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Arba

My body of work seeks to express mental struggles through the portrayal of anxious-looking figures and portraits. Initially, I took inspiration from my surrounding environment, studying the intricate architecture of buildings as well as the methods of transportation in the city, mainly working figuratively, attempting to illustrate the feelings of isolation and separation from society in an otherwise crowded area. As I moved on to other projects I explored similar concepts that represented the idea of masking your feelings and loneliness through portraits. Drawing inspiration from photography and my own experiences as an athlete, I tried to express the feelings of stress, anxiety, and pressure in my artwork. I used chalk, charcoal, ink, acrylic paint, and clay to illustrate a gloomy atmosphere. This is a subject that is very personal but also very relevant in today's society. My goal is to bring awareness to the topic, forcing people to acknowledge the severity it can pose in someone's life when concealed. 

Many of my artworks are influenced by Jenny Saville’s oil paintings. She explores the concept of self-perception by challenging female beauty standards in today's society. Much like in Saville’s painting Propped, I took a realistic approach when drawing and painting hands, poses, and facial expressions to better communicate my message. For example, Open Mind represents a reaction to stress through an aggressive gesture. My work mainly consists of monotone colors to create a somber atmosphere correlating with the emotions I am trying to convey. An important aspect of my process when developing concepts and ideas is photography, all my pieces are inspired by my photographs, often self-portraits I have set up. This technical choice provides a more personal connection to my work as I present the struggles and challenges I face daily.  Parts 1 and 2 are self-portraits depicting emotional and mental torment illustrated through harsh and rough charcoal lines as the background, reflecting inner feelings. Using photography and charcoal I manipulated the position and angles of the image to control a better outcome for the piece. In my most recent piece, Perfection I explored and illustrated an image using geometrical shapes inspired by Chuck Close's large-scale paintings. As an athlete, I have dealt with performance anxiety, failure, and pressure from trainers, teammates, school, and myself. All these factors have helped me develop ideas I enjoy and strongly connect to. 

The area I was allocated for the exhibition is a large U-shaped space with two corners. As people enter my exhibition they are welcomed by a large two-part painting that is framed by the shape of the wall. I organized my work in a manner that would complement the three large-scale artworks. Each large piece is followed by a smaller work that allows for the paintings or drawings to breathe and build a flow throughout the exhibition from one piece to another without overpowering the more minor-sized artworks. Most pieces are also grouped by theme, city landscape artworks for example share a corner, to build a cohesive exhibition. The space is large allowing audiences to experience each piece separately but also as a whole. Larger artworks such as Perfection should be observed from a further perspective or the illusion will be lost in contrast to more detailed pieces like Eyes that should be looked at more closely. 

My intention for this exhibition is to create an absorbing and disturbing atmosphere. Firstly by forcing the audience to reflect on their own emotions when facing challenges and pressure empathizing with the figures I have represented in my pieces. Secondly, I also want the audience to be drawn to my exhibition, with a closer inspection of the intricate details and technical execution in my figurative depictions. 
 

 

 

Concertina (October 2022)

Mixed media and posca pens on paper

29 x 100 cm 

Concertina expresses the feeling of isolation, through various images that connect. Ink, tape, and scrap paper were among the various materials used to distress the paper before working on it. These elements show a sense of freeness in the piece and add interesting textures. The image is packed with detail and different perspectives, which render the drawing more realistic. Concertina is inspired by  Karen Stamper's work, as she uses similar techniques such as collage. 

 

 

Eyes (January 2024)

Collage using paper, newspaper, magazine paper, foamboard and drawing pencils on paper 

81 x 58 x 1 cm 

Eyes looks to convey social anxiety, through the feeling of being judged. Inspired by Hannah Höch’s collage pieces. Loose newspapers and magazines add texture to the piece representing the distractions in life surrounding the watchful eyes. The collage creates an interesting composition composed of 3D materials and text that emphasise certain areas. Colours are used to contrast dark shades building a distracting environment alluding to the feeling of being observed.
 

 

 

 

 

Madness (December 2023)

Stencil, acrylic paint, posca pens, and oil pastels on wood 

51 x 76 cm 

Madness represents the feeling of going through the motions, living in an unhappy and depressed bubble but surrounded by joy demonstrated through the use of bright colours and abstract shapes. Inspired by Patrick Heron's cubist work, I looked to create a juxtaposition with the colours of the background and dark shades of the figure emphasising the feeling of disconnection from society. The use of stencils builds symmetrical layers contrasting the loose flowing shapes in the background.   
 

 

 

Open mind (June 2023) 

Chalk and charcoal 

115 x 146 cm

Open mind expresses the emotions of stress and pressure. Demonstrated by the figures' aggressive gestures and hand placements. The piece is mainly inspired by Jenny Saville’s painting Propped which portrays similar topics revolving around mental health. Exposing the brain demonstrates the severity of the piece as the figure is illustrated to be ripping their skull apart dramatising a reaction to stress. Charcoal creates a dark atmosphere enhancing the feelings of isolation and torment. 
 

Not a Machine (November, 2023)

Acrylic paint, charcoal pencils, and white pencil on wood 

Silhouette: 184 x 89 cm
Figure: 140 x 50 cm

Not a Machine inspired by a saying that I have frequently heard represents, overworking under stress and pressure to succeed, depicting the pursuit of perfection against the body and mind's needs by representing the body as a working engine. Influenced by Jean Tinguely’s use of mechanical materials, gears were added to allude to the idea of the body's function as a machine. Leonardo Da Vinci’s sketches inspired the use of charcoal and white pencil to demonstrate the process of creating a body.   
 

 

 

Metro (October 2022)

Chalk and charcoal 

50 x 65 cm

Metro is a rendition of a still image, capturing a brief moment in time before a departing train. The choice of photograph was essential in creating a three-dimensional effect. The simple tones of the train are used to redirect viewers into looking at the centre of the image where all the detail lies. The piece shares similarities to Edward Hopper’s piece Study for Nighthawks which consists of similar materials and focuses on the surrounding architecture and isolation in the city.  
 

 

 

Part 1 (February 2024)

Chalk and Charcoal on Paper 

49 x 36 cm 

Part 1 expresses the internal madness that occurs within the mind of a person struggling with anxiety. Inspired by Frank Auerbach's self-portrait, Part 1 seeks to produce a similar chaotic background by scratching chalk and charcoal in random directions building a dark and intense atmosphere that reflects feelings felt on the inside. The portrait symbolises my own reaction to stress, as the figure remains still bearing a relaxed expression that would otherwise not indicate any struggle.

Part 2 (February 2024)

Chalk and Charcoal on paper 

50 x 11 cm 

Part 2 is a continuation of Part 1. The same portrait is used to indicate the deterioration of the figure's madness as the hard-edged background and stressed lines become more condensed coming from the figure rather than the outside, shaping the growth of the inner negative thoughts. Influenced by Josh Hernandez’s loose charcoal drawings, Part 2 similarly seeks to create an unfinished portrait with smudged lines alluding to the idea of disorder through the use of charcoal. 
 

 

 

Perfection (March 2024)

Acrylic paint on canvas 

149 x 89 cm 

Perfection alludes to the notion that every artwork or task should be executed faultlessly. Influenced by Chuck Close’s large portrait paintings consisting of intricate geometrical shapes illustrating figures. The shapes represent the desire to produce perfection through controlled forms designed to trick the eye with shades of black and white which create a dark and distressing atmosphere. Acrylic paint creates a clean and finished look. 

 

 

Pain (April 2023)

Drypoint and red pen

4 parts: 21 x 30 cm 

Pain expresses the mental struggles people try to conceal. The action of the figure represents internal torment through the placement of the hand which holds a harsh grip on the face emphasising the deep shadows created using a cross-hatching technique.  Inspired by Franz Xaver Messerschmidt's expressive sculptures. Influenced by the exaggerated features in the faces, highlighting the intricate folds of the skin. The text and red are influenced by Sherin Neshat's work.