BVA 303 RESEARCH, Kathryn

BVA 303 RESEARCH, Kathryn

First critique

After our first critique a student suggested I could be depicting a racial context to my work as the models “Sam” is white and “Ema” is a darker skin. This critic defiantly did get under my skin as my work I’m wanting to portray to the audience. Is the relationship between the sister hood and friendship of these two-particular people. Along with my point of view is to not show how the depiction of people of colour, have been depicted how they depict themselves through-out history. Present as the artist but not as the same way as Ema is. Ema is present as the subject, as I am the present maker.

Up until this week I was unaware of the racial concept that was brought up by a fellow class mate. This is NOT a racial piece and has nothing to do with the concept of racial accountability.

The racial depiction of my work that could be said is something I don’t want to show and want to diminish the idea of that in my work.

The whole idea of my work is that I want to show the relationship between me and the other person. The idea of friends is my family. As a white artist I must be careful of racial negativity in my work.

Norman Rockwell is a great example of a White artist depicting that cute, sweet and innocent scene of the white person. Then when he diverged in the idea of stopping the racial barrier he got severely criticized for that work. Especially of the painting called “The Problem we all live with” the depiction of Ruby Bridges as a black child attending a white person school. This depiction was a statement to help stop the idea of racial slurs and is considered as a very iconic and infamous image to support civil rights, especially the civil rights movement in the U.S (https://www.nrm.org/2010/10/norman-rockwells)

The pressure of racial outrage on my work, criticism of having to be careful 

female friendships, the whole construct of love, friendship and relationship with the people you choose as family.
The depiction of female relationships. 

More on C. G. Jung

A theorist of analytical psychiatry Carl G. Jung who I have chosen as one of my main art theorist has a diverged himself in the idea of the creation of the personality theory of the ego (conscious mind), Personal unconsciousness (personal memories and ideas) and collective consciousness (memories and ideas shared by society). Along with looking at what makes the "psyche" such as the persona - image of yourself that we present to the world. Shadow - Hidden anxieties and repressed thoughts - and the Anima/Animus - Male/female alter egos (https://www.psychologistworld.com) . 

Jung also explains in in his book of his own adapted notes and the adaptation of associated theorist. “Man of his symbols”  (Jung, 1964)  Is the “approach to the unconscious” and the “Importance of dreams”. 

Why is this important?

Jung explains that the expression of written, spoken words or the visual idea show the meaning of what they want to convey, and the aspects of the unconsciousness perceives our reality. 

Jung also explains the general rule is always in a “form of a dream”, That the aspects of any event is related to the consciousness. Which is revealed to us in the mind as a dream and not appearing as a rationalized thought but maybe as a form of a symbolic image (Jung, 1964)

How does Carl G. Jung relate to my questioning of my body of works? His in-depth idea of the attention of the “Psyche” and the idea of the “Importance of dreams”.

Recently I have finished a portrait of my own depiction of my model Ema, who in relation to myself is my best friend. Which links the idea of a relationship between portrait and artist. This can relate to my work due to the idea of my own sub-consciousness depicting what I, Myself to perceive the idea of what “Ema” is to me and what she looks like in my own head. 

Along with the personality relationship between each other as friends but as artist and portrait.