IB Visual Arts Exhibition 2024

IB VISUAL ARTS EXHIBITION 2024

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WELCOME TO OUR IB VISUAL ARTS EXHIBITION

Welcome to our IB Visual Arts Exhibition of 2024, a vibrant testament to the creative spirit and dedication of our Year 13 Art students. As you turn these pages, you are about to embark on a journey through a gallery of imagination, skill and personal expression.

Representing two years of artistic exploration, this exhibition explores a variety of themes across a range of mediums. Our talented young artists have blended traditional techniques learned throughout the course with more contemporary methods, resulting in an eclectic mix of paintings, photographs, digital artworks, and mixed media installations.

Each piece in this exhibition is a window into the global perspectives and emotional narratives our students have cultivated throughout the IB Diploma Programme. Their work is not just visually captivating, but also culturally insightful, reflecting a deep understanding of, and respect for, their diverse worldviews.

As you explore these pages, we invite you to immerse yourself in the creativity and passion that defines our school’s art community.

Thank you for joining us in appreciating and celebrating the amazing talents and achievements of our students.

SOHEE MEET

The essence of art enables me to manifest my ideas and creative interpretations. I am inspired by the works of several artists that resonate with my portfolio and interests, including Choi Jae Hyuk, Fernando Vicente, and Leonardo da Vinci. These artists' distinctive compositions and use of colour have encouraged me to explore a range of techniques in my artwork.

Delving into and experiencing various artworks has sparked initial ideas for producing my own creative and inspirational pieces. Immersing myself in different forms of art allowed me to observe a range of techniques, styles, and perspectives. This exposure has expanded my artistic vision and ignited a passion for experimentation and innovation in my artwork.

Looking ahead, I am excited to pursue a Fine Art course with the intent to join the design industry. I have always been eager to express my enthusiasm in my artistic endeavours. The exploration of different art styles has enabled me to identify and strengthen my skills. Notably, I have honed my skills in using acrylics, which has become my medium of choice throughout my IB Visual Arts course.

IRRESPONSIBILITY

Through mixed media, including collage, 3D elements, and painting, this artwork investigates the permanence of painful memories. It underscores the notion that memories form an unshakable part of our essence, persisting despite time's passage or attempts to deny the past. Highlighting that the raw truth and inherent pain of these memories are inescapable, the piece invites viewers to reflect on how such experiences shape our identity and remain with us, eternally woven into the fabric of our being.

CURATORIAL RATIONALE

In this exhibition, I delve into the profound and multifaceted theme of culture, specifically focusing on the rich tapestry of Korean history. My body of work is a tribute to the enduring legacy of Korean heritage, examining the intricate interplay between Korean architecture and culture. Through the lens of significant historical periods, such as the Japanese colonisation of Korea and the harrowing era of comfort women, I seek to uncover and present the layers of pain and resilience embedded within Korea's past. The medium of my expression encompasses oil pastel, acrylic paint, graphite, and mixed media, each carefully chosen to encapsulate and convey the emotional depth and complexity of Korea's historical narrative.

Central to my exhibition is the belief that history, with all its trials and tribulations, should never be relegated to the annals of forgotten memory. By intertwining my cultural heritage with these historical themes, I have endeavoured to create a cohesive body of work that resonates on both an aesthetic and thematic level. This unity is achieved through the thoughtful application of materials and the deliberate exploration of subject matter, which collectively bridge the individual pieces into a harmonious narrative focused on remembrance and reflection.

The influence of artists such as Choi Jae Hyug Fernando Vicente, and Leonardo Da Vinci has been pivotal in shaping the direction and execution of my work. Choi Jae Hyug's mastery of composition and colour has inspired me to experiment with the spatial dynamics and chromatic harmony within my pieces. Fernando Vicente's meticulous attention to detail and his ability to render subjects with striking realism have challenged me to delve deeper into the nuances of my themes. Leonardo Da Vinci's exploration of human anatomy and his sophisticated use of tones and highlights have guided me towards achieving a greater sense of depth and authenticity in portraying my subjects.

Choi Jae Hyuk's "Still Life #123" particularly impacted my approach to capturing the essence of Korean identity. His use of transparent colours and subtle brushstrokes, combined with a balanced composition, exemplifies the power of simplicity in evoking serenity and depth. This inspiration is directly reflected in my piece, "Still Life of Korean Identity," where traditional Korean objects and symbols are rendered with a focus on transparency and light, aiming to convey the rich cultural heritage and identity of Korea with a similar sense of tranquillity and depth.

My preference for acrylic paint stems from its versatility and the vibrant, smooth finishes it enables. While my curiosity drives me to explore various media, the use of acrylic remains a cornerstone of my practice, allowing me to express the vibrancy of Korean culture and its historical narratives with clarity and intensity.

The presentation of my work employs a cross-composition technique, strategically focusing the viewer's attention on the subject matter without distraction. This compositional choice not only emphasises the foreground but also positions the audience directly in front of the scene, fostering a sense of immediacy and personal engagement. Such a setup invites viewers to confront and reflect upon the themes of the exhibition, including women's rights and societal judgments on appearances, in a more intimate and impactful manner.

This exhibition, at its heart, is a call to social awareness, inviting audiences to engage with and reflect upon the complex interweaving of history, culture, and art. Through a diverse array of artworks and interactive displays, it aims to shed light on the societal issues that have shaped our past and continue to influence our present. By using the role of art as a powerful agent for change, the exhibition aspires to motivate individuals towards a deeper social consciousness and inspire action towards a more enlightened and empathetic future. Through this curated journey, we are reminded of the indelible marks of history on our collective identity and the transformative power of art in navigating the continuum of cultural heritage and societal evolution.

MEMORIES

In my artwork, the geometric circle symbolises my childhood, filled with rich cultural experiences. It contrasts with the fading architecture, representing the loss of traditional practices to developments in technology. This circle reflects the past's cultural heritage and rapid societal change. Through this, I invite viewers to reflect on the balance between preserving our cultural roots and embracing technological advancement, highlighting the importance of remembering our past in the face of progress.

G ahi¶e zo ae  (58.42 Ü 40.13 cm)

STILL LIFE OF KOREAN IDENTITY

Ac Ýlic zo caoÖa¨ aoel (41.91 Ü 59.01 cm)

My still-life painting captures the essence of my culture, preserving personal experiences and cherished belongings. It serves as a vivid reminder of my roots and heritage, anchoring my sense of identity. Through this piece, I explore the enduring connection to my cultural background, emphasising the importance of memory and belonging in shaping our identities. It reflects a deep appreciation for the past, acting as a visual testament to the values and traditions that have formed me while inviting viewers to contemplate their heritage and sense of self.

THEY FEEL IT TOO

This still-life piece ventures into nature's wonders, expressing life's unique vibrancy through a distinct lens compared to my other works. It highlights my versatility in adopting various perspectives. Utilising colour, I aim to encapsulate the dynamic beauty and essence of the natural world, offering an engaging and immersive visual journey. Furthermore, this approach facilitates the expression of the mystical emotions and sensations experienced when connecting with nature, inviting viewers to explore their relationship with the environment.

DREAM

Ac Ýlic zo caoÖa¨ aoel (90 Ü 120 cm)

Dreams and hope are essential, powering our journey toward goals and navigating through challenges. They ignite our determination, offering purpose and belief in potential. Dreams shape our vision for the future, while hope instils the conviction that we can surpass obstacles. Together, they are the force that encourages us to believe in ourselves and turn aspirations into reality. This dynamic duo not only motivates us but also serves as a beacon, guiding us toward a brighter, achievable future amidst adversity.

VANITAS

Ac Ýlic zo caoÖa¨ aoel (120 Ü 90 cm)

Inspired by Fernando Vicente and Vogue Magazine, this human anatomical work marries the elegance of the human form with high fashion's avant-garde flair. Vicente's vision, shaped by Vogue's iconic style, reimagines anatomical art, challenging traditional beauty ideals. Employing a similar cross-composition, it navigates the viewer's gaze between the appreciation of surface elegance and the underlying stark reality, embodying a dual perspective. This blend prompts a deeper contemplation, capturing a spectrum of emotions and pushing the viewer to consider the nuanced interplay between external allure and internal complexity.

ROMANE MEET

My passion for creativity comes in various forms; from painting and drawing to photography and cinematography. Inspired by artists like Henri Matisse, Raoul Hausmann, Salvador Dali, Cindy Sherman, and Picasso, I explored different mediums to express my ideas.

I'm excited by the artworks within the realm of Impressionism and Expressionism. They inspire me to push boundaries and think outside the box, allowing me to experiment and grow as an artist.

Through the IB Visual Arts course, I've developed my technical skills and learned to communicate my ideas more effectively. These skills will be invaluable as I pursue a cinematography course in Higher Education next year. My goal is to continue pushing the boundaries of artistic expression and hopefully continue to make a meaningful impact through my work.

PATHWAYS OF NATURE

"Pathways of Nature" celebrates our connection to Earth, using symbols like butterflies for chance, flowers for growth, and orange lines for the sun, to underscore our bond with nature. Ultramarine blue against white symbolises how people often conceal their true selves. This artwork invites reflection on our shared humanity and the natural world's role in our lives, urging us to embrace and reveal our genuine selves amidst the vast, often hidden spectrum of human emotions and experiences.

CURATORIAL RATIONALE

My body of work is an introspective journey through the myriad challenges faced by individuals in society, a theme deeply influenced by life's constant evolution and the unexpected twists it presents. This exploration spans various societal issues, including the pressures of stereotypes, the passage of time, and the dichotomy between femininity and masculinity, among others. Employing various mediums—oil paints, acrylics, cyanotype, collage, and digital creation via Photoshop—I navigate these themes, offering creative interpretations that resonate with many, especially those sharing my perspective as an 18-year-old expatriate girl.

Photography, my medium of choice, is a pivotal tool in articulating my thoughts and observations. This preference is not merely academic or professional but extends into my realm, allowing me to convey concepts with clarity and intimacy. Inspired by the influential Cindy Sherman, my photograph "Realisation" captures a moment of introspection before a mirror, adorned with heavy makeup, symbolising the introspective and often critical examination of self-image and societal expectations. Oil painting, another favoured medium, offers a practical approach to rendering portraits, revealing the nuanced complexities of human expressions and emotions over the immediacy that acrylics might provide.

My artistic journey has been enriched by experimenting with cyanotype, a process that intertwines photography and printmaking, evident in works like "Hiding from Reality" and "Looking for Pockets." This method has broadened my technical repertoire and deepened my engagement with the photographic image.

The inspiration drawn from artists such as Ian McKeever, Salvador Dali, and Cindy Sherman underscores my fascination with the diverse interpretative lenses through which art can be conceived and perceived. Each artist's unique perspective informs my exploration of how varied the creative process can be, reflecting a multitude of ways to understand and represent the world.

The organisation of my exhibition is intentionally reflective of the societal themes it addresses, presenting a progression that mirrors the gradual impact of societal issues on individuals—from the innocence of childhood to the complex realisation of adult expectations and stereotypes. This layout is designed to provoke thought and dialogue about the often unrealistic and harmful standards imposed, particularly on women, by societal norms.

My exhibition stands as a testament to my expressive journey as an artist, where the choice of mediums, though seemingly limited, facilitates a concentrated delve into my thematic concerns. The themes and motifs that recur across my works emerge naturally from the therapeutic essence of my artistic practice, capturing my narrative of growth and expression. Through this exhibition, I aim to not only showcase my artistic evolution but also to connect with viewers on a profound level, inviting them to reflect on their own experiences and the collective challenges we navigate within society.

REALISATION

MiÜed Media zo Pae  (59.4 Ü 84.1 cm)

"Realisation" draws inspiration from Cindy Sherman's transformative portraits, Nan Goldin's raw storytelling, and Njideka Akunyili Crosby's intricate collages to explore the impact of stereotypes on women. The piece confronts the pain of conforming to unrealistic societal expectations through a self-portrait featuring exaggerated makeup, overlined lips, and a wig—emulating Sherman's identity-altering techniques. The artwork captures a moment of shock as I confront my reflection, unrecognisable and alienated by the artificial enhancements. It reflects the harsh truth that even when adopting stereotypical beauty norms, satisfaction remains elusive, highlighting the deep disconnect between societal ideals and personal identity.

HIDING FROM REALITY

CÝaoz¶Ýe P io¶ (42 Ü 60 cm)

"Hiding From Reality" utilises the cyanotype process, drawing significant inspiration from Hayao Miyazaki's Ghibli masterpiece, "Spirited Away." The piece features a selfportrait with my phone at eye level, displaying the eyes of Kaonashi (No-Face), a character known for his ability to absorb and mimic the emotions, personalities, and traits of others he encounters. This imagery serves as a metaphor for the human experience of meeting new people and assimilating diverse experiences, beliefs, and cultures. Just as Kaonashi evolves through his interactions, the artwork suggests that our identities are similarly shaped by our social interactions and the variety of personalities we "ingest" throughout our lives, reflecting on the transformative power of human connection.

REGGIE MEET

As an artist, I observe world events and how they can be interpreted through art. Inspired by Ahn Do and Sarah Lucas for their unique styles and symbolism, these artists influenced my planning and creation process, leading to distinctive outcomes.

I work with various styles, from acrylic paint and spatula to collage, choosing mediums that allow for symbolic depth from the start. Spatula and acrylic paint are my preferred mediums, offering unparalleled freedom.

The skills gained from the IB Visual Arts course have deepened my understanding of art's meanings and analysis, enriching my future perspectives. The process portfolio and comparative study, requiring thorough analysis, have profoundly shaped my approach to art, equipping me with valuable insights for life.

THE HEART

Using PVA glue and ink on a wooden board, this artwork, enhanced with acrylics, a cracking agent, and butterfly images, delves into womanhood and childhood's vibrant outlook. It signifies the journey from youth to maturity, embodying nature's connection with female growth. The clear-drying ink and crackled texture of the foreground represent the transformative beauty of life, while butterflies underscore metamorphosis—echoing the shift from innocence to awareness in the passage to womanhood.

CURATORIAL RATIONALE

My exhibition, a vivid exploration of the female journey, is a confluence of diverse media, blending the rich textures of oil paints with the dynamic potential of mixed media, including collage. This deliberate choice of materials is not just an artistic preference but a means to delve deep into the narratives of femininity, identity, and the nuanced transition from childhood to womanhood. Through this eclectic array, I aim to weave a tapestry that reflects the complexity and multifaceted nature of the female experience.

The exhibition's core theme is an intricate examination of female identity, capturing its evolution and the myriad portrayals of women by women. It seeks to engage with the changing perspectives on ageing and the roles women play, reflecting broader societal conversations and personal introspections on femininity. This thematic exploration is underpinned by the influence of a diverse group of artists, each contributing a unique perspective on femininity. Eva Gonzales’ “Sleeping Girl” contrasts the innocence of youth with the complexities of womanhood, while Hope Gangloff’s, Sarah Lucas and Ahn Do’s works inject contemporary vitality into the discourse on femininity. David Hockney’s photography inspires the capturing of fleeting moments and emotions, further enriching my exhibition's narrative depth.

The materials and techniques I employ are symbolic and intentional. Wooden boards and circular canvases underscore the cyclical nature of life and the female experience, linking the tactile depth of the wood and the circularity of the canvases to the ongoing narrative of growth and renewal. This thematic and material coherence extends to the spatial arrangement of the exhibition, which is designed in a circular layout to physically embody and enhance the thematic exploration. This circular pathway invites viewers into a narrative journey, fostering a shared reflection on the stages of female development and the communal experiences of growth and transition.

The aim of this body of work goes beyond artistic display. Through it, I seek to engage viewers in a dialogue with the themes presented, encouraging them to reflect on their own experiences and the complex emotions and transitions that accompany the female journey. The exhibition is designed to foster empathy and understanding, highlighting the shared and individual struggles and triumphs of womanhood.

The exhibition’s coherence is further reinforced by the method of display, with each piece integrated into a cohesive circular motif. This arrangement is not only a strategic choice but also a narrative device that enhances the emotional resonance and interconnectedness of the artworks, creating an immersive experience that guides the viewer through the visual and emotional odyssey of the female journey.

Drawing inspiration from a range of artists, materials, and techniques, the exhibition is a deliberate reflection on the female experience, inviting viewers to engage with the artwork in a way that transcends the visual, provoking dialogue and reflection on the complexities of womanhood. The circular arrangement of the artworks within the gallery space enhances narrative coherence and fosters a sense of communal experience among viewers, celebrating the complexity, beauty, and resilience of the female spirit.

This body of work is a tribute to the transformative journey of womanhood. It captures the myriad facets of femininity and the universal threads that bind these experiences, inviting reflection on the shared and unique aspects of the female experience. Through this exhibition, I aim to celebrate the intricate beauty of femininity, its strength, and its indomitable spirit, providing a space for viewers to explore and connect with the diverse narratives of womanhood. The exhibition, in essence, is a curated amalgamation of artistic expression, thematic exploration, and narrative storytelling, designed to foster a deeper understanding and appreciation of the female journey.

SIMPLE TEA

Ac Ýlic zo Wzzd (59.4 Ü 84.1 cm)

Crafted on a wooden board with acrylic paint and spatula techniques, this artwork features a shiny, reflective teapot alongside a teacup with a spoon. It seeks to explore the bonds formed between women through shared experiences, emphasising the interconnectedness of their lives. The reflective nature of one teacup symbolises the universal nature of certain experiences, suggesting that what one person goes through for the first time is a reflection of a collective journey. This piece aims to highlight the commonality and solidarity among individuals, using the motif of teacups as a metaphor for personal and shared stories.

THE RESULT

Oil zo Wzzd (59.4 Ü 84.1 cm)

This painting delves into the impact of beauty standards on women. It incorporates elements like a short dress and high heels to critique clothing norms, alongside smudged makeup and dishevelled hair to represent the unrealistic expectations placed on cosmetics and appearance. These choices aim to highlight the pressures and standards women are compelled to navigate, portraying the often unattainable ideals of beauty that society imposes. The artwork serves as a commentary on the toll these expectations take on women's self-perception and the broader implications for their identity and self-esteem.

THE GRASP

Oil zo Wzzd (59.4 Ü 84.1 cm)

This artwork portrays a girl clutching symbols of her childhood—a teddy bear and a pillow—emphasising the enduring connection to and yearning for the innocence of youth in adulthood. The colour scheme, featuring pink pants and white walls, further underscores themes of purity and the simplicity of childhood. The circular canvas serves not just to draw the viewer's eye to the central motif of nostalgic attachment, but also to encapsulate the cyclical nature of life and the universal desire to reconnect with our earliest, most carefree days.

YEONWOO MEET

As an artist, I’m someone who is constantly changing and looking for new areas of exploration. Through the years I’ve dedicated to art, the most influential artists have been Gustav Klimt in presenting impactful dynamic figures, Philip Guston in the underlying tones of irony he includes, and the intensity of German Expressionism.

My work usually starts with smaller pencil sketches, rooted in real-life observations or my imagination. This then goes through steps of refinements, new small sketches, or experiments to end in an outcome I am satisfied with. To capture the best details and emotions in my work, I often dissect it into smaller bits and create detailed pencil sketches, which are later translated into acrylic or oil.

For my future study of Fine Art in university next year, I will experiences of writing about art and the process of art making

More importantly, this course has given me insight into the mul and how there are more important things than realistic accuracy

TITANIC WITH A LIGHTHOUSE

This painting delves into the theme of control loss in dreams, portraying a figure drowning in their overgrown hair, reaching for a rat tail as a lifeline. It mirrors the desperation and struggle in chasing dreams, with human feet in the background symbolising the depths we explore for success. This continuation piece highlights the intense battle with our aspirations and the overwhelming challenges we face, emphasising the profound human experience of pursuing our deepest desires.

CURATORIAL RATIONALE

This exhibition is an exploration of humanity's inherent desires, displaying a collection of works that delve into the multifaceted nature of human yearnings. It reflects on the depths of our longings, presenting artistic expressions that tap into the core of what motivates our passions and crafts our individual stories. At the heart of this vision lies an intrigue with the spectrum of human aspirations and the desperation often found in the pursuit of dreams—a journey that can sometimes lead to the forsaking of moral values in favour of ambition. Influenced by the artistry of Philip Guston, Francis Bacon, and my interest in photography, this body of work merges their distinct styles and thematic concerns.

Each artwork in this collection acts as a narrative thread, contributing to a broader examination of desire's role within the human condition. Through a variety of scenarios, abstract compositions, and symbolic imagery, the pieces explore the essence of longing, ambition, and the innate drives that propel us forward. The mediums employed—acrylic, oil, and pencil—offer a rich tapestry of textures and

A significant moment of visual and thematic contrast is introduced through a large black-and-white graphite piece, offering a visual respite while continuing the exploration of human desires. This is succeeded by two detailed paintings that present human figures in divergent representations, further prompting introspection and analysis from the audience. The exhibition concludes with a portrait and a mixed media piece, both minimalistic in detail yet profound in their communicative power, providing a reflective end to the journey.

This curated collection not only showcases a diversity of artistic perspectives but also serves as a conduit for reflection on the primal urges that bind the human experience across different realms. It is an invitation to contemplate the universal impulses of desire and longing that, despite their varied manifestations, connect us in our shared pursuit of fulfilment and meaning. Through this exhibition, viewers are encouraged to explore the intricate web of desires that influences our actions and defines our humanity, fostering a deeper understanding of the intricate dance between aspiration and morality in the shaping of personal and collective narratives.

A CLOWN

Ac Ýlic zo Wzzd (59.4 Ü 84.1 cm)

Drawing inspiration from Jan Matejko's 'Stanczyk,' this artwork delves into the pervasive human emotion of jealousy. Set against the backdrop of today's hyper-competitive society, where success often feels like an unattainable luxury amidst ever-present challenges, it captures the essence of societal pressures where individuals can feel easily overshadowed or replaced. This painting vividly portrays the dichotomy of recognition: one figure basks in the spotlight of success, while another lurks in the shadows, their expression a testament to the universal yearning for acknowledgement and the internal struggle against insecurities. It's a raw depiction of the complex interplay between ambition, the desire for validation, and the inevitable encounter with jealousy that marks the human condition.

CATS SWIM

Oil zo Wzzd (42 Ü 59.4 cm)

Following the thematic thread of the previous artwork, this painting captures a cat in a predatory stance, evoking an atmosphere of tension and unease. The cat, traditionally seen as the nemesis of rats, symbolises the destruction of dreams and aspirations. In this composition, the cat's eyes are in reality my own, revealing a poignant truth: our greatest adversaries are often found within. This portrayal delves deep into the realms of self-doubt and self-loathing, illustrating how our internal battles can be as devastating as any external challenge. The cat's poised position and intense stare serve as a metaphor for the internal struggle that sabotages our efforts and desires, emphasising the significance of confronting and overcoming our inner conflicts.

VANITAS

Peocil zo Pae  (59.4 Ü 84.1 cm)

This drawing reimagines the vanitas genre, reflecting on life's transience and human mortality with a modern twist. It showcases three objects representing varying degrees of permanence: currency, symbolizing fleeting desire and success due to its constant circulation; jewellery, embodying semi-permanence and personal value over a lifetime; and food, illustrating ephemeral pleasure and necessity that disappears once consumed. These items, suspended as if by threads, serve to critique our desires and the value we assign to material possessions, mocking the human tendency to chase after what is ultimately transient. Through this contemporary lens, the artwork connects the traditional vanitas theme of life's fragility with today's societal values, highlighting the temporal nature of our pursuits and the deeper search for meaning beyond the material.

PORTRAIT

Oil zo CaoÖa¨ (42 Ü 59.4cm)

Inspired by Sungsoo Kim, this self-portrait adopts a similar style, with a focus on realism and a particular emphasis on the eyes. The highlighted gaze invites multiple interpretations—contentment, sadness, jealousy—shaped by the viewer's perception. Positioned amidst a collection of detailed, large-scale works, it serves as a visual respite, encouraging reflection on the exhibition and inviting personal interpretations. The context provided about preceding pieces enriches the viewing experience, offering clues to understanding the nuanced expressions captured in the eyes, and allowing the audience to engage deeply with the underlying emotions and themes presented.

LOTTIE MEET

I have been inspired by many artists and movements, however, one artist specifically has had a significant impact on a lot of my architectural-themed artwork - M.C. Escher. I have always taken a liking to his artistic style and his use of mathematical principles to create visually intriguing imagery. His work typically takes on a theme of illusionism, while maintaining a realistic element with technically excellent use of tonal shading.

With graphite being my favourite, most developed medium, many of my more impressive pieces are focused on tonal shading. Using inspiration from artist research, as well as my artistic style, I enjoy exploring concepts from other artworks that merge with my own unique and complex pieces.

I am looking forward to being able to progress within art and design in a different form, as I will be doing a degree in architecture. This will al concepts and ideas I have worked on in my artwork throughout th course but on a bigger scale. One thing I have loved about the been challenged to develop my sense of self through my artwork years, and in turn, I have progressed as an artist.

DEATH OF FLORA

This graphite artwork, inspired by Vanitas artists Pieter Claesz, Abraham Mignon, and Antonio De Pereda, delves into the theme of life's transience. Drawing from a primary photo, it features a violin, flora, candles, ceramic vases, food, and crystal balls, each symbolising the fleeting nature of existence. The Vanitas movement's focus on death's inevitability and life's end is captured through the meticulous details of each object, inviting reflection on the ephemeral beauty of life and the universal journey towards the inevitable conclusion.

CURATORIAL RATIONALE

In my artistic endeavour, I have embarked on a comprehensive exploration of themes such as illusionism, vanitas, symbolism, cubism, and architecture. Each artwork within my collection weaves elements from these diverse yet interconnected concepts, establishing a coherent linkage not only among the movements and ideas themselves but also between the individual pieces. This thematic interconnection is articulated through the use of symbolic objects, art-making techniques such as collage, and the underlying inspirations and meanings that permeate my creations. My artistic processes and outcomes are enriched by a variety of influences, including the cultural milieu I immerse myself in daily, my fascination with the interplay between mathematics and physics in art, and personal passions such as ballet. These elements collectively shape me into a well-rounded artist, enabling me to craft works that are both meaningful and resonant.

M.C. Escher, renowned for his intricate melding of mathematics, illusionism, and architecture, serves as a pivotal inspiration for my work. His mastery in manipulating perception and viewpoint resonates deeply with my artistic endeavours, particularly in pieces that explore the distortion of reality. Similarly, Njideka Akunyili Crosby's exploration of culture and personal narrative through collage has profoundly influenced my approach to incorporating personal experiences into my art, encouraging me to delve deeper into pieces that reflect my individuality.

A recurring motif in my art is the exploration of perspective and the transient nature of existence, often symbolised by the inclusion of flora such as roses. The multilayered complexity of rose petals, coupled with their inevitable wilting, mirrors the multi-faceted perspectives and the ephemeral quality of life that my work seeks to capture, especially within the realms of cubism and architecture.

Graphite emerges as my medium of choice, allowing me to leverage my proficiency with pencil to achieve intricate tonal shading and a striking monochromatic palette. This emphasis on depth and contrast is vital, particularly in my graphite pieces, where the absence of tonal variation would render the detailed compositions flat and lifeless. Beyond graphite, my explorations extend to acrylics, collages, and ink, with each medium introducing an additional layer of symbolism through colour, further enriching the thematic depth of my work.

The curated selection for this exhibition represents a coherent and significant manifestation of my themes, demonstrating the breadth and depth of my artistic capabilities. Inspired by the diverse perspectives and experiences that shape individual perceptions, my artworks navigate the complex terrain of life's multifaceted layers and directions, maintaining a consistent focus on the theme of perspective.

For the presentation of my work, I envision an arrangement that unfolds as a progressive spectrum, reflecting the overarching theme of perspective. The layout will transition smoothly from pieces influenced by cultural themes to those inspired by architectural concepts, mirroring the evolution of perspective from a cultural to a structural viewpoint.

My aspiration for the exhibition is to guide viewers on a journey through the diverse landscapes of perspective. The artworks span the spectrum of factors influencing viewpoint, inviting the audience to engage with the theme on a personal level and to locate themselves within the continuum of perspective that best aligns with their own experiences and interpretations. Through this immersive exploration, the exhibition aims to foster a dialogue between the viewer and the artwork, allowing for a deeply personal engagement with the multifaceted dimensions of perspective.

A TEMPORARY PERFORMANCE

ACRYLIC AND COLLAGE (59.4 x 84.1 CM)

'A Temporary Performance' reflects my passion for ballet and addresses the fleeting careers in dance, inspired by Njideka Akunyili Crosby's cultural exploration. Linking to my Vanitasthemed art, I incorporate roses and wear my competition costume, symbolising the uncertain future facing dancers postretirement. This piece delves into the dance industry's challenges, highlighting the beauty and transience of a dancer's journey, echoing the Vanitas motif of life's ephemeral nature and the search for meaning beyond the stage.

GRACE MEET

My artistic journey starts within my DNA, being surrounded by different people throughout my life. I am innately driven by a deep-seated passion for expression, nurtured by diverse mediums like photography, painting, and calligraphy. Influenced by photorealism, surrealism, and traditional art, I explore the spectrum of messages art can convey—from the simplicity of beauty to the richness of contrast.

Researching artists and their visions, particularly for themed pieces like ONE "life," inspired by the IB's "Bearing Witness," I blend various ideas into cohesive narratives. Despite encountering differing views, I'm guided by "In art, we trust" from The Mono Museum, a principle that reinforces my commitment to art.

The skills gained from my art studies, such as communication and problem-solving, have not only deepened my artistic exploration but also laid a foundation for my future in art. This education has been pivotal, enriching my approach to art and life, and embodying the transformative power of artistic engagement.

ONE “LIFE”

"ONE 'life'" merges diverse media—Photography, acrylics, spray paint, and more—to critique media corruption and fake news. It uses pop art and collages to expose misleading headlines, with vibrant touches and a pink telephone symbolising a justice call. The artwork includes a self-portrait showcasing deliberate ignorance, 3D objects emphasising media's control, and reflective materials for self-viewing. Inspired calligraphy highlights life's value, critiquing our information-saturated existence and urging for truth and integrity in societal discourse.

CURATORIAL RATIONALE

The exhibition I present, titled "Peace Within Chaos," delves into the intricate and profound quest for tranquillity amidst turmoil. Peace, a concept both deeply sought after and multifaceted, signifies a state of calm and the absence of conflict, manifesting uniquely within personal relationships and the individual's inner self. My journey towards this exhibition was catalyzed by personal battles with grief and chaos encountered in childhood, leading me to discover solace through artistic expression. Art became my conduit for navigating and ultimately embracing peace within the chaos that surrounded me.

This body of work strategically embeds the theme of peace amidst disorder, with each piece serving as a testament to the resilience and harmony achievable in the face of life’s tumultuousness. The exhibition initiates this dialogue with "Letting Out a Hand," a piece that utilises the motif of strong arms and hands as symbols of perseverance and the struggle to advance beyond chaos. This is followed by a comparative study that incorporates Japanese script, translating to "peace in my chaos," a personal testament to finding serenity amidst turmoil

Inspired by Ori Gersht’s exploding still lifes, I was motivated to explore the juxtaposition of destruction with elements of peace, such as the olive branch, representing a ceasefire or truce. This influence led me to experiment with creating artworks that capture the essence of an explosion, yet interweave symbols of tranquillity, illustrating the coexistence of peace and chaos. The overarching aim of this exhibition is to convey that each of us harbours unique narratives, contributing to a collective tapestry of experiences that foster a dynamic engagement with the artwork. This concept culminates in the final exhibition piece, where strings and ribbons are artistically wrapped around each portrayed face, symbolising the interconnectedness of our journeys through "peace within chaos." The influence of Gilbert and George is evident in the size and presentation of each portrait, adhering to a distinct template that enhances the visual narrative.

My exploration across various mediums, particularly through mixed media, has led me to incorporate 3D elements such as wool, string, and electric wiring into my creations. "Bearing Witness" is one such work that tackles the corruption within media, depicting humanity ensnared by misinformation. The exhibition also showcases my foray into photography, a medium through which I've developed strategies to further the thematic exploration of finding peace in chaos.

Through a diverse range of techniques and materials, from the tactile use of textiles to the visual impact of photography, my exhibition seeks to visualise my experiences of the IB journey and my journey to adulthood. It’s a visual and conceptual journey that invites reflection on the personal and universal quest for harmony amidst disorder. Each artwork, infused with personal meaning and broader societal commentary, contributes to a narrative that connects us all together, navigating chaos in search of peace.

"Peace Within Chaos" is not just an artistic endeavour; it's an immersive experience designed to provoke thought, evoke emotions, and inspire conversations about the dichotomies we all navigate. By presenting a collection of works that, in their way, encapsulate the struggle and beauty of finding peace in the least expected places, the exhibition aims to leave a lasting impression on its audience. It encourages a deeper understanding of how, despite the inevitable presence of chaos in our lives, there exists a potent and beautiful possibility of discovering peace within it, shaping our stories and connecting us all.

WEAVING CHAOS WITHIN PEACE

Ac Ýlic zo CaoÖa¨ (50 Ü 70 cm)

"Weaving Chaos Within Peace" embodies the rich Polynesian culture, blending elements of tribal art to celebrate its fascinating traditions. Inspired by Faraimo Paulo's prints, this artwork delves into the everyday traditions and significant rituals of Polynesian life. Using acrylics, the painting offers a telescopic view into this vibrant culture, highlighted by the depiction of a Polynesian flower and wool. These elements symbolise the handmade tools and baskets integral to their daily existence. The wool, intricately woven through the depiction of the ocean, represents the tumultuous yet harmonious life of the Polynesian islands, capturing their centuries-old legacy of peace amidst the chaos of the natural world. This piece invites viewers to appreciate the beauty and complexity of Polynesian culture through a unique artistic lens.

LETTING OUT A HAND

Ac Ýlic zo CaoÖa¨ (100 Ü 100cm)

"Letting Out a Hand" merges mediums on a canvas awash with blues, symbolising the search for peace in chaos through arms and hands imagery. It combines acrylics and light painting effects, with PVA glue and ink splashes crafted into shapes, showcasing the unpredictability and control in art. This piece, part of the IB "Chance" unit, celebrates the spontaneity in creation, reflecting on the myriad decisions artists encounter. It's a testament to the beauty found in embracing the unforeseen within the creative process.

DISTORTION OF THE ‘STILL LIFE’

Ac Ýlic zo CaoÖa¨ (60 Ü 84 cm)

"The Distortion of the 'Still Life'" reimagines the traditional still life genre with a focus on repetition and illusion. Drawing inspiration from Suzanne Saroff's work on distortion, I utilised Photoshop to manipulate the repetition of objects, adding a modern twist to the age-old art form. Central to this piece is a skull, symbolising the chaos and complexity of death, positioned between branches and leaves to represent the inherent peace in both life and the afterlife. By incorporating natural plants severed from their roots, I sought to convey the theme of peace disrupted by chaos. This choice of imagery and technique challenges viewers to perceive still life—and the cycle of life and death—from a fresh perspective, highlighting the delicate balance between tranquillity and turmoil.

ANOUSHEY MEET

My artwork presents the integration of varied cultural narratives and identities. I investigate how these identities manifest in different artistic formats, such as still life, portraiture, and contemporary art. This journey was significantly influenced by Patrick Akpojotor's architectural silhouettes, whose work in personifying structures motivated me to vividly represent my own spatial experiences.

The IB Visual Arts program has armed me with the essential tools for a career in Architecture. Deeply engaged in artistic expression, I have ventured into diverse media and compositions. My expertise lies in acrylics, coloured pencils, collages, and oil pastels, through which I can depict both realism and abstraction. As I progress in my career, my goal is to establish a distinctive approach and mirror the cultural identities of communities in the structures I design, thus forging a deeper connection between art and architecture.

JHOOMAR

The artwork blends expressive brushwork with decaying flames of abstraction and stark realism, merging Indo-European drapery and traditional jewellery to depict the aristocratic societies of South Asia and Europe. Drawing inspiration from A. Roslin's painting of his wife and W. Kossak's portrayal of a veiled mysterious woman, I aimed to reinterpret these classical styles through a contemporary lens. This approach infuses traditional themes with modern sensibilities, reflecting a fusion of cultures and eras in a fresh, innovative way.

CURATORIAL RATIONALE

My art exhibition is an ode to the splendour and complexity of cultural heritage, celebrated through the vibrant lens of bold colour schemes and assertive societal choices. It invites the viewer on a journey into a rich dialogue among the realms of portraiture, iconographic architecture, and still life. This dialogue is crafted through the depiction of cultural heritage as a pivotal force in shaping individual identity, offering a broad spectrum of impressions from the impressionistic medium, contemporary compositions, to abstract visual narratives. As viewers traverse this exhibition, they are encouraged to peel away their stereotypical assumptions and embrace the diverse cultural tapestry that enriches societies, each distinct from the next. The representation of culture extends into the subtleties of expressionism, the symbolic presence of jewellery and accessories, and the resplendent beauty of ethnicity, all weaving together untold stories of communities.

My journey as an international student, far from my native Pakistan, instilled in me a deep craving for cultural representation from my ethnic roots. Yet, as I matured, I realised identity is a tapestry woven from personal experiences, influencing one's fashion, musical tastes, and personal preferences. My identity was sculpted by the stories whispered by my grandmother, such as the romantic tragedy of “Anarkali” or the enigmatic tale of Medusa. These stories are not mere tales but are instrumental in knitting the socio-cultural fabric of a community.

The narrative extends with works like “Pride of the Peacock,” capturing the ethnic beauty within the Tswana South African community, and “Aas,” which embodies the flames of hope. “Jhoomar,” with its decaying composition, marries Mughal intricacy with embellished jewellery, symbolising a cultural amalgamation of aristocratic British and Taj influences.

The exhibition's layout is deliberately designed to showcase the evolution of cultural heritage representation, breathing life into durable materials through harmonious structures, thereby humanising architecture. “An Arching Portal” introduces portraiture through architectural cubism, drawing inspiration from Patrick Akpojotor’s architectural silhouettes and blending it with A.S. Rahman's cubist subjects and Salman Farooqi's minimalist expression. This chronological arrangement invites viewers to reflect on their own experiences and traditions, fostering a deeper connection to the artwork.

Diverse mediums and techniques including acrylic, oil pastel, pencil, collage, digital art, and acrylic pouring, articulate the exhibition's intent to make cultural representation a tangible reality. Drawing from orientalist, contemporary, and impressionistic art movements, these pieces create a poetic rhythm through both bold and subtle strokes. The use of canvas frames my perspectives effectively, while the swift nature of acrylics facilitates the artistic process. The monochromatic greyscale series, “Mythological Tales,” presented as a triptych, reimagines renowned cultural folktales, inviting viewers into a realm of tragic foreshadowing from Japanese,

ANARKALI

Ac Ýlic zo caoÖa¨ (42 Ü 60 cm)

Opt for Anarkali over Romeo and Juliet; its royal palette and traditional fabrics bring the Mughal folktale to life via Vanitas still life. Viewers immerse in cultural opulence through depicted jewellery, exploring the tragic love tale. Central to this narrative is the pomegranate, an allegory for the story, with "anar" reflecting its essence in Urdu, symbolising the depth and complexity of love, intertwining tradition and the inevitability of fate, inviting reflection on timeless themes of passion and loss.

AAS (HOPE)

Ac Ýlic zo caoÖa¨ (42 Ü 60 cm)

Suratcha Bhosle's "Om" captures the spirit of "Aas," highlighting guidance in light and the brightening effect of patience on one's inner flame. Employing an impressionist style with bold strokes, the artwork vividly represents the freedom of flames and smoke's gentle flow, symbolising guidance and patience. The peacock colour palette, rich in wisdom and warmth, enhances the piece, evoking enlightenment and comfort. This interplay of colour and form invites contemplation on the nature of guidance and personal growth.

MOTHER NATURE'S LULLABY DIPTYCH: POSEIDON'S TIDES & A LAVENDERS MELODY

Dali's surrealism and McKeever's Abstract Expressionism merge in an experimental collage. 'The White of Poseidon's Tides' serves as a symbol for coral bleaching within an imagined coral reef, while 'A Lavender's Melody' captures the essence of a flower's heart enduring through time. This blend draws from "The Little Mermaid's" desire and "Lavender's Blue Dilly Dilly," embedding Dali’s themes of dreams and delusion within the comforting notes of a lullaby. Acrylic pouring techniques emphasise the serendipity of art, illustrating that the chaotic beauty of nature, with its complexity and unpredictability, cannot be restrained.

THE PRIDE OF THE PEACOCK

MiÜed Media zo CaoÖa¨

"Pride of the Peacock" embodies the Tswana South African community's ethnic beauty, merging Roslin's detailed realism with cultural elegance. Delicate fabrics and a symbolic veil highlight the community's rich heritage, while feathers extending from the hair, influenced by the wind, signify strength and grace. This portrayal combines tradition with natural elegance, capturing the essence of pride and divinity in a celebration of ethnic beauty and the enduring spirit of the Tswana people.

FASIHA MEET

As an artist, I seek works that resonate on a deeply personal level, using art to express and share my experiences and philosophies. My art is heavily influenced by Frida Kahlo and Vincent Van Gogh, who mastered the art of conveying their inner realities through abstract representations that challenge the conventional boundaries of perception. Their influence is evident in my use of vibrant, surreal figures as symbols of my emotional states.

My artistic process begins with a simple pencil sketch, which lays the groundwork for my exploration. I blend different ideas digitally, experimenting with various materials to push my artistic boundaries. This approach allows my concepts to evolve, reflecting my ongoing quest for growth and self-expression.

Embarking on a degree in Psychology and Philosophy, I find that my artistic skills have broadened my perspective, enabling me to appreciate the diversity of interpretations and enhancing my planning and time management abilities. My experience in IB Art has been particularly valuable, preparing me for the challenges of university life.

THE BEAUTY IN THE BROKEN

Drawing inspiration from Fleur Alston's poignant series on her daughter's anxiety, this artwork explores the journey of healing from childhood trauma. The use of translucent gouache layers captures the complexity and duration of the healing process, mirroring the gradual peeling away and addressing past pains. Roses within the composition symbolise the emergence of beauty and strength following adversity, embodying self-love and gratitude. These flowers, traditionally associated with love, underscore the transformative power of healing, highlighting the resilience and growth that can emerge from the depths of personal struggle.

CURATORIAL RATIONALE

Exploring the complex narratives woven into the fabric of my family's history, I was compelled to curate an exhibition centred on the theme of generational trauma—a silent spectre haunting many across the globe. This exhibition, a solemn invitation to journey through the hidden corridors of generational anguish, aims to illuminate the obscured facets of inherited pain and the arduous path toward healing.

The exhibition commences with "The Memories that Burden Us," setting the stage for a reflective odyssey into the realm of ancestral memories. This piece, with its juxtaposition of vibrant oil pastel hues against sombre tones, encapsulates the dual nature of memories—both enlightening and oppressive, marking the initial steps toward confronting and healing from historical wounds.

Following this is "Shattered by Blood," a poignant exploration of the indelible bonds of family, depicted through figures turned away from each other, symbolising the strife and disconnect within familial relationships. The envisioned white outline, though not yet added, intends to highlight the fragmented nature of these connections, marred by communication barriers.

"Fading Identity" occupies the third position, illustrating the gradual erosion of personal and collective identity through generations. This piece poignantly captures the essence of fading legacies and the weight of ancestral burdens that blur the lines of individuality.

The narrative progresses to "The Generational Curse," a visual metaphor for the escalating challenges each generation faces in living up to ancestral expectations. The depiction of increasingly Westernised attire with each successive generation speaks to the dilution of cultural identity, while the struggle with braiding hair underscores the growing disconnection from one's roots.

"A Second Chance to Heal," positioned fifth, heralds the dawn of reconciliation and mutual understanding. The tender grasp between old and young hands symbolises the indispensable role of intergenerational support in the healing process, emphasising the need for open dialogue and mutual reliance.

Concluding the exhibition, "The Beauty in the Broken" represents the culmination of the healing journey. The chaotic blend of colours, akin to turbulent waters, juxtaposed with the serene expression of the subject, embodies the tranquil acceptance that emerges from confronting and embracing one's fractured past.

This curated exploration not only traverses the silent suffering embedded within family histories but also advocates for a shift in perspective—from casting blame on predecessors to focusing on personal and collective healing. The exhibition layout, a deliberate progression from acknowledgement of pain to the emergence of acceptance, mirrors the complex process of confronting generational trauma. It underscores the universal truth that, while we may be involuntarily bound to carry the legacy of our forebears, the power to mend and forge anew lies within our grasp, offering a path to tranquillity and understanding in the face of inherited turmoil.

THE GENERATIONAL CURSE

This artwork explores generational patterns through the cultural tradition of hair braiding, highlighting how cultural identity diminishes over time, influenced by the Westernisation reflected in the subjects' attire. This symbolises the impact of colonialism on Pakistani culture. The positioning of the subjects, at varying levels, speaks to the hierarchical respect afforded to each as they engage in the same activity, yet bear the weight of living up to their predecessors' legacies. Employing watercolour as the medium, the piece subtly illustrates the final subject's identity fading into the grey backdrop, representing her struggle with self-definition amidst a fading cultural heritage. This choice of medium emphasises the gradual loss of cultural identity, underscoring the nuanced challenges of preserving cultural traditions in the face of global influences.

THE MEMORIES THAT BURDEN US

Oil a¨¶el aod g ahi¶e (42 Ü 59.4cm)

Drawing on the metaphor of drowning to depict anxiety, this artwork explores the battle with repressed memories linked to generational trauma. Influenced by the textured expression seen in Frida Kahlo’s "Self-portrait with Cropped Hair," it utilises mixed mediums of graphite and oil pastels. This choice enables a spectrum of colours, from muted to vivid, reflecting the evolving perspective on memories as one gets older—how views can shift to either romanticise the past or recall it with greater fondness than reality might warrant. The piece seeks to illustrate the complexity of memory and emotion, particularly how time and maturity alter our understanding and emotional responses to past experiences.

FADING IDENTITY

Ac Ýlic zo Pae  (60 Ü 85cm)

This artwork delves into the confrontational essence of trauma and the profound pain stemming from prolonged silence across generations. Drawing inspiration from Frida Kahlo, particularly her symbolic use of anatomical imagery in furniture, it reflects on how individuals often define themselves through their traumatic experiences. The figures, depicted with blank expressions, capture the void that follows the suppression of emotions. Featuring three women of varying ages, the piece highlights trauma's persistence across lifetimes and its role in the gradual erosion of self-identity.

The use of acrylic paint brings an unexpected vibrancy, underscoring the intense emotional landscape of sadness, thereby revealing the complex interplay between trauma, identity, and expression.

JOANA MEET

As an art student, my creative journey is deeply influenced by feminist movements, exploring female tragedy. I draw inspiration from the powerful works of Jenny Saville, Njideka Akunyili Crosby, Audrey Flack, and Pablo Picasso, shaping my style around the "Feminine Dichotomy."

My dynamic creative process involves immersing myself in the techniques of these artists, using photography for composition before transferring ideas to wood or canvas. Acrylic paint is my preferred medium, enhanced by gouache and collage for a multi-dimensional narrative.

Although pursuing a Law degree in the UK, my art course has profoundly impacted my creativity and planning skills. The exploration of artworks and in-depth analysis have honed my critical thinking and communication. While law is my path, my passion for art remains, a testament to the fusion of creativity and analytical thinking in my artistic expression.

TWO SIDES TO THE STORY

This mixed media creation delves into the dance world's paradox, juxtaposing the pursuit of perfection with its less glamorous realities. It contrasts the dancer's onstage enchantment and costume against the backdrop of her dark warmup attire and bandaged feet—elements hidden from public view. The artwork's depth extends beyond its surface, drawing parallels between the dance industry's aesthetics and broader societal views on femininity. It critiques the distortion of female representation and the harsh standards women navigate, mirroring the unseen hardships dancers endure to achieve the grace and beauty celebrated by audiences, thus highlighting the broader implications of seeking perfection within rigid societal confines.

CURATORIAL RATIONALE

"Feminine Dichotomy" is an art exhibition that embarks on a deep exploration into the complexities of the contemporary female experience, presented through a cohesive collection of paintings. Utilising acrylic paint for its sharpness and incorporating mixed media for added depth, the exhibition seeks to unveil the multifaceted essence of womanhood, navigating between societal perceptions, emotional intricacies, and the inherent struggles of being female. The narrative woven through my artwork captures the juxtaposition of external beauty against the backdrop of hidden internal battles, offering a comprehensive portrayal of female existence.

Personal influences, including the discipline and elegance of ballet and a spectrum of life experiences, infuse the paintings with a sense of authenticity and relatability. These elements are intended to forge a connection with viewers, inviting them into a shared exploration of the authentic female journey.

The exhibition's unity is achieved through a consistent thematic focus across the paintings, each acting as a narrative piece within a broader story of dichotomy in womanhood. A uniform visual language, marked by precise acrylic techniques and the strategic use of collage, ensures a fluid, interconnected experience for the audience.

"Feminine Dichotomy" is structured to guide viewers through the duality of the female experience, starting with "Getting Ready," a piece that symbolises the societal expectations of femininity, and progressively delving into themes of inner turmoil and resilience. The exhibition culminates with "The Struggle," a powerful Cubist diptych that exposes the depth of female sorrow and the pressures exerted by societal norms. This curated journey through the exhibition not only depicts the stark contrast between the outward and inward lives of women but also underscores the cyclical nature of these experiences, reflecting the ongoing conflict between societal image and internal reality.

Ultimately, this exhibition is designed to challenge and engage the audience, urging them to look beyond conventional beauty to recognise and appreciate the complex reality of the female condition. Through a deliberate blend of thematic depth and visual continuity, "Feminine Dichotomy" offers a profound commentary on girlhood and womanhood, fostering a deeper understanding and empathy for the layered experiences defining contemporary femininity.

THE PRIDE OF THE PEACOCK

This contemporary Vanitas artwork, crafted in gouache, portrays the "lifecycle" of female beauty, capturing every phase from childhood to adulthood through the symbolic use of makeup items. Inspired by Audrey Flack's profound exploration of beauty and ageing, the piece delves into the ever-present societal norms imposed on women from an early age and their persistence across a woman's life. It reflects on the themes of beauty, the passage of time, and the societal expectations that shadow women, offering a visual narrative that questions and critiques these enduring stereotypes.

TRAPPED

Ac Ýlic zo Wzzd (85Ü85cm)

Drawing inspiration from Jenny Saville and Glen Luchford's Closed Contact series, this painting employs distortion and expressive brushstrokes to delve into pressure and internal conflict. It boldly challenges female beauty and perfection stereotypes, uncovering the hidden agonies often masked by societal expectations. By manipulating colour, shape, and texture, the artwork seeks to expose the emotional unrest and raw humanity concealed beneath outward appearances. It's a visual representation of the struggle against confining norms, aiming to reveal the complex layers of emotion and turmoil that lie deep within, pushing viewers to confront the discomfort and beauty in vulnerability and authenticity.

THE STRUGGLE

Ac Ýlic zo CaoÖa¨ (42Ü120cm)

This cubist diptych, inspired by Pablo Picasso's "Guernica," delves into the despair and turmoil enveloping the female body and spirit. Rooted in personal experiences, it articulates the pressures of contemporary urban life, where the essence of femininity, along with personal freedom and dreams, is often suffocated by societal constraints and norms. Through figures that embody sadness and a palette dominated by dark, traditionally feminine colours, the painting evokes feelings of anger, struggle, and despair. It's a visual commentary on the challenges faced by women in navigating the rigid structures of modern metropolises, reflecting a quest for identity and liberation amidst the chaos.

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