to leave it open for interpretation.

Exploring the Ways in Which Artists Portray Women in Their Work 

Judy Chicargo - Birth Tear 

The art world has gone through many changes over the centuries; one of the most critical movements was 'The Feminism Movement', it particularly influenced me and my art topic, ‘The Self Portrait’. The feminism art movement did not just occur, it had been building up for quite some time. It all started in the 1900's when the first wave of feminism happened, this was the right for women to vote, after much protestation woman were granted their wishes. After effectively accomplishing their proposal this gave women the confidence to carry out more feminist acts. As the 60s came, the 'Women's Liberation Movement' happened, where they were looking for legal and social equality, this caused the 'girl power' craze. This is when the feminism art movement started, with a famous article with changed the art world; 'Why Are There No Great Woman Artists?' in 1971, this sprung up many issues within the art world and caused people to actually start to look at women's art work in a professional manner. It was then only 5 years later, the first woman's art museum and from then on woman have been expressing themselves through artwork, The typical feminist piece of work would consist of vaginal imagery, menstrual blood, naked woman with a lot of embroidery ('women's work'), a perfect example of this is Judy Chicargo's 'Birth Tear'.  

Jean Auguste Dominique
Ingres- La Baigneuse

Many centuries ago women weren't even allow to paint, as it was seen as academic, and only men were allowed to indulge themselves in education, so through the renaissance period, paintings were painted from a mans perspective and were for men. The occasional time a woman would paint, it would be in honour of a man, it would be a self-portrait of them holding up a painting of the man they are honoring. So through the 1300-1800 we saw many similar paintings of nude women, although they might be in different styles the woman would always be represented in the same way. The painting of nude woman would usually be small, elegant, with their face looking away or looking vulnerable, with the woman lying down as if helpless. Typical artists of these paints are Jean Auguste Dominique Ingre and Raphael. So when the feminism art movement came it was huge shock to the system for many male artists and what was once their domain, had suddenly been taken over by many woman. 

Jenny Saville - Branded

Now art is full of inspirational woman portraying the 'real' woman. I felt I wanted to achieve this within my art, and portray the real side to mothers and the way their children treat them. I looked into a few of these women in my spare time and sketch book to get a clear feel for their art and meanings behind it. One artist which really interested me was Jenny Saville who reinvented the self-portrait, by showing how she really saw herself, and how women are not usually portrayed. She fights the idea of the perfect body, by showing them enlarged and distorted. I felt I wanted to do the same thing with mums, and show a 'real' mum who isn't a perfect 'yummy mummy', I didn't want to show the stereotypical mum, as Saville didn't want to show a stereotypical woman, she shows this in her painting 'Branded', where she has an obese woman with words like  'petite', 'delicate' etc. Branded on her skin. I also wanted to show my effect on my mum, by making her into a puppet, as if I were the puppeteer. Saville made various enormous paintings of obese woman which are really in your face, as if the bodies are pushing out off the canvas, this contrasts with most portraits of small, elegant woman. I also feel it's prominent because she is trying to show how skinny women in media and advertising are being drummed into our brains. Jenny Salville's work is known for being feminist, and she was one of the artists who participated with 'The Feminist Movement', on one of her paintings she inscribes:

"If we continue to speak in this sameness, speak as men have spoken for centuries, we will fail each other again."

Sarah Lucas -Au Naturel 

Another feminist artist who I researched into was Tracey Emin, who was a founder of 'confessional art', she portrayed her deepest thoughts and secrets though her art. One of her most famous pieces is called 'Everyone I Have Slept With', which was a tent with the names of everyone she had slept with sewn onto it, many feminists use sewing within their artwork, to be ironic as sewing is 'woman's work'. Throughout my sketchbook I introduced sewing to give it texture, and emphasis to my mum being a typical mum. Emin's confessional work like 'my bed', where she shows her bed with all her mess around it, beds are very personal places which only a few selected people would see, I feel it also shows that woman are not perfect and can be just as messy and dirty as men, this inspired me to confess how I use my mum as a puppet and how I see her, not how she would like people to see her. An artist who's work is similar to Tracey Emin is Sarah Lucas, in her work she represents sexuality in a jokey stereotypical form, a famous piece of her work is 'Two Eggs and a Kebab', many people use these words when talking about woman's body parts, so she lays them out on a table where the actual body parts would be, it has a great comic effect and really makes the audience think about the slang we use to describe a woman's body. Lucas's work can be quite blunt, when representing a man penis, she just uses oranges and a cucumber, she does this because she is almost mocking, old painters who painted woman with fruit, for example Gauguin and Piccaso.

Throughout my sketchbook I explore Diane Arbus, she was a huge impact on my work. She is known to photograph 'freaks' in their natural habitat. She doesn't glamorize them, but instead captures 'the space between who someone is and who they think they are'. I tried to take some photos of people in the style of Diane Arbus, by trying to show their true self, I tried to capture the eery feel her photos have, this lead me onto my final piece, by showing the truth behind someone, and the effect other people have on them. My mum would never like to think I have control over her and that she spends most of her time cleaning and cooking, she would never like other people to know this, Arbus's work 'implicates you and the ethics...our license to have that experience of viewing another person is changed and challenged'. I wanted my work to quite intimate, and for the spectator to be involved and understand the meanings behind it.

Cindy Sherman - Untitled Film Still

Another photographer who interested me was Cindy Sherman, who raised challenging questions about the role and representation of woman in society and media. she provoked thought into the stereotypical image of a woman, some of her photos showed woman being pristine and neat, but then has the complete contrast, photos of vulnerable girls, from a high angle shot looking frightened, as if the spectator was the violating the woman. This could be emphasizing that most woman hide behind a facade, and no one really knows what's deeper, this was very relevant before the 'Woman's Art Movement', because it was common for woman to keep their feelings and thoughts to themselves, so men didn't seem to understand woman and the complexity of them. Now due to the 'Feminist Movement' woman are far more honest and open about the their opinions, and men now understand woman to a certain extent. 

From all my research I have got a clear understanding of the 'feminist art movement', which gave me inspiration throughout my sketch book and for my final piece. My aim of my final piece was to portray the most influential person in my life, my mother. I wanted show the viewers, how I see my mum and my influence on her and her surroundings, I intended to include 'confessional art' as the main inspiration, as I am confessing I use my mum as marionette, and I can manipulate her to do anything. I felt it also showed the true side to mothers and their day to day lives, how they are slaves to their own children. This tied with the 'feminist movement' as woman were second class citizens and were rules my men, but nowadays it has changed from men to children. All of these artists help get and idea of what 'feminist art' is all about, and the meanings and representations behind them. I found all of these artists inspired me to do a reflection of myself on my mum.  

A Level Unit 1 - The Self Portrait

Robert Lenkiewicz

Robert Lenkiewicz was one of the South West England's most celebrated artists of modern times. Perennially unfashionable in high art circles, his work nevertheless popular with the public. He painted on large scales, usually in themed projects investigating hidden communities or difficult social issues.

Robert Lenkiewicz did many different projects throughout his life, they include 'Love and Romance', 'Jealousy', 'Orgasm', and so on. All in all he had 24 projects about his life and personal matters. One project was 'The Self Portrait', in it he did many paintings of himself, usually including a nude woman or mirrors. A reason he liked mirrors is because he felt he could relate to quotes from famous artists.

'Every day in the mirror I see death at work' - Francis Bacon

'The mirror, above all - the mirror is out teacher' - Leonardo Da Vinci

'All the paintings are 'self' portraits, only i do not believe in a 'self'. we identify an individual by the boundary their body forms, but nothing is to do with 'self'. 'Self', like 'justice', 'truth', 'beauty is poetry'. - Robert Lenkiewicz

My own interpretation
on his work. - 
watercolour

Many of his paintings of himself are with various girls or a girl called Mary. Many people said he was reflecting himself against another woman, almost saying their who he wishes to be, and others say it's woman he is currently was sleeeping with. I personally feel in the painting the way he touches them within the paintings show him having power over them.  

Lenkiewicz said 'These formulae are so loaded and cross-referential that the visitor also must resist temptation. The work can be misunderstood. 'Patterns' of obsessive behaviour are what interest me - the form not the content'

'To paint oneself is to paint the portrait of a man who is going to die. Relationships are mirrors. The painter looks into the mirror to paint himself; the lover looks into his lover to love himself. She sits on my lap, a reflection of my aesthetic addictions; a reflection in a reflection. The painter reflects upon the reflection. The woman reflects upon the painter reflected. I am thinking of your partner, priest, or your spouse, art historian, and you, the one holding this catalogue with good humor or with irritation. I am thinking of 'that' person, you know the one, They could all be on my lap in these paintings. I am no longer young, less fit than I was and still mean what I say. It's not me that annoys or threatens. It is the knowledge in the heads of my companions, my doubles. And if your smile or recognition, your smile of humane resignation is the smile I hope it is; then you are my double too. 

This explains why in many of his paintings he is sat with a lover in-front of a mirror, reflecting himself and their relationship, and I feel he needs to see it to make it feel real, as he has a strong positive connection with mirrors. When Robert was painting Mary they had a very intense relationship. He found her addictive and became very jealous. The paintings with him and Mary show vulnerability towards her. The project became a crossroad for him, with the understanding that relationships do not solve the problem or existence. 

Lenkiewicz was great at researching into colour, not in a pigment sense, but in the way he translates the experience onto canvas. He had the ability to break down ton and colour into a huge range of shades and hues which allowed him to push his colour to a great richness of hue and yet stay in the boundaries of the way the eyes see. He found colours a huge part of his work as it creates emotions and a feel for his paintings. He would normally just use standard canvas', but it did depend on the state of his finances. He would usually use oil paint and apparently was very fussy about the order of his paints on his pallet and occasionally didn't finish his paintings, I personally prefer his unfinished artwork.

Diane Arbus

Diane Arbus was an American writer and photographer; her most recognised work is her black and white photographs of deviant and marginal people, for example circus performers, giants, transvestites etc. She brought and open minded eye to society's underside. Diane Arbus grew up and lived in New York City and committed suicide at the age of 48 due to depression.

Arbus liked to focus on the spectators morality of her photography, by showing people who usually aren't accepted in society in their own environments. She likes to show people unmasked and captures her subject usually looking miserable and isolated. I feel she is trying to show we live in a world in which everyone is hopeless;y isolated. I also feel that Arbus found normal people very scripted and boring. She was genuinely interested in meeting and photographing 'freaks'.

'Freaks was a thing i photographed a lot' she wrote. 'It was one of the first things i photographed and it had a terrific kind of excitement for me. I just used to adore them, I still do adore them. I don't quite mean they're my best friends but the made feel a mixture of shame and awe. There's a quality of legend about freaks. I like a person in a fairy tale who's stops you and demands demands you to answer a riddle. Most people go through life dreading they'll have a traumatic experience. Freaks were born with the trauma  They've already passed their test in life.'

During her career, Arbus took many pictures of nudist, sex workers and people in bed. I feel she does this because she said sex was:

'The quickest, purest way to puncture a person's facade'

She got people in their most personal places, showing their true selves. I feel she is very affective in doing so, you feel very intimate when viewing her photos, you're not sure whether you are intruding someone else's personal space which causes you to feel slightly uncomfortable. This really breaks the barrier down and makes you feel equal to them as your probably feeling as uncomfortable as they are.

My interpretations of Diane Arbus's work 

Jenny Saville

Jenny Saville is a young famous artist from Cambridge, Saville is known for her large scale painted depictions of the naked obese woman and by all means not contemporary in te way she shows a woman's body, she shows it in a grittier side, by using flesh and crude positions. Most of her paintings of large naked woman is how she see's herself, one of her most famous paintings is of a large naked woman perched on a stool with large thighs hanging over it and looking rather uncomfortable, in the painting she's pulling he head back but still slightly glancing at the viewer, she also in-craved a feminist quote, 'If we continue to speak in this sameness, speak as men have spoken for centuries, we will fail each other again.'   

Saville said she painted the painting out of the need 'to try-visually-to find a female language and a feminine space'. Saville would usually work on a huge scale creating huge pictures of naked woman to emphasis her feminist views, traditionally in art they say it's unheard of to have a painting of a woman larger than the man spectating it, as it will make them feel inferior to them, Her paintings would span around seven feet by 6 feet. 

Savilles painting 'Plan' is a self portrait of herself from a low angle, so the viewer looks up to her. The painting causes great discomfort when you catch eyes with the subject, Savilles meaning behind the painting was to remind the spectator of how the history of art is male dominated, and how we have accustomed us to look at the paintings of the female body: as an object of entertainment and beauty. This painting, once again challenges the male fantasy by empahsising unappealing body components such as fat and pubic hair; while at the same time empowering the subject though the use  of an impressive scale and how she is looking at you.   

My interpretation of Jenny Saville

  

'There is a thing about beauty. Beauty is always associated with the male fantasy of what the female body is. I don't think there is anything wrong with beauty. It's just what women thing is beautiful can be different. An there can be a beauty in individualism. If there is a wart or a scar, this can be beautiful, in a sense, when you paint it'. - Jenny Saville. 

My interpretation of 'Stare' - Acrylic paint  

Saville has an interesting way of using her paints, instead of using a palette she likes to mis individual pots of colour; she could sometimes have up to 300 pots for painting. She would use oil colours and occasionally added more oil to give movement to the paint and so to the overall composition . She likes to make paintings look messy and bold, I feel she does this to step away from the norms or historically correct art. 

My take on Jenny Saville

Saville would usually make one painting into a project by starting off with sketches of her visions and prototypes  she would take photos or a model in the position she wanted, to get the right proportions but whiles she paints she will change the persons to be more ugly and to look more like herself. She sometimes does self-portraits of herself in the mirror and uses many lights to creates the right shadows.

Photographic paper

I personally really like Savilles work, I feel it's very interesting to look at and it definitely stands out. I love the fact she does her paintings on such a large scale to really prove her feminist points. I admire the idea behind her paintings about the meaning of 'beauty'and what is socially 'normal'. I also feel she is a great and talented painter and really captures the emotion and message within the paintings.

Me in a nutshell

Ink

My view upon my parents

Ink

sewed the pictures together, and embroidered a background on the right.

Stuffed doll of mother, used transfer paper on calico.

Marionette

1 A small doll or figure controlled by strings

attached to its limbs by the puppeteer 2 A 

person or government that appears to be 

independent but is controlled by another

Oil paint

Monoprint, acrylic paint, ink.

Self-portrait of me portrayed upon my Mother.

AS level Unit 2

70.2 x 49.5 inchs 

Organic Forms - Unit 1 - AS level

Sim·ple - Easily understood or done; presenting no difficulty.

A·ppear·ance - 1. The way that someone looks at something

               2. An impression given by someone or something, although this may 

                  be misleading.

Shape - 1. The external form or appearance of something or someone

        2. Give a particular shape or form to.

Introduction to Organic Forms

Peter Randall-Page

'Seed'

The 'Seed' is a seed like granite sculpture carved with a complex pattern, which is based upon the geometric and mathematical principles, which underlie plant growth. The subject matter is significant because Peter Randall-Page an organic, he loved how nature came in kinds of patterns and how the patterns can be rationalized mathematically in terms of the golden angle and the Fibonacci sequence. Peter Randall-{age was trying to explore the relationship between humans and nature, by making the seed on a huge scale, to shoe the importance of nature, so it is a deliberate exaggeration of a seed. The 'Seed' shows the passion the Peter Randall-Page has towards the natural world and his personal feelings towards humans neglecting nature. I feel the subject matter is easily read as it is very obvious and very striking, by its size and its title, people can with out doubt tell what the subject matter is.

The seed is in the middle of a chamber, there are surreal dimensions of the 'Seed' as it occupy's the space and coming to within 250cm's of the walls of the chamber. Randall-Page wanted to separate this inner sanctum from the outside to give the chamber a calm and contemplative quality. The 'Seed' is lit with natural daylight so when the weather changes and seasons change it will play across the sculpture and change throughout the year. The chamber and 'seed' is white to give a tranquil feel in the installation, there is no colour in the work, this shows how basic nature is, yet complex with pattern on the 'seed'. The chamber and 'Seed' works together as the seed sits inside of the chamber and the chamber curves round the seed as if it was in a pod. The small spheres cover the 'Seed' in spirals, in an intricate pattern to give the 'Seed' an interesting texture. I find the work pleasing to the eye, as the pattern is satisfying to look at and the chamber would enclose the audience in the seeds world. 

The 'Seed' is made from 167-tonne block of granite into a giant ovoid, the 1800 carved nodes in Fibonacci spirals, represent the extraordinary growth pattern found across the natural world in sunflowers, pine cones and daisies. The seed took 4 years to make and was lowered by a crane through the roof of the Eden Project's education building, to sit within the bell-shaped chamber specifically designed and built to receive it. The making of the 'Seed' involved a lot of effort as they had to lift the block of granite from the cornish quarry. Many people had to be involved in the realization of the project from the quarrymen to the mathematicians. Peter Randall-Page found the most challenging part of the making of the 'Seed' was the process was plotting the Fibonacci pattern of nearly 2000 circles, A great deal of precision had gone into achieving the overall form and plotting the complex pattern on the surface. Peter Randall-Page made sketches of his first ideas then moved onto making miniature models of the 'seed' until 
he found the perfect version of it.

The work made me feel relaxed and tranquil, but I found it did not make me connect with nature how he wanted it to do. the artwork is fresh, crisp and clean.

My own interpretation of the 'Seed' - Acrylic paint 

My representation of 'Speaking in Tongues' by Peter Randall-Page

My enlarged version of 'Speaking in Tongues' by Peter Randall-Page 

Kate Malone

'Baby Lady Garlic Bud Pot'

Kate Malone's ceramic pot is inspired by fruit and nature. The subject matter of nature is evident in the shapes, textures and colours of the pot. I feel Malones's work shows the beauty of nature and how interesting it is and allows people to understand how passionate she is about the natural world, The work was observed directly from fruit but she changes shapes and colours around to make the work more appealing. The work is bigger than the real thing to exaggerate the colours and shapes. I believe the subject matter is very easily read and there is no hidden messages behind it.

'Baby Lady Garlic Bud Pot' is a single ceramic pot, with two sections, the bottom half of the pot is golden yellow spikes and the top half being turquoise and smooth. These two colours are very warm and inviting, to emphasis the beauty of nature. The spiky shapes aren't harsh looking but thick and curved, so it isn't unwelcoming. The spikes are not random, they are in a simple pattern to show the unfussiness of nature. I find this work slighly unsatisfactory as it is a bit too simple, as I believe underneath the simplicity of nature, it is very complex.

Malone uses ceramics pots to make her piece of fruit because 'both are containers in a sense. A pineapple holds juice, an apple holds seeds and they are both containers of possibilities and symbols of regeneration and i believe an empty pot has the sam symbolic value'. 'Baby Lady Garlic Bud Pot' is a coiled pot and is very simply made. To make it she uses a turn table, a hack saw blade, a few wooden tools and her fingers. She then glazed the piece. Before doing this she would sketch out designs and make prototypes. 

This piece of work creates a warm and welcoming mood, it causes natures to looks harmless and pleasant and this is exactly how Kate Malone wanted it to come across.

My interpretation of Kate Malone's work 

Ink and water colour 

Chalk

Interpretation of Kate Malone's work
Oil painting of her work, Collage, Acrylic painting of her work

Oil pastels of her work, and acrylic painted background

My own take on William Morris. Lino print on water-coloured paper. Scrunched up tissue paper which has also been printed on at the bottom.

Interpretation on William Morris - Two stripes are done by felt tip pens.

Blue and golden painting done by water colours, with a collage of William Morris's work behind.

Preparation for my final piece, took inspiration from Peter Randall-Page. On the left is my own version of his work and I ended up making a clay version of it, unfortunately I don't have a record of it.