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Wings

For this project, I plan to drawn deep inspiration from the visual and symbolic power of angel wings. In the church gallery Their form — soft yet strong, luminous yet grounded — speaks to a balance between vulnerability and transcendence. I was especially moved by classical depictions of wings in Baroque and Neoclassical paintings, where light dances across layers of feathers, creating an almost sacred sense of motion and divinity. These wings aren’t just anatomical; they become metaphors for protection, grace, and spiritual transformation. By isolating their shape or reimagining them in new compositions, I will explore the tension between the physical and the ethereal, the earthly and the celestial.

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Angel statues

As of recently I’ve moved away from church gallery fully as I found the details too tedious to replicate in the spanse of time I have left to cover

The primary focus I now want to refer back to are the true Angelical beings themselves I’ve always had a fascination with angels and I want to be able to paint them, I have also reconnected back to my spirituality so I can surmise this is where the fascination came from.

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Church gallery beginning:

first day painting on canvas

My painting is based on the theme of LSAD Anew, drawing inspiration from the grandeur and intricacy of classical architecture, of the church gallery much like the space in this image. The ornate detailing, soft golden hues, and interplay of light 💡

Instead of recreating rigid architectural structures, I abstract them—breaking down arches, domes, and embellishments into gestural marks and organic drips.

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BICYCLE LOOKING LIMES based on my thumbnail image.

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RESEARCH DAY- PETER DOIGS

Peter Doig’s work resonates with my artistic practice, particularly in how he explores space, memory, and atmosphere. His paintings feel like psychological spaces, blending reality with a dreamlike quality, which aligns with my interest in conceptual art. That I will explore within my painting practice -

I also enjoy the colour schemes

I’m especially drawn to the way Doig layers color and texture to create depth and ambiguity. His approach makes me think about how I can use composition and perspective to push the conceptual side of my work further. His work encourages me to consider how atmosphere and abstraction can evoke emotion, memory, and a sense of place in my own practice.

Peter Doig’s color palette has a rich, dreamlike quality that resonates with how I’ve approached these images. His use of muted yet vibrant tones, unexpected color contrasts, and layered compositions creates an atmosphere that feels both familiar and surreal.

In my work, I’ve played with bold, graphic elements layered over photographic scenes, much like how Doig uses color to disrupt and reframe space in his paintings. The first image, with its bright yellow background and geometric pink and red overlays, mirrors his ability to introduce striking colors that shift perception. Similarly, the second image’s gradient from purple to pink recalls his tendency to use moody, shifting tones that evoke emotion and depth. The third image, more muted in its raw photographic state, reminds me of how Doig sometimes allows naturalistic colors to exist alongside more heightened, almost artificial ones.

By incorporating these elements, I feel like I’m engaging with his approach to color—not just as a tool for representation but as a way to create an emotional and conceptual impact. His influence pushes me to think about how color can act as both a framing device and a subject in itself.

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SEMESTER 3 —> Beginning of painting SCAVENGER HUNT FOR THUMBNAILS

Thumbnail design print layout: —> Upcoming

Todays brief was all about spontaneity— thumbnail research through pure, unfiltered chaos. The task? Run around the college, capture

Whatever catches the eye, and basically do “random shite” in the name of creative exploration. No overthinking, no planning - just reacting to the environment and letting intuition take over.

It felt like a mix of scavenger hunt and performance art -> racing around the college and seeing what I could find

It’s the kind of excerise that forces you out of your comfort zone, making you notice textures, shapes, and compositions you’d normally overlook, in the college And, of course it was just an excuse to embrace the ridiculous- because sometimes, the best ideas come from doing things that completely feel absurd in the moment.

Todays exploration allowed me to take some colourful fun photos

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Final painting:

I chose to return to painting for one last final round I believe I finished on a strong note in regards to painting this I embodied every colour in the colour wheel I possibly could to push this painting towards its completion.

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Overview of “movement”

•painting

• ceramics

•sculpture

- (all in descending order

A review: this project for me taught me about picking up the pieces when things fall apart I believe my view of the word “movement” has recently evolved throughout the progression of the project, “collapse and fall” “picking up the pieces” “moulding them back together”

This project has been a lesson in resilience, adaptability, and transformation. Initially, my understanding of “movement” was more linear—something that progresses, shifts, or flows. However, as I navigated the challenges and developments of this project, I realized that movement is not always forward; it can also be a process of collapse, fragmentation, and reconstruction.

The idea of things falling apart became central to my exploration, both conceptually and practically. I found myself drawn to the notion that destruction is not an endpoint but rather an integral part of creation. “Collapse and fall” are moments of disruption, but they also open up space for renewal. In picking up the pieces, I engaged in an active process of making sense of disorder, understanding how elements could be reassembled in new ways. This reconfiguration was not about returning to an original state but rather about embracing change and finding unexpected possibilities within the fragments.

Through Sculpture, my perception of movement shifted from a simple trajectory to something cyclical, fluid, and dynamic. Movement is as much about breaking as it is about building, about letting go as it is about holding on. The act of moulding pieces back together became a metaphor for resilience, for finding coherence in chaos, and for understanding that every collapse carries within it the potential for transformation.

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Fischli and David Weiss’s work really connects with my movement project, especially in how they use everyday materials to explore balance, transformation, and unpredictability. Their video The Way Things Go (1987) is a perfect example—it’s a chain reaction of objects setting each other in motion, turning ordinary materials into something dynamic and performative. That idea of movement emerging from still objects makes me think about how my cardboard sculpture interacts with space and the potential for it to shift, collapse, or be reconfigured.

I also find their use of cardboard in Suddenly This Overview really interesting. Their sculptures are rough and almost playful, capturing fleeting moments with a material that feels both fragile and temporary. That resonates with my own work, where I’m using cardboard to explore movement—not just in a literal, physical way but also in how the structure suggests change, instability, or even tension between stillness and motion.

Thinking about Fischli and Weiss makes me more aware of how movement doesn’t always have to be obvious or immediate—it can be implied, waiting to happen, or even exist in the way we perceive an object’s potential to move.

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Sketchbook Work

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ELEVATION: Cranes 🏗️ - primary source

I was really inspired by cranes in regards to my project on my walk to college - cranes and stairs both involve vertical movement, both structures facilitate upward motion - cranes can be seen as an alternative dynamic staircase.

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“Movement, Transition, and the In-Between”

Personal statement sculpture:

I’ve been thinking a lot about movement—not just the physical act of going from one place to another, but the way life shifts in unpredictable ways. The ups, the downs, the moments of feeling stuck. This piece is my way of processing that.

I built this structure using stairs, fragmented architecture, and suspended pathways because they remind me of how movement isn’t always linear. Some stairs lead nowhere. Some feel unstable, like they could collapse at any moment. Others stretch out, waiting for the next step to be imagined. That’s how life feels sometimes—like I’m constantly climbing, but not always sure where I’m going.

I chose materials that reflect that instability. The cardboard is fragile yet structured, the string ties things together but also lets them hang loosely. The mirrors are there as a reminder of self-reflection—because movement isn’t just about external change; it’s about what happens internally, too.

This piece isn’t about a clear ascent or descent. It’s about the in-between. The pauses, the setbacks, the unexpected turns. Life doesn’t follow a straight path, and I’m learning to be okay with that.

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BUILDING A STAIRS: Elevation -falling apart and reassembling

The materials I’ve decided to work with are cardboard and metal - I chose cardboard as It was a good starting point as cardboard it sturdy and a reliable material to work with.

Falling apart and putting it back together again - today I focused on building a foundation for my stairs as I worked with cardboard and I cut various shards of glass to form geometrical shapes that resembled mirrors -

Building the foundation for this was quite challenging as I found the process of this quite daunting originally - as my foundation was clearly too weak it completely fell apart on me halfway through the making process , but I was able to pick up the pieces and reassemble. To create a stronger structure.

I believe this was almost an external manifestation of myself in my project, sometimes as humans minor inconvenience can often cause setbacks,and we tend to fall apart as a result. but we also have to put the pieces back together in order to elevate. (I’m learning a lot about myself personally throughout this project)

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SCULPTURE - Workshop with Sarah - BLUEPRINTS

Today I started off doing brainstorming by making a blueprint in regards to “movement” by working to create a visual representation of what I want to make

I focused on the materials I will use going forward - to create a finalised vision

So far I’m looking at:

•wire,

•wood,

•metal,

•lolipop sticks

Sarah gave me good advice as originally I wanted to create a formal structural approach to stairs for my finalised vision, but I believe I can take a different approach as I was inspired by the concepts I was presented with

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CUTOUTS - staircases

Today I focused on, making the cutouts for my staircase project I found this rather challenging at first working out the mathematics for this, and I had to be patient in regards to how this project moulded together. But overtime everything came together like a jigsaw puzzle.

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RACHEL WHITEREAD: ARTIST RESEARCH AND DALI:

As I explore movement in my stair project through ceramics, I find Rachel Whiteread’s approach to space and absence particularly inspiring. Her casts of negative space turn emptiness into something solid, freezing a moment in time. I want to take that idea and translate it into my own work, but rather than stopping movement entirely, I’m interested in capturing its traces—how stairs shape the way we move and how movement, in turn, leaves its mark on them.

One way I could do this is by working with casting. Instead of creating a traditional staircase, I could cast the negative space beneath steps or the air between them, making the invisible structure of movement tangible. I’m also drawn to the idea of impressions—pressing textures into the clay to suggest the way stairs wear down over time, collecting footprints, scuffs, and history.

Beyond form, glaze could play a role in representing movement. A dripping or directional glaze might mimic the way people flow up and down stairs or how time and weather shape surfaces. I’m also considering breaking or layering ceramic pieces to reflect the passage of time—maybe a fragmented staircase that looks like it’s mid-collapse, suggesting both presence and absence.

Whiteread’s work has made me think differently about movement. It doesn’t always have to be shown directly; sometimes, what’s left behind is just as powerful. I want my ceramic pieces to capture that balance—between stillness and motion, structure and decay, presence and loss.

Salvador Dalí’s approach to movement, particularly in how he distorts time and space, feels relevant to my project. His paintings often depict fluid, almost melting forms—like in The Persistence of Memory (1931), where clocks appear to droop and dissolve, challenging the idea of stability. This idea of transformation and surreal movement connects with how I see my cardboard sculpture—not as something entirely static, but as a structure that carries the potential for change, distortion, or even collapse.

Dalí also worked a lot with optical illusions and exaggerated perspectives, which makes me think about how movement can be suggested rather than physically present. His piece Swans Reflecting Elephants (1937), for example, plays with perception in a way that makes stillness feel unstable. That kind of shifting viewpoint reminds me that movement isn’t always about literal motion—it can be something the viewer senses or anticipates, like the way my sculpture might suggest balance, instability, or transformation.

DALI

I also think about how Dalí embraced dreamlike logic, where objects take on unexpected qualities. In my project, I’m working with cardboard—something rigid and ordinary—but I’m exploring how it can take on new, unexpected forms, almost like it’s caught between states of being. Dalí’s way of dissolving boundaries between solid and fluid, real and surreal, makes me consider how movement can exist in a more conceptual or implied way in my work.

Dalí also worked a lot with optical illusions and exaggerated perspectives, which makes me think about how movement can be suggested rather than physically present. His piece Swans Reflecting Elephants (1937), for example, plays with perception in a way that makes stillness feel unstable. That kind of shifting viewpoint reminds me that movement isn’t always about literal motion—it can be something the viewer senses or anticipates, like the way my sculpture might suggest balance, instability, or transformation.

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GEOMETRICAL SHAPES INSPIRED BY STAIRS

The second part presents another abstract clay composition, seemingly meant to be displayed vertically. I chose to incorporate similar geometric and organic elements, with layered and intersecting planes, carved lines, and a balance of structured and freeform shapes. The upper portion has a rounded, organically shaped elements while the lower half maintains a rigid, structured appearance.

Both pieces exhibit a strong sense of composition, texture, and depth, suggesting an exploration of space, architecture, or technology through clay.