Critical Reflection
I review the research process through mind mapping.
Based on the learning outcomes of the previous semester, I have chosen some elements that I want to further extend and made a different attempt. I think this is a very useful method for me because, at the beginning of this semester, I was really confused and had many conflicting thoughts that were difficult to organize. I, therefore, carried out extensive research using the portions from the prior semester that I was willing to expand upon.
I divided the research into two parts. The first section is devoted to chairs, and I chose this topic because I find comfort in chairs and because I use different chairs in my daily life, just like other people do. I believe that every person has a magnetic field and that similar magnetic fields gradually form around objects that people use daily, so when I see a different chair, I sometimes sense the personality of the person who owned it. Since I am unable to perceive the so-called magnetic field with my eyes, I refer to it as a sensation. Therefore, I am wondering if different kinds of chairs can represent various individuals or the feelings that develop between various individuals. For this section of the chair, I experimented with various materials to find inspiration. I tried using covering to convey the mood surrounding the chair and also used ceramics to make chairs with different shapes supporting them to find additional inspiration. However, I felt that I had run into some problems in the end, so I gave up on this section of my research.
While studying chairs, I am also continuing the theme of "embracing", which is the second part I have listed, at the bottom of the picture. From the number 1 in the picture, I chose to use recyclable cardboard and burlap for oil painting. I tried to provide more inspiration through different materials, but this bottleneck came faster than I imagined. I didn't even know where to continue painting, so I started organizing it in black, white, and block style, just like where I marked 2. I tried this way to help me find my path of inspiration, but now it seems that I had forgotten my theme and instead pursued a certain image. Fortunately, I immediately changed. I believe I need to stick to my theme. I want to express the emotions and emotions of the characters. I started to return to the original watercolor and tried different ways to express emotions. I eventually managed to have the pentagram annotated on the work after combining it with the human body.
My main goal in creating this mind map is to clarify the scenarios that come up as I research the subject. The most crucial thing was a conversation I had with a friend. (You can click here to view the conversation content) This conversation comes from a chance conversation. My friend and I talked about how to get along with people and discussed the word "boundary". The fundamental idea is my interpretation of boundaries and the idea that the term "boundary" itself is contradictory. I am also learning more about the subtle effects that people have on one another in their day-to-day interactions through this process. Much like ripples in water, emotions can also receive various forms of feedback and are difficult to control and unpredictable.
This conversation also shows that I have always been troubled by intimate relationships and my heart is always conflicted. My initial goal was to investigate people's feelings and emotions toward one another when they are together. In the past, I was very afraid that intimate relationships would come from friends, family, or loved ones. I would instinctively avoid it, but later I gradually realized my thoughts and tried to figure out what I was avoiding and what I was afraid of. As I grew up, I gradually realized that perhaps it was because when I was in an intimate relationship, I would subconsciously please others, always making decisions that I wouldn't know how to make. After some time, I would feel suppressed and controlled. In this cycle, I would think that intimate relationships are dangerous and make me no longer myself. Choosing to avoid them is not only to protect myself but also not to face my own needs. I am also conducting additional self-analysis through reflection following frequent communication with friends. The reason for this is slowly becoming clear to me: I lacked the courage to embrace who I am. I go back to the reasons behind and purposes of my thoughts. This method helped me to better accept myself and also prevented me from deliberately avoiding any intimate relationships.
It is precisely this kind of emotional journey that has sparked my strong interest in the topic of relationships between people.
Last semester, I mentioned that I was interested in nihilism because it is a contradictory conclusion that comes from repeated self-exploration of answers. At present, I realize that I care too much about an answer. Perhaps the process is the part I should explore repeatedly, just like I should not rush to define myself. Perhaps I am unpredictable, and what is important is the things that touch me and can affect me. Just like a diary, what is important is not the ending, but the accumulated story and the aftertaste of the final reading. In addition, I understand that the human brain finds it challenging to retain everything and that the most significant moments in life typically consist of only a few. Looking back on them, it is almost always the feelings at that time. Consequently, I think that part of the reason I painted this picture was to capture some of the mood and emotions. And I think maybe from another perspective, people are all accumulated by sensory fragments, so each person will emit a different atmosphere.
I believe in the theory of magnetic fields in the human body, which includes statements such as the influence of magnetic fields between people, that is, the field of the human body. Field refers to a category in a spatial sense, which is not only a physical environment but also a reflection of social and cultural background (Stuchly, Maria A). It is a concept that exists universally in daily life. Applying this concept to art allows artists to create a special material texture and form structure through the selection and processing of media and materials, allowing the audience to have a sense of being present and touching the surface of the work. I have also mentioned this concept in my previous creations, as shown in the picture. This work mainly expresses that with the gradual enrichment of the Internet era, we are uncontrollably exposed to many new ideas and consciousness. The surrounding social field has influenced our field. The emergence of numerous new ideas in society further indicates that our field is impacted by social or other fields, much as the characters in the image are overwhelmed with ideas and even start to disintegrate, suggesting that our field is impacted in some way.
Radiation 172x103cm 2023
Field refers to a whole formed by interweaving multiple elements such as specific environment, location, time, history, culture, and social relationships (Beyer, Landon E.). In individuals, the presence of complex factors such as emotions, emotions, environment, location, time, history, culture, and social relationships can have a profound impact on individuals. Some people are curious about how to portray it in paintings (Martin, John Levi). Conditions like time, space, history, culture, and social interactions can all have a significant influence on the way a painting is created within the same composition.
Painting creation is often closely associated with specific environments, and different environmental settings can have a unique impact on the painter's emotions, mood, style, etc., producing a range of artistic effects. Different forms of artistic expression, for instance, have emerged from the past under the oppression of intricate cultural and social relationships.
Next is the influence of location. The position of painting creation can also have an impact on the artistic effect. In indoor creation, painters can better control effects such as light and color, while in outdoor creation, painters may be limited by natural factors such as climate and terrain. The artistic effects presented may vary depending on the location of the painting creation.
Once again, it is the influence of time. The time factor can also have a profound impact on painting creation. For example, creating at night may create a mysterious and serene effect, while creating during the day may result in a brighter and more vivid effect. In addition, factors such as seasons and periods can also have an impact on creation, presenting a completely different artistic effect.
Finally, the influence of social and cultural factors. The influence of social and cultural factors on painting creation is multifaceted. Traditional cultures and customs, for instance, can have a significant impact on painters' creative and aesthetic styles, which in turn can have a profound effect on their paintings. Furthermore, social concerns, modern culture, and other elements can influence creativity in different ways, leading to different creative outcomes (Serig, Daniel.).
In the process of painting creation, the existence of field factors can have an impact on the painter's thoughts, emotions, skills, aesthetics, and other aspects, ultimately affecting the presentation effect of the artwork. This also reflects the manifestation of creative ideology in the field of painting in a certain sense.
Combining different elements can also be an artistic way of expressing their creative ideology. In artistic works, elements include color, lines, shape, texture, and so on. Artists can express their views by designing combinations of these elements. For instance, some artists in early 20th-century Europe started expressing their creative ideologies through the use of vibrant colors and emphasized lines. For instance, the foundation of the foundation in the painting technique of French artist Henry Matisse is formed by color and form. He maximizes color to the extreme, to the point where form can be ignored in his paintings (Srivastava, Seema ). He never pursues authenticity in his paintings but rather expresses his inner emotions with the utmost color. His witty structure, vivid colors, and relaxed themes are the characteristics that make him famous and make him one of the most important figures in modern art.
Study of a Nude
In my work, two fields exist, where the characters in the picture influence each other, and the other is the field between the picture and the audience. I believe that art is a tool for communication, a dialogue between the painter and the audience, as well as a dialogue between the audience and themselves. When I admire my favorite artworks, there is always a small star-like presence in my heart somewhere. I think this is a signal, a very abstract metaphor, but I think it is very appropriate, just like when you meet the right person, there will be a psychological chemical reaction. I am always obsessed with this phenomenon. In such a materialistic world, the existence of these abstract concepts and the ability to change myself from different aspects is a very difficult emotion to express. But perhaps through painting, I can feel this feeling for a moment and visualize it. I always insist on expressing the state of being influenced by emotions or emotions through flowing pigments and expressive techniques based on the characteristics of watercolor, which is why.
I believe that after analyzing this semester, I have become more and more certain about the content of the theme. This is a change for me, who was confused in the early stage. In the future, I need to change some ways of thinking to make my visuals more free. My evaluation of my current work has been limited. Throughout this semester, I have gradually been able to ascertain the path I must take with the aid of mind maps and context. Although I also experiment with other forms of expression, character relationships are my main creative theme.
The image displays my most recent work, which has changed slightly from earlier in the process. Next, I will try to transform the entire body of the character into a bust or a partial part, perhaps with a different effect.
38X26CM
38X26CM
Stuchly, Maria A., and Trevor W. Dawson. "Interaction of low-frequency electric and magnetic fields with the human body." Proceedings of the IEEE 88.5 (2000): 643-664.
Beyer, Landon E. "Field experience, ideology, and the development of critical reflectivity." Journal of Teacher Education 35.3 (1984): 36-41.
Serig, Daniel. "A conceptual structure of visual metaphor." Studies in Art Education 47.3 (2006): 229-247.
Martin, John Levi. "What is ideology?." Sociologia, Problemas e Práticas 77 (2015): 9-31.
Srivastava, Seema. Fashioning the decorative body in late nineteenth-century English and French painting: Artifice, color and style. New York University, 2006.