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A Framework for My Artistic Practice

Breaking the mold represents emotions, old stories. I want to record some memorable moments, express my emotions, and then find a way to soothe my ego and extract a sense of freedom from the superego among individuals. I usually express this intention with the act of tearing the canvas, the texture of the torn rough edges gives me a strong sense of obsolescence and emotional expression. Memory is layered for me. Stacking can be expressed as the texture of the oil paint being squeezed onto the canvas as it passes over the brush, I can feel a sense of thickness and security, and then it can also be expressed as the layering of the canvas on top of the canvas (which relates to my personal concept of perception of the word memory). The characters and symbolism exist from these deep emotions. They don't have to represent a specific person or thing, the world is like a giant paradise and they are emotions and thoughts that I want to record in this way, triggered by my experience of exploring and 'playing' with the world, combined with the feedback to me about the atmosphere of female upbringing. It's a self-constructed blend of outlooks on life and values, a process of self-healing.

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Daisy Paris' artwork and "Self-healing"

Daisy Paris' artwork is deeply connected to the theme of “self-healing” as her creations often explore intense emotional experiences and trauma. Parris creates abstract and expressive paintings that convey themes of the complexity of human existence, personal pain and inner turmoil. Her use of bold, introspective colors and large-scale canvases reflect a raw and unfiltered expression of emotion, making her work a cathartic outlet for herself and her viewers. A distinguishing feature of Parris' work is her focus on “feeling everything in the extreme,” an emotion that resonates with her personal experiences of anxiety, sadness, and struggle. This sense of emotional extremes became a means of self-exploration and ultimately a form of self-therapy. Her paintings, often interpreted as abstract self-portraits, capture not only her internal struggles, but also the collective emotions of those who appreciate her art. . Paris's work may inspire me to look more deeply into how abstract expression and emotional rawness can amplify the therapeutic potential of art.

Daisy Parris, I see you in everyone I love

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Freud's theory of dreams and symbols

Freud's theory of dreams and symbols provides an important perspective for understanding the subconscious mind. He believed that dreams are manifestations of subconscious desires and unmet needs, while dream symbols represent hidden meanings. Through dream interpretation, individuals can understand their deep-seated emotions, anxieties, desires and unresolved psychological conflicts. Dream and symbol theory can be a powerful tool in my art practice.

Ted Gahl Mom's Garden 1990, 2023

Visualization of Dreams: My works can carry complex, unresolved emotions and memories just like dreams. Emotions that are repressed during the day can be presented through symbolic images, distorted spaces and surreal visual language. By deconstructing the canvas, using multiple layers, symbolic elements (e.g. teddy bears), and inner conflicts, desires and traumas can be metaphorically represented.

Symbols are vehicles for hidden meanings: in dreams, subconscious desires and emotions often cannot be expressed directly, so they are presented in symbolic form. For example, in dreams, certain objects, people or scenes may symbolize emotional or psychological states such as sex, anxiety, fear or longing.

Ted Gahl“Woman Putting On Jacket”

Dreams are often contradictory and illogical: Dream plots and symbols are often non-linear and contradictory, showing unresolved conflicts in the subconscious mind. A sense of multiplicity and uncertainty is created by combining contradictory emotions or symbols. This has inspired me in my new series of creations to take the two emotions of beauty and pain and derive many new sets of antonyms, such as cigarettes and perfume, desserts and pills, girls and empty eyes, men's shirts and sunflowers.

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Freud's theory of the“ego,”“self,”and“superego”

Freud's theory of the “ego,” “self,” and “superego” demonstrates the dynamic balance of the human psyche, which represents different psychological forces that influence our thinking, behavior, and creative processes, behavior and creative processes.

The Id represents the most primitive part of the human being, full of instinctive desires, impulses and the pursuit of instant gratification. The outburst and emotional release of the Id: I express strong emotions in my works by tearing, destroying and reconstructing, and this creative technique can be regarded as a direct expression of the Id. Through these broken canvases and layering, emotions and memories buried deep in the subconscious are released. This is highly compatible with the impulses and emotional outbursts of the ego

The ego and superego are located between the ego and the external world moral consciousness, social norms and internalized values, playing a regulatory and controlling role. It follows the principle of reality and tries to fulfill the desires of the ego, but must consider the limitations and consequences of the real world. The ego regulates between the id and the superego, and my practice may reflect this inner balance. I sometimes pursue the free release of emotions and maintain a certain sense of order through composition, use of color, and use of symbols, just as the ego reconciles conflicts in real life. Through my art, I want to explore how to break the order. As a woman growing up in a traditional East Asian patriarchal family, I am confronted with cultural, gender, and moral constraints in my creations.

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About "love"

3.Toward Forgiveness and Reconciliation

I can relate to the difficulties in creating art based on personal experiences, especially in breaking the traditional limitations of family, culture, or society on women's roles, which may face scrutiny and misunderstanding from the outside world. In the midst of such challenges, Agape is able to help me better understand and transcend these external judgments and find an inner forgiveness and reconciliation. Unconditional love does not require forgetting the pain of the past, but rather allows you to move on with these wounds and gain strength from them.

Through this spirit, Agape can also be a bridge for me to reconcile with the outside world-whether those limitations come from family, society, or gender norms, it can be dissolved through love. I think I am not only seeking healing for myself, but also conveying a broader empathy and understanding through my work, so that more people can find the courage and strength to face trauma through art.

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About "love"

2.Restoration and Love as Core Themes

Agape (ἀγάπη) - selfless and unconditional love

Tearing, breaking and reconstructing is an important creative technique for you, reflecting my reflection on trauma and repair, and Agape has an important role to play here: it symbolizes the kind of spiritual healing that is achieved through repair and inclusion, and this kind of unconditional love can be extended to the process of dealing with gender, identity and social symbols. While my artistic concepts challenge traditional gender roles and social symbols, Agape offers a new perspective that regardless of how these social frameworks treat individuals, everyone deserves unconditional love and respect that transcends any labels or expectations imposed by society and goes back to the essence of what it means to be human.

In addition to healing on an individual level, Agape can also play a role in the healing of collective trauma, especially in the themes of female upbringing, gender inequality, and cultural and familial oppression that are addressed in my work. The element of the teddy bear and other symbolic elements in my work can be embodied - they serve as symbols of both individual healing and collective memory and support. The teddy bear, as a symbol of childhood security and love, can be interpreted as a figurative expression of Agape: an object of unconditional comfort and support, which not only allows me to find solace in the creative process, but also conveys to the viewer an emotional resonance of acceptance and healing.

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About "love"

1. Unconditional self-acceptance and love

In ancient Greek culture, the concept of love was subdivided into four different interpretations.

Storge (στοργή) - affection, Storge refers to the love between family members, especially the natural love of parents for their children.

Philia (φιλία) - Friendship, Philia refers to the deep friendship of friends and their support of each other. This kind of love goes beyond romantic feelings to more of an emotional connection based on shared interests, mutual understanding and respect.

Eros (ἔρως) - Erotic love Eros is love that is romantic, full of passion and desire

Agape (ἀγάπη) - selfless loveAgape is love that is unconditional, selfless, and transcends the self

In my current artistic practice, Agape (ἀγάπη) - selfless and unconditional love - has become an important conceptual tool in my exploration of spiritual healing and past trauma, the Agape and spiritual healing: unconditional self-acceptance and love

Agape, as a form of selfless and unconditional love, can be a key force in the healing of trauma. I explore expressions of trauma in my art, especially conflicts with family, gender roles and societal expectations.

This unconditional love can help me find inner peace and the strength to heal myself in the face of trauma. By remaining open and compassionate to my own past experiences, this emotional power is not only personal, but can be conveyed to the viewer through the artwork, inspiring them to love and accept themselves.

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Exploring the significance of spontaneous creativity in my personal art practice through Rose Wylie 's artwork

Wylie's creations are full of intuition and freedom, in a way that can be understood as the core qualities of spontaneous creativity. Her images appear as if they have not been carefully composed or planned, but are left to the natural flow of emotion and imagination, embodying the power of improvisational painting. This approach rejects rational planning and excessive technical control, and encourages the artist to respond directly to her inner impulses and feelings.

Wylie's work breaks the constraints of traditional painting techniques, especially in terms of composition and proportion, and her works often contain out-of-proportion images, broken lines, and color combinations that are at odds with everyday experience. This approach not only reflects her challenge to the rules, but also demonstrates the rejection of perfectionism in spontaneous creativity.

Wylie's work is often characterized by a childlike drawing style, where the images appear to be unprocessed graffiti with an innocent and raw beauty. This style breaks down the viewer's expectations of “high art” and allows for a sense of pure creativity.

This expression of childlike innocence also inspires my exploration of trauma and self-healing. Spontaneous creativity can be a way to return to a state of being unencumbered by cultural and societal frameworks, and reconnect with your inner self in this “back to basics” way. In dealing with trauma, this type of creation may help to express the emotions that lie deep in the subconscious, rather than being obscured by superficial rationality and technique.

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The Possibility of Art as a Medium of Expression and Repair of Trauma

The handmade toys and blankets used by Kelley in More Love Hours Than Can Ever Be Repaid carry the emotional memories and experiences of countless individuals. In art healing, objects are often strongly symbolic, evoking memories, triggering emotional responses, and serving as concrete mediums for confronting and processing trauma.

The teddy bears and other everyday objects that I incorporate into my work can also serve as emotional carriers, evoking memories and emotional experiences. These objects symbolize past traumas and attachments, but through art they are given new meaning and function as symbols of healing and self-repair. In incorporating these objects into your collage and stitching process, you are exploring not only the breaking and restructuring of matter, but also how emotional trauma can be revisited and repaired through these material mediums.

Kelley's work explores the intangible value and emotional debt carried by objects created through emotional labor, emphasizing the deep emotional investment behind these labors. There are similarities between this emotional labor and trauma: trauma often involves a significant emotional investment, especially in intimate relationships, families, or cultural contexts, and individuals are not able to easily escape from these experiences or fully “pay back” for their spiritual impact.

Kelley uses old, handmade stuffed animals and blankets to symbolize this emotional labor and suggests through her work the unrepayable nature of these emotions. In the context of art healing, this concept can be seen as an acknowledgement of personal trauma - that is, the depth and impact of trauma cannot be simply repaired or remedied.

However, through art, trauma can be expressed and released as a means of transformation.

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An Exploration of Trauma, Gender Symbolism, and Hybrid Identity in the Concept of Self-Art Based on Mike Kelley's Work

Kelley's concept of 'love hours' is particularly thought-provoking, referring to the emotional investment in handmade objects. These works express a great deal of emotional labor through handmade toys and blankets. Closely related to material practice, as each toy or handmade object is a combination of the time, energy, and emotion of its maker, Kelley points out that this labor and love is not repayable, challenging the traditional logic of exchange and suggesting an imbalance between emotional labor and market value.

Kelley metaphorically reflects on ethico-aesthetic issues in curatorial practice through his artworks, particularly the Craft Morphology Flow Chart. The organization of these abandoned or donated handmade toys and objects into museum exhibitions repositions repositions these objects, which are not usually considered as 'high art', critically reflecting on power relations in curating. In this way, he questions the cultural production and power structures of the mainstream art world, and by giving these objects a new space for display.

Kelley emphasizes the unreimbursable nature of emotional labor, which resonates with themes of trauma and self-repair. In my work, it is possible to explore more deeply the emotional burden of trauma and how it cannot be fully “repaid” or remedied at the social, cultural and familial levels. For example, by translating the emotional labor of personal experience (such as familial or cultural expectations) into a visual art language that reveals these irreversible wounds and irreparable relationships, Kelley creates complex material networks by combining different types of handmade objects in his installations. I think I can also deepen the visual language through multi-layered material combinations. For example, continue to combine oil paintings, fabrics, hand-stitched and torn, but add more materials with strong personal and cultural meanings, such as old clothes, family photo albums, and traditional fabrics.

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Make a breakthrough in the display of the future work.

Creating a space is a good way to express the inner world, and for this I researched the literature about Yoshitomo Nara. Nara's works are very representative of her characters, and the portrait of the angry girl in her works captures the viewer's heart with her powerful eyes. About the material, using materials with which he feels a familiarity, such as torn-off note paper or used envelopes, he bares his emotions and thoughts. In his three-dimensional works, for which he has varied his media over the years, Nara gives familiar items new life through a meditative dialogue with the materials. Unfolding cardboard boxes, newspapers, etc. can be a medium for painting, giving me a new understanding of the direction of my artistic exploration.

Regarding installation exhibitions, he has a variety of cabin installations such as Torre de Málaga，2007Torre de Málaga, a towering house, was built out of industrial and waste materials collected from the city and included the work 1.2.3.4, Change the History (2007), which Nara painted on site and mounted onto the tower. Furthermore, Y.N.G.M.S. (Y.N.G.’s Mobile Studio) YNG’s work uses reclaimed building materials to construct a dwelling which sits atop a small van — a vehicle often associated with a sense of escape, adventure and freedom. Both the van and the hut are decorated with collections of Nara’s creations, including drawings, paintings, t-shirts and posters, as well as toys and found objects — an arrangement that retains some of the incidental quirks and the exploratory, developmental qualities of studio living.(By Reuben Keehan ‘We Can Make Another Future’ September 2014)

These intimate spaces brings me an atmosphere of warmth, solitude, and wonder, a reflection of the artist's inner visualization. Through the realization of Nara, and based on my own art projects, I consider moving from a flat exploration to a spatial three- dimensional design in the way I present my work, to create interaction and connection with the viewer.

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Convey the power and hope of life through the positive expression of color and form

“Affirmative Aesthetics” emphasizes positive artistic expression and aims to convey hope, joy and vitality. In Kusama's work, this aesthetic is reflected in her use of color, form and repetition. Her dots and grids are not only visual elements, but also a celebration of life and existence. Her Infinity Mirror Rooms, for example, create a transcendent experience by reflecting infinite dots and light through mirrors, allowing the viewer to feel a sense of infinite possibilities and connection to life. She creates a sense of harmony and order through repetition and pattern. “Heart Centered Art Practice” emphasizes emotional and spiritual connections, focusing on the inner feelings and personal experiences of the creative process. In Kusama's art, this practice is reflected in her deep reflection and expression of her own experiences. Her work often reflects an exploration of self, loneliness and existence, demonstrating her concern for mental health. Through her art, Kusama is able to visualize her own emotions and experiences, providing an emotional connection with the viewer. Kusama's work is often seen as a healing process. The repetitions and patterns she uses in her art are both cathartic for her own heart and a guide for the viewer to feel empathy and understanding in her art space.

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Known for her wide range of styles and constant innovation, Laura Owens' artistic practice is reflected in her exploration of a variety of mediums and techniques. Relying not only on traditional painting techniques, she incorporates elements of embroidery, textiles, text, and decorative patterns into her work. This interdisciplinary approach embodies the spirit of collaborative multidisciplinary practice and demonstrates how she pushes the boundaries of traditional painting by combining a variety of materials and techniques to create multi-layered artworks. It gives great examples of the act of exploring materials and formal vehicles in my art practice. Although Laura's art does not directly take on the theme of coolie identity, her experimental, diverse approach to style and form can be seen as echoing the spirit of coolie embodiment and coolie methodology. Her free, eclectic approach challenges traditional artistic norms, resisting fixed definitions of form and style through ever-innovative stylistic blending and non-linear narratives, similar to the exploration of fluidity and anti-duality in Cool Kids' art.

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Tracey Emin

Tracey Emin's artistic practice centers on personal narrative and self-expression, often challenging social and cultural constraints on women's identities and experiences. Her work, such as My Bed, not only demonstrates her personal vulnerability and isolation, but also explores issues of women's bodies, sexuality and identity on a broader level.

In Emin's work, the notion of a third space is reflected in her blurring of the boundaries between the private and public spheres. By moving between personal and public narratives, she creates a space where viewers can enter and reflect on their own experiences.Emin's art is heavily influenced by feminism, and through her work she critically explores gender roles, the body and social norms. Her work often expresses sensitivity to the female experience, revealing the marginalization and objectification of women in society.

Emin views the body as a vehicle for experience and memory, and through the display and depiction of the body, she expresses the complexity of self-identity and vulnerability. In My Bed, she creates a depth of bodily experience by displaying her bed and related objects, closely linking the body to space, emotion and memory.

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Three-dimensional expression, in addition to permutations and combinations between canvases, consider ceramics, small installations, etc

I referenced Jenny Watson who is a punk female artist. Her work is accompanied by individual textual explanations and artistic attachments around the images, while The paintings in The Daisy Show are a culmination of Watson's experiences to date, both in art and in life Each painting has a velvet daisy on shelf. Each painting has a velvet daisy on shelf, and the attitude of her work appeals to me, not only in terms of the colorful content of the images, but also in terms of the combination of special fabrics that add layers of meaning to the paintings, all of which are worthy of appreciation. In addition, I would love to work with ceramics and create miniature sculptures as part of the display. I think the collision of different materials can bring a lot of surprises, and I'm happy to explore new territories.

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Me and Mine

Color variations are visual transformations of fluctuating emotions.

Me and Mine is one of a series of illustrations on this theme. This work is inspired by the exploration of memories of the past, I chose the memory of a broken relationship, which is very important and deep for me, and although it is a struggle, it is also one of the most freeing experience. Memory is moldable, unstable and fluid, it is derived from the real but detached from it. Fragmented memories are often re-presented in mind through subjective emotional embellishment.

“Emotions don't go away, they just shift.”Freud thought emotions and conflicts are the result of the relationship between the subconscious and the conscious mind. According to this theory, emotions and conflicts can be resolved through transference and transformation rather than outright elimination.I intend to keep working on these little paintings until the story fades in my mind

For the elements of creation, I've created a few images so far, images that currently contain characters representing past memories along with present day feelings and emotions. In the process of creating this series, I have realized that I don't seem to be as stuck in the vortex of my memories, which is a great place to start. I began to wonder if I could include objects or scenes that represented the emotions of the day to express my own state of mind about the whole healing process.