6th November 2025 Tutorial with Phillippe

On our conversation, Phillippe adviced advanced research as ‘Power Of Horror by Julia Kristeva.The subject is skinless boundaries, death and the horror so that’s why i created creepy shapes as faces, two faces on one head. I thought surrealism is intimately connected with psychology, also existentialism as Soren Kierkegaard claimed the superiority of humankind to the animal is connected with suffering.Reflecting of my aunts paintings I also touch objects even though bodies appear next to each other, winding into each other on the canvasses, one can see the emotional distance, isolation and loneliness in between. Spinning wheel is not only wooden object but my aunt’s one of the important piece as I can say that a human being conserves a double end loneliness in herself.It is on the one end a loneliness which cannot be hindered despite the presence of others; and on the other end is the loneliness that the world of objects, the external world of reality lasting with no need for us presses on us.The reason why human beings try to treat objects with human characteristics in tales, poetry and dreams and attempt to make this world close to herself to make it speak so that the estrangement is broken.At this point desperation keeps a hope within.

On her paintings you can see from her facebook page as strong images of skinless person, that someone who feels everything.Feeling into the imagination of my aunts illness, health and creative work before she passed away and it’s sort of mirror like a composition of life, this is my response.It’s the aim to say i learn to lot from my aunt, and these values that i kind of being brave going forward and doing working on what i want to work on.There is something quite special about making something as a way of remembering a family member.In a way that even my response becomes an act of remembrance.

I feel more confident as i have got a personal connection to this project , so it’s obviously motivating to do.I would like to create a spinning wheel on a desk or surface sit front and try to make painting like her painting below.

My concern if i can’t use the tools properly and using wood parts effectively for spinning wheel.I will buy a small motor for the parts hope motor can work.I really like kinetic art and believe i can do it as much as i can. I visited V&A East to see a spinning wheel.I quite shocked when i saw more than one on shelves, i couldn’t reach or touch because of the non restricted area.Some of them are on top and some of them not reachable area even so i took some pictures.

For my knitting I would say during the time single croche stitch with wire was not easy.I made it however i need to improve in the future artworks.I am planning to apply artist residency for mixed-media, different textile-bioplastic concepts in this year but short time as 1 week on May. Checking Artrabbit, artshub.co.uk websites for available time and subject.

I imagined if i make a spinning wheel inspire by my aunt’s painting , my response would be the answer of the question; “Why make sculpture?”

13th November 2025 Tutorial with Lara

When we talked about the brief ‘Developing a Sustainable Art Practice’ with Lara, she gave me new perspectives as about my sculptures, paintings, ceramics what i will plan and their connections with the subject that what happened to my aunt was about her psychically, psychologically effected her real life so my plan is just engaging with her paintings, exploring shapes found in her paintings then actualizing them materially through utilizing living matter; exploring colors / color scheme of blue, yellow, white and black; exploring the relationship life, death, feelings, thinking, afterlife; holes, voids, emptiness, circles are shapes; 2 languages in this dialogue painting of my aunt and my responses as sculptures, paintings and ceramics.

The project should be the response of her artworks. For now, i wouldn’t try to find the answers; i left it open, have it as a potential.

Engaging with materials, making them richer with nature, also sustainable with conceptual method and professional development and critical reflection.I think i have everything.It’s just practical doing this is a whole point. I feel a little bit worried, emotional on this project planning however I have a direction and will do my best.

All my ceramics made by sustainable mould as i kept all the pieces for the future sculptures.

On my ceramic course “Sustainable Mould Making Slip Casting” on 22 Nov/Dec 25, we explored and learnt recycled materials in ceramic production.On our workshops and developings we careful sustainability check as minimizing mould volume and planning reuse.We keep rest pieces on plastic pockets for not to dry. I quite understand responsible plaster use and reuse when i use the ceramic studio everyweek.I produce clean cast forms and managed clay waste sustainably for the next lesson.Also Water filtration, reclaming scrap slip and batch casting practices useful for my developments.

On my course i learnt pottery plaster which include calcium sulfate hemihydrate cannot be reused once it sets so allow used plaster to dry completely before disposal.i learnt how i collect waste plaster separately , i don’t wash into drains it can clog pipes.

Honestly, my other concerns about using bioplastic materials as i have tried two times kambutcha and it failed.

Then tried onion peels with creation some colors on my sketchbook like tones of brown light to dark.In the future i will develop this experiment with less water more onion peels.

Added more turmeric to see the pigments with gloss, will try again first apply gloss then put turmeric and wet peels.

On my sketchbook i put some tea bags , ripped some them, waited short and long for dark to light colors.

To see more pigments i put damaged tea bags as i really enjoyed.

I colored some of the tea bags blue then fill out and squeezed them to see shapes. Later on i will draw the figurative lines as what i see on marks.They look like H.Matisse’s bodies.

I ripped and see blue patterns some are pale some are blueish.

As i tried leaves with glycerine failed and it looks disgusting. I will develop how to use glycerine with leaves from the short course about bioplastics as materials with methods. I emailed to Jean Ross-Timmes from Waterloo and she helped me a lot gave me some instructions about scoby process and i would like to improve my skill and use these natural materials for my artworks.I hope to get a short course from her in the future.

4th December 2025 Crit

My crit was helpful after i listened my tutors and friends.First and foremost I decided not to discuss about my artworks and story and told them not to speak however i had to answer the questions, the common ideas are my artworks about sense of fleshness, family remembering, the artwork response to another artwork. That subject got their attention as circling to this; our sense our fleshness , the body that we inhabit is a really interesting question.It’s a thing that we have in common and the thing is true we will end up like my aunt.Life and death!

However my paintings and ceramics wasn’t in there and leaves with glycerine was failed at that time.Even so every thoughts are valuable and supported.

Philip says; Ecphrasis that i noted and searched.Boundaries between inside and outside of the body

Kirsten said about eggshell and other natural materials earthy, life and death, absolutely true

One friend suggested “do it larger “and few more components.

It was great example that Peter Kennard’s Constable Haywain as different ways of painting as a way into something.We talked about Julia Kristeva- Abjection. “Powers Of Horror”. Also surrealism.

We talked another subject as how i hang them or position them, what would these look like if i start configuring them and arranging them in space? How i transform some artworks and how do i bring that more into the work?It’s like a question like how do you tell that story a little bit more?

If i evaluate my ceramic artwork that i only fully finished and finalized processing for exhibition; I would say about my casting from a real lemon, the works begins something alive, tactile and perishable.Relates my subject; through mould-making and porcelain casting, the lemon is removed from its natural life cycle and transformed into an object so no longer alive.Conceptually this reproduction suggests how life continues through cycles .I would like to make more lemons with different slip moulding. until our exhibiton.