IBDP Visual Arts Exhibition 2023

ARTWORKS

ALTER, ROMEO

1. Sunflower Afterlife, 2022. Oil on canvas. 40.6 x 30.5 cm.

2. Battle of the Blossoms, 2023. Mixed media sculpture. 30.5 x 24 cm.

3. The Boy and the TV, 2023. Digital photograph. 3539 x 2696 px.

4. The Spartan, 2023. Pencil on paper. 42 x 29 cm.

ARGENTO, DESIREE

1. Stuck by Myself, 2022. Digital painting on Procreate. 28.6 x 38.2 cm.

2. Society’s Product, 2023. Digital painting on Procreate. 41.6 x 29.5 cm.

3. Facade, 2023. Oil on canvas. 29.8 x 21.1 cm.

4. Perfect World, 2023. Watercolor and ink on paper. 41.9 x 29.6 cm.

5. Rebirth, 2022. Oil and acrylic on canvas. 42 x 29.7.

6. Fearless?, 2022. Gouache on paper. 28 x 36.7 cm.

7. Morphing to Roses, 2023. Digital painting on Procreate. 28.6 x 29.6 cm.

8. Twin, 2023. Digital painting on Procreate. 28.6 x 29.6 cm.

BALDUINO, ISABELLA

1. The Mask, 2022. Plaster strips, pearls. 14 x 24 cm.

2. Ferrari, 2022. Oil on canvas. 44 x 30 cm.

3. What I Left Behind, 2022. Oil on canvas. 38 x 38 cm.

4. Mind Mapping, 2022. India Ink on canvas. 42 x 40 cm.

5. The Psychology Behind Jewelry, 2023. Silver. 29 x 20 cm.

6. The Blue Series, 2023. Watercolor on paper. 29 x 20 cm.

7. A Gold Portrait, 2022. Gold Leaf, Ink on Canvas. 12 x 18 cm.

8. Look Into Our Imagination, 2022. Oil and ink on canvas. 18 x 24 cm.

9. Tipping Point, 2023. Ink on canvas. 21 x 13 cm.

BREMNER, SOPHIA

1. The Conception of Spring, 2022. Oil on canvas. A3.

2. Las Chapacas del Mercado de San Juan, 2023. Digital photography.

3. The Cheesemonger, 2023. Digital photography.

4. Round, 2022. Acrylic and gold leaf on canvas. A2.

5. A Lady’s Bug, 2023. Colored pencil on wood. 13 x 18 cm.

6. Holistically Marilyn, 2023. Paper collage and acrylic on canvas. 400 mm dia.

7. The Annunciation, 2023. Lapis lazuli and watercolor on paper. 14.8 x 21 cm.

8. Endaimonia, 2023. Lapis lazuli and watercolor on paper. 14.8 x 21 cm.

CIAMPOLINI, EVITA

1. How Would You Like Me To Be, 2023. Digital photograph and mixed media.

2. Negative Embrace, 2023. Acrylic paint on canvas. 30.5 x 40.5 cm.

3. Inside, 2022. Acrylic paint on canvas. 60 x 40 cm.

4. Toxic Patterns, 2023. Clay, black string. 17 x 12 cm.

5. Rinuncia, 2023. Acrylic paint and cardboard. 38 x 45 cm.

6. The Messages, 2023. Pencil, paperboard, string. 29.5 x 21 cm.

7. Exasperated Greed, 2023. Collage on paper. 49.5 x 34.5 cm.

8. The Natural Process of Life, 2023. Digital photography.

D’ELIA, LORENZO

1. Stroungle, 2023. Acrylic paint and Posca pens on canvas.

2. La Mia Bolla, 2022. Colored pencils on paper.

3. Growth, Self-Isolation and Succumbent, 2023. Ceramic and plastic sculpture.

4. Fingerprint Painting, 2022. Ink on paper.

5. La Carciofa, 2023. Digital animation.

6. The Duality Within, 2023. Photography.

7. Self and Lingeage: A Merged Identity, 2023. Pencil on paper.

8. Bricks of Self, 2023. Balsa wood and paper on canvas.

FONTANA, GINEVRA

1. Morphing Emotions, 2022. Acrylic on canvas. 59.4 x 84 cm.

2. Self-Portrait Sketchbook Collage, 2022. Paint markers on canvas. 21 x 29.7 cm.

3. Censorship of a Voice, 2022. Oil on canvas. 21 x 29.7 cm.

4. Sinking/Relapsing into a Loop, 2023. Acrylic on canvas. 29.7 x 42 cm.

5. Head in Space, 2022. Color pencil, markers, ink on paper. 8 x 11.5 in.

6. Mind’s A Mess, 2022. Digitally manipulated photographs. 29.7 x 42 cm.

7. Two Sides of Thought, 2023. Photography. 29.7 x 42 cm.

8. Like A Shark, 2023. Acrylic on canvas. 59.4 x 84 cm.

9. Where Is the End?, 2023. Acrylic on canvas. 400 mm dia.

10. Bloom, 2022. Cardboard, origami paper, wire, vinyl. Approx. 58 x 36 cm.

11. Losing Ourselves, 2023. Digital illustration. 1240 x 1754 cm.

12. Masking Away from Reality, 2023. Carved plaster. 19 x 11 x 6 cm.

FUSI, EMMA

1. Sunset, 2022. Oil paint on paper. 16 x 12 cm.

2. Beyond the Mask, 2023. Acrylic and fabric on canvas. 41.5 x 49 cm.

3. Shades of Beauty, 2023. Acrylic on canvas. 400 mm dia.

4. Eyes of Truth, 2023. Acrylic on canvas. 30 x 24 cm.

5. Beauty in Diversity, 2023. Collage and acrylic on paper. 31 x 31 cm.

6. Myself in Frames, 2023. Digital collage. 43 x 41 cm.

7. Inner Radiance, 2023. Watercolor and marker on paper. 31 x 23 cm.

8. Imperfections, 2023. Collage on paper. 30.4 x 30.6 cm.

LU, KEVIN

1. Lost in Brightness, 2023. Oil on canvas. 21 x 29.7 cm.

2. Distorted Matter, 2023. Acrylic on canvas. 21 x 29.7 cm.

3. Mountain, 2022. Watercolor on paper. 21 x 29.7 cm.

4. Seaside, 2022. Oil on canvas. 29.7 x 42 cm.

5. Blurry and Bizarre Brightness, 2023. Oil on canvas. 21 x 29.7 cm.

6. Tour to Venice, 2022. Oil on canvas. 29.7 x 42 cm.

7. The Walking Dog, 2023. Digital photograph. 15 x 20 cm.

8. Meaningful Solitude, 2023. Oil on canvas. 21 x 29.7 cm.

MANETTI, LIVIA

1. Exposure, 2023. Digital photography. 29.7 x 42 cm.

2. Sinked, 2023. Oil on canvas. 29.7 x 42 cm.

3. Uncontrollable Power, 2023. Oil on canvas. 59.4 x 84 cm.

4. Scuttled Brain, 2023. Plaster, beads, wire. 42 x 30 x 42 cm.

5. Lovely Orbit, 2023. Charcoal, gouache on paper. 40 x 50 cm.

6. Retired Speculum, 2023. Watercolor and gouache on paper. 24 x 30 cm.

7. Nonexistence Nihility, 2023. Ink on paper. 60 x 60 cm.

8. Barring Barriers, 2023. Gouache on paper. 29.7 x 42 cm.

9. Silver Lining, 2023. Mixed media. 60 cm dia.

PATERNÒ, FABIOLA

1. Self-Portrait (Jeuisme Briato), 2022. Oil on canvas. 50.5 x 45.5 cm.

2. From Three to One (Incrato Spikké), 2022. OIl on canvas. 26 x 42 cm.

3. Nostalgic Anxieties (Adomus Lupera), 2023. Gouache, watercolor on paper.

38.5 x 30.2cm.

4. Vices in Adoration (Accaia Melusiria), 2023. Gouache, watercolor on paper. 36 x 30 cm.

5. Sunday Bath (Uji Liu), 2023. Gouache, watercolor on paper. 28.7 x 41.5 cm.

6. A Box of Peace (Counterlipidus), 2023. Charcoal, pastels, acrylics on paper. 172 x 65 cm.

7. (The Ear) Flesh, Bones, and Cartilage (Flagel Lum Intritis), 2023. Gouache, watercolor on paper. 19.7 x 28 cm.

8. Adam, your hand ok? (Wegandro Adamo), 2023. Clay, glaze. 20 x 18.5, 20 x 6 cm.

PETERS, LAYLA

1. Webbed, 2023. Acrylic on canvas. 42 x 59.4 cm.

2. 3 Seas, 2022. Acrylic and gravel on canvas. 29.7 x 42 cm.

3. TOUCH!, 2023. Acrylic on canvas. 50.5 x 40 cm.

4. Rainbow, 2023. Acrylic on canvas, neon strip. 12.5 x 17.5 cm.

5. Starz, 2023. Colored pencil, alcohol markers, gold leaf on canvas. 600 mm dia.

6. Through the Red Door, 2023. Acrylic and salt on canvas. 59.4 x 84 cm.

7. Drippy, 2023. Acrylic, hot glue on canvas. 200 mm dia.

8. Face, 2023. Plaster on canvas, gold leaf. 200 mm dia.

9. Fountain of Life, 2023. Air dry clay on canvas, yarn, hot glue. 12.5 x 17.5 cm.

SHAO, VITTORIA

1. Collage, 2022. Digital photography. 10 x 15, 10 x 12.6, 10 x 15 cm.

2. Sparkle, 2022. Digital photography. 10 x 15, 10 x 15, 12.5 x 18 cm.

3. Volcanic Vapour, 2022. Digital photography. 20 x 25.5 ea.

4. Wait For, 2022. Digital photography. 20 x 30 ea.

5. Diffusion, 2023. Oil on canvas. 10.5 x 11.5 cm.

6. Wave, 2023. Blockprint on paper. 9.5 x 15 cm.

7. Momentary, 2023. Digital photography.

8. Moon, 2023. Oil on canvas. 13 x 18 cm.

TILLMAN, ALISA

1. Chaos, 2023. Sharpie on paper. 42 x 33 cm.

2. They’re Onto Me, 2023. Ballpoint pen and acrylic paint on paper. 59.4 x 42 cm.

3. Uninhabitable, 2023. Ballpoint ink and acrylic paint on paper. 84 x 59.3 cm.

4. Reaching Out, 2023. Watercolor and acrylic on paper. 24 x 22 in.

5. See For Me, 2023. Sharpie and ink on paper. 32 x 12.6 cm.

6. Inside Control, 2023. Digital drawing. 42 x 59.4 cm.

7. All Eyes On You, 2023. Origami paper, wood, fishing line. 91 x 94 x 56 cm.

8. Societies Creation, 2023. Oil pastel, paper mache, acrylic. 50.2 x 40.3 x 5.7 cm.

TOWLER, SASKA

1. Magnified, 2023. Acrylic on canvas, found objects. 59.4 x 42 cm.

2. The Working Mind, 2023. Plaster, modeling wax, acrylic paint. 25 x 27 cm.

3. Blurred, 2023. Oil on canvas. 21 x 29.7 cm.

4. Two Sides, 2023. Oil on canvas, varnish. 21 x 29.7 cm.

5. Evil Eye, 2023. Oil on canvas. 21 x 29.7 cm.

6. The Doorway, 2023. Oil on canvas. 21 x 29.7 cm.

7. Motion, 2023. Watercolor on paper. 25 x 32 cm.

8. Dissolved, 2023. Oil on canvas. 21 x 29.7 cm.

VITALE, CAMILLA

1. Confusion, 2023. Digital collage. 25 x 25 cm.

2. Self Sabotage, 2023. Acrylic on canvas. 42 x 59.4 cm.

3. Brahms-Opera 117 no.2, 2022. Graphite, colored pencil on paper. 42 x 59.4 cm.

4. Magpies, 2023. Graphic, colored pencil, gold leaf on paper. 59.4 x 84.1 cm.

5. Happiness is a Butterfly, 2023. Mixed media. 59.4 x 84.1 cm.

6. Distorted Time, 2023. Plaster, oil paint. 8 x 8 in.

7. Metamorphosis, 2023. Plaster, felt. 9 x 3 in. ea.

8. Stuck, 2023. Plaster, wire, acrylic paint. 13 x 6 in.

9. Love vs. Logic, 2023. Plaster, clay, string. 11 x 5 in.

10. Overwhelmed, 2023. Acrylic on canvas. 29.7 x 42 cm.

11. Poster Selection, 2023. Digital drawings. 29.7 x 42 cm.

ZHAO, ERIC

1. 3:00 AM, 2022. Oil on canvas. 42 x 59.4 cm.

2. Passage of Time, 2023. Water, cardboard, paper. 33 x 28 x 150 cm.

3. Aging, 2023. Graphite on paper. 29.7 x 42 cm.

4. Tree Ring, 2023. Yarn tufting. 81 x 81 cm.

ZHU, ZHIROU

1. Doppelgänger, 2022. Watercolor and oil on canvas. 16.5 x 23.4 cm.

2. Self, 2023. Oil on canvas. 8.27 x 11.69 in.

3. Undisguise, 2022. Cut paper. 7 x 20 cm.

4. Fairy in Jungle, 2023. Watercolor on canvas. 11.7 x 16.5 cm.

5. The World of Objects, 2023. Watercolor on canvas. 8.27 x 11.69 in.

6. Nyctophobia, 2023. Collage. 8.27 x 11.69 in.

7. Freedom, 2023. Digital drawing. 29.7 x 42 cm.

8. Nils, 2023. Watercolor and collage on canvas. 41 x 30 cm.

A huge thank you to everyone that was involved in making this Exhibition happen. We really appreciate the ISF community as well as the greater Florentine community in supporting us.

A special shout out to Tanya Bruckner for her endless coordinating and planning, Palazzo San Niccolò for providing such a wonderful space to exhibit the artworks in, Mr. and Mrs. Towler for generously donating their gallery lights, Guillermo and his Super Lucida team in helping to transport all materials to and from Palazzo San Niccolò, and the family and friends who supported our wonderful artists.

Lastly, thank you to the wonderful students who put their heart and soul into this exhibition. Congratulations!

Ms. Hitchcock

Other worlds

My intention is to represent other worlds, as I’ve always been interested in stories that transport me to other immersive worlds. These stories have shaped who I am today, my hobbies, my interests, my identity, and often my art.

I chose these artworks because they best represented my identity. They represent the family I’ve lost and how it’s affected me. They represent my hobbies and how they connect back to art. They represent how I started getting interested in these immersive stories about other worlds and they represent the franchises that have shaped my interests in certain media.

I hope the audience feels a sense of melancholy, that they think about the sadness but also feel excitement and awe as they are being transported to other worlds. I also intend for the audience to look at what I’ve made, and think, “Wow, I want to be in that world.”

I chose oil paint because it represents my grandmother and how she used to oil paint when she was alive. I used a 3D model to transport my audience to another world because I felt a physical object conveyed the effect better than a painting would. The photograph also allowed the audience to better understand how I became interested in film. Finally, I wanted to draw myself as a character in a game because that particular game influenced me a lot growing up and has made a difference in my life.

ROMEO ALTER

DESIREE ARGENTO

Self-expression in identity

The main concept I have explored in my exhibition is self expression in identity. The experiences that have inspired me and contributed towards the making of these artworks are my personal observations of others around me while growing up through confusing and constant changes within my life in the past few years during the pandemic. As a mixed kid, I was influenced by a lot of difficulties within the expression of my identity and becoming the person I am today, and because of my own experience, I have found that the self expression of identity is a never ending and evolving cycle in which everyone can relate to and goes through in their lives. It is essential to have this self expression to share our existence and its meaning with others in a society which is controlling and pressures us to its standards. The artist that has influenced me the most is Lauren Tsai, as her artworks are very symbolic and discuss deep themes such as oppression, loneliness, and transformation. Her artworks have heavily influenced me to have a more symbolic view on creating art and have led me to focus on creating art that are extensions of my emotions and thoughts.

I have mainly used the materials oil paint and acrylic on canvas, gouache, clay, and digital painting on procreate in order to convey the message in each artwork through different elements such as texture, perspective, intensity, and contrast. Each of my artworks in this exhibition are placed in a circular line, creating a story of the main theme and

representing its never ending cycle. The artworks I have chosen are Stuck by myself, which expresses how isolation causes us to be stuck as our current selves without any room for emotional and physical growth and Society’s product, which represents the limitations on self expression caused by the media controlling our worth. Facade represents body insecurity hidden through maintaining our physical appearance, meanwhile Perfect World expresses emotional struggles that are hidden through masking emotions. Rebirth expresses the different stages of transformation through self reflection and Twin represents individuality in self expression while being forced by society into a certain category. Fearless? expresses the fear and difficulty in expressing self identity after trust has been broken, and Morphing into roses represents how obstructed views on reality influence and limit our identity.

Through the theme I have explored in this exhibition, I would like viewers to reflect on their own self expression in identity and to connect and relate through their own personal experiences. Although my artworks describe my own experiences in the self expression of identity, I would like viewers to perceive my artworks as a reflection of certain areas within their lives and think about their own experiences, emotions, and personal struggles, and how each one has impacted the expression of their own identities.

DESIREE ARGENTO

ISABELLA

BALDUINO

The mysterious depths of the human mind

My exhibition invites you to embark on a captivating journey into the mysterious depths of the human mind, as I delve into the intricate workings of our thoughts through my thought-provoking artworks. My pieces explore fascinating questions about the nature of our thinking processes, from why we remember certain things while forgetting others, to how our thoughts flow in our minds, and why we attach significant meaning to seemingly insignificant objects.

Furthermore, my works delve deeper into ethical considerations, questioning the motives behind our thoughts and actions. By showcasing the extraordinary ways in which our minds operateoften without our conscious control or awareness - I encourage viewers to reflect on their own thought processes and challenge the nature of their beliefs and behaviors.

Ultimately, my exhibition represents a collection of my most recurrent musings on the human mind. Through my diverse and thoughtfully crafted pieces, I aim to challenge viewers to explore and examine the complex intricacies of their own minds and discover their own answers to fundamental questions about our thought processes that are integral to the human experience.

To enhance the visual impact of my works, I have taken great care to create custom-made frames and stands, particularly for my jewelry pieces. These

displays are thoughtfully designed to accentuate the message of my creations and make them all the more immersive for the viewer. For example, my nose piece is carefully crafted to draw attention to areas of potential insecurity, such as a nose bump or scar, which may not have the same impact if displayed without its specially designed frame.

My creative process is a reflection of my authentic self, capturing the essence of my innermost thoughts and feelings. I have experimented with various mediums and techniques, from oil paints to molds of my very own fingers, to showcase my skills and bring my artistic vision to life. Despite the diversity of my pieces, they are all interconnected and offer a glimpse into the vast and multifaceted landscape of the human mind.

In conclusion, my exhibition offers a truly immersive and thought-provoking experience, inviting viewers to explore the enigmatic depths of their own minds and discover new insights about the nature of our thoughts and behaviors.

ISABELLA BALDUINO

SOPHIA BREMNER

The woman condition

How do I identify? How do you? At the precipice of adulthood during an age where a screen will tell you who you are or supposed to be, finding an identity to resonate with can be increasingly difficult, and it is something I have actually struggled with my whole life growing up a multicultural expat. Thus, the ubiquity of gender has led it to become a driving force of my own identity. This fundamental aspect unifies half the global population, forcing one to ask, how can something so large-scale resonate in such an individual way? In search of an answer to this question I have ventured to the fascinating complex relationship between gender identity and nature. On one hand, there is a deep-seated desire to identify with the natural world, to connect with its beauty and fertility, and to find a sense of belonging within it. On the other hand, there is a risk of dissociation, of losing oneself in the pursuit of this connection, and of perpetuating harmful gender stereotypes and norms. Through a carefully curated selection of works, I hope to challenge the viewer’s assumptions about gender, beauty, and nature, and to provoke a nuanced understanding of the complexities of these themes.

This exhibition serves as a reminder that women are connected to the natural world in a way that surpasses all superficial notions of society, through their shared inherent beauty and power. This intimate relationship has cultivated in my identity largely due to the cultural and historical associations between them that have surrounded

my development. In many societies, women have traditionally been responsible for tasks related to the natural world such as gathering food and conception. This association with nature has been reinforced through symbols and metaphors in the art world throughout history, and demonstrated in this exhibition which has been influenced by renowned works of female representation in art, namely; Martini’s Annunciation, Botticelli’s Birth of Venus, Klimt’s Water Serpents II and Warhol’s Marilyn Monroe. These works represent diverse yet comparable interpretations of powerful female energies, as ideas of fertility and sensuality are expressed through the divine. Despite these female empowering subjects, the subtleties of the male perspective behind these works highlight the paralleling relationship between the domination and exploitation of women and nature. This view posits that both have been historically devalued and objectified because they are seen as passive and nurturing, and therefore powerless in a patriarchal society.

The works in this exhibition represent a range of perspectives on the relationship between womanhood and nature, from the sublime and mystical to the political and the cultural. The message being conveyed is reflected in my material and technique choices throughout: when referencing more conceptual ideas I used abstraction and paint while in order to relate more concrete realities I used photography. Overall the works can be characterised as colourful and decorative, invoking

a sense of energy and playfulness in the viewer. This combined with the naive style and familiarity of the iconography hopes to instil nostalgia and transport the viewer to their infancy. Children are at the forefront of understanding identity, not yet influenced by the loud voices of society, entirely in touch with their nature. Nevertheless, gender expectations manage to be embedded into us during formative years, right from the division of pink and blue. The composition of my works aim to take the viewer through a journey towards finding security in one’s identity. First they are presented with derogatory and generalised interpretations of the female identity. This panel is followed by one of enlightenment; there is a rebirth of individuality and strengthened relationship to nature driven by power. Finally, the viewer is presented with a comment on how one’s identity is limited to what is prescribed of them when they do not have the inner strength to combat nor understand this. The intertwined relationship between nature and women communicates both as a force to be reckoned with. Fundamentally, I explore the ways in which gender identity shapes our relationship to the natural world, and the power that it should implement on young girls — giving them the ability to shape their sense of self without submitting to societal standards.

SOPHIA BREMNER

EVITA CIAMPOLINI

Appearance

Appearance is a fundamental aspect of human life. It refers to the physical characteristics or attributes that we possess and how we choose to present ourselves to the outside world. The desire to appear a certain way significantly impacts our lives, both positively and negatively, and it influences how others perceive us. Appearance refers to aspects such as clothing, hairstyle, skin color, facial features, body shape, or overall physical exterior. In this exhibition, I explored the value placed on female appearance by examining the various ways in which it impacts how we view ourselves and others.

Images of thin, proportioned, beautiful people are posted all over the internet, in magazines, advertisements, and on TV. The visual media defines our concept of beauty, setting a standard by which we, the audience, measure ourselves. This feeling of measuring ourselves against an ideal standard is universal, but mostly felt by adolescents who are most impressionable to the influences of visual media. Nevertheless, comparison is present at any age. My aim is to portray the powerful influence this beauty ideal has over how we perceive others, and also how we view ourselves.

My first piece, How would you like me to be? conveys to the viewer my experience of comparing myself to conventional standards of beauty. I used my physique as the subject to emphasize the personal impact that this comparison has had on me. Through this artwork I want to show that we are judged as to how

our appearance measures up against conventional standards not just by others, but also by ourselves. This attempt to achieve an idealized standard of beauty leads us to use masks to hide or distort our true selves in order to gain acceptance. This is why I’ve shown myself with various alterations, to show how we distort and mask our true appearance to achieve this ideal and gain acceptance.

All my pieces convey my personal experience with the concept of appearance. I invite the viewer to establish a personal connection as I guide the viewer through various manifestations of the concept of appearance. Displaying my pieces in a linear fashion allows the viewer to go on this journey. The final piece, the Natural Passing of Time, highlights my final thought about appearance, which accepts the natural progression of life where there is no longer a need to appear, but just to be.

EVITA CIAMPOLINI

LORENZO D’ELIA

Our place in the world: identity

As an ordinary teenager, I often find myself thinking about my place in the world among billions of diverse individuals. It’s a common problem that we all face, and it’s comparable to a journey with lots of different experiences and people that shape our lives: we’re always moving forward, but we never really reach a final destination since we can never fully understand ourselves. For me, art is the most incredible medium for exploring identity because it has the ability to tap into the deepest parts of our being, allowing us to communicate our emotions and experiences in ways that cannot be expressed in words. Art is a language that speaks to the soul, it captures our humanity and reveals all the aspects that make us unique and connect us with others. It’s a tool to examine our fears and desires, to celebrate our triumphs and mourn our losses; a conduit to explore the multifaceted essence of our identity, from cultural heritage, personal beliefs, values, gender expression and sexuality. This innate curiosity and my own drive to try and understand myself has led me to the title of this exhibition: “Research of One’s Identity Through the Arts”.

Due to the vastness of this subject, it’s possible to deconstruct it into diverse facets and components that amalgamate to give shape to an individual’s identity and character. The multifarious nature of identity encompasses a complex mosaic of unique attributes, convictions, principles, and life experiences, that ultimately combine to mold a reflection of their very existence. The manifestation

of identity is thus shaped by a myriad of factors, spanning from physical appearance, ethnicity, culture, society, profession, gender, experiences, memories, and one’s perception of the world.

My main sources of influence for this exhibition were certain pivotal life experiences that caused me to evolve as an individual along with the environment I grew up in. It was extremely important for me to get inspired by my surroundings, more specifically, by people that like me are constantly making an effort of understanding their actions and purpose. I additionally did some research on other artists who have explored this theme to analyse and absorb as much as possible on how the search for one’s identity has been visually depicted in the past. I was particularly captivated by the work of Italian artist Piero Manzoni through his series of works titled “Imprints”, in which he used his own fingerprints as a form of artistic expression, Cindy Sherman’s photography often featuring herself in different personas and costumes, exploring themes of gender, and Frida Kahlo, who makes use of her work as a means of survival and communication of life experiences to the audience. I have also been heavily inspired by literature, particularly Sujata Bhatt’s “Search For My Tongue” and Pablo Neruda’s “Ode to the Artichoke”. Drawing on these diverse influences, I was able to create a body of work that reflects the complexities and nuances of identity.

Through this exhibition, I want to provide the viewer a place to actively engage with the artistic

process and use it as a tool for self-exploration. Although most of the inspiration for my works comes from the exploration of my own identity, I want my art to serve as a catalyst for others to delve deep into their own minds. I wish to communicate that although identity is a crucial component of who we are, it’s normal to not fully understand ourselves since the human experience is a neverending journey of self-discovery and growth. The connection between the viewer and the art is crucial in this exhibition. By engaging with the art, the audience can initiate the exploration of the subtleties and complexities of their own identities and accept the notion that development and change are inevitable parts of self-discovery. My main goal is to enable the viewers to connect with their own identity and finally understand that it is a lifelong process of self-discovery that is distinct to each and every individual. I’m hoping that this exhibition will encourage people to keep exploring their own identities and to celebrate how endlessly changing and evolving they are.

LORENZO D’ELIA

GINEVRA FONTANA

Existentialism: who are we?

The main theme of my exhibition has to do with the belief of “existentialism” and more so, how existentialism, the concept of understanding who I am or what I’m meant to do, exists within my own thoughts and feelings. It had always been something I was curious about, even when I didn’t know the concept yet. Things such as the internet, COVID-19 lockdown, the journey with my mental health and identity have all been key factors that pushed me into exploring this theme and showcase it through my art.

The key artwork that sparked my interest and established what my exhibition will be about was “Oozing Space / Head in Space” - the first piece I made when entering the IB program. Compared to my other artworks, it is relatively simple yet it embodies my initial idea of what existentialism meant to me. It forced me to truly realize what my position in this world is and how it posed the question of whether I am living life as a human being or just a collection of atoms on a floating rock in space. From the creation of this piece, I was inspired to use illusions or surrealism in my pieces to make the work not only visually appealing but also let the viewer see things in a different light. My intention is to always form some type of connection with the viewer but also allow for as much interpretation as possible so everyone who views the work can personally identify with the question of what existentialism within the meaning of life can mean to them.

The theme of existentialism is very broad and can mean different things for different people - there is not one way to specifically convey the theme. The work of Qing Han was a deep influence on the creation of my works. Her art expresses her emotions through her journey of cancer and mental health through surrealism. Her use of morphing reality is something that really drove me to find normal concepts of things such as mental health and change them in a way to be more interesting and fully capture the raw feelings behind it. This inspiration can be seen in several of my works such as “Relapsing into a Loop” where common themes like feeling stuck in a loop are converted into a surrealist depiction.

I decided to have a wide range with my works when it comes to materials, size and techniques - the wide range allows for my message to be understood by many more as different people might prefer some mediums more to others but also see how the same concept, theme and/or idea can be transmitted in different ways. By not having a set pattern in my work, I try to imitate the way life is, with all the many twists and turns it has as well as diving into the theme of existentialism with how my mentality and outlook of the world has changed. Things are not the same as they were years ago and certainly are not as “smooth” either. Life for all, in some way or another, is a rocky journey - another sub-theme within my overall exhibition that is also of great importance.

With my overall artworks in the exhibition, my aim is to show the struggle with handling life with the many circumstances it may bring - whether it’s something good or bad. At the moment, there are many bad things going on in society - trying to live a “normal” life post-covid, wars breaking out, injustices towards minority groups - all of which we are made aware of through social media. Always being surrounded by information can be overwhelming and make life seem harsh, cruel or even unenjoyable. While my works mostly represent these feelings, I also wish to spread the message of coming back out of these negative feelings. With falling, there is always going to be a coming back. The journey in existentialism is not going to be smooth, there will be many relapses and times where things may seem impossible - but it should be known that it will be worth it, and that is what I hope to spread to my audience as well.

GINEVRA FONTANA

EMMA FUSI

Beauty standards and social norms

In the exhibition I explored the theme of beauty standards - beauty standards are social norms and expectations about physical appearance that are considered desirable in a particular society or culture. They are often perpetuated by media, advertising, and popular culture, and can have a significant impact on individuals’ self-esteem, body image, and mental health. There is ongoing debate and discussion about the negative effects of unrealistic beauty standards and the need for more diverse and inclusive representation in media and popular culture.

The main idea that has been explored within my artworks is the pressure to conform to unrealistic standards, given that many of my portraits do not feature a full face rather some parts of it or it is covered, representing that appearance is not something that defines us. Other ideas that have been explored in my artworks comment on the need for more diversity and representation in media and advertising, the importance of self-acceptance and body positivity and the role of media and social media in shaping beauty ideals and its impact on young people, as seen in the collage. These concepts, issues, and ideas are interconnected and often intersect with one another, highlighting the complex nature of beauty standards and their impact on individuals and society.

In my artworks I decided to experiment and challenge myself through the use and experimentation of more materials. For one artwork I decided to use oil paint

as it provides a luminous and smooth texture which I wanted for my painting as it had to convey that sense of sameness. Acrylic paint was used to create smooth and defined lines which can represent the ideal of a perfect, flawless appearance that is often associated with beauty standards. At the same time, the bold and vibrant colors that I used tried to aim to convey a sense of confidence and self-expression, challenging the narrow definition of beauty that is often promoted by mainstream media. The fluid nature of watercolor used to paint the heart was interpreted to convey the fragility and transience of beauty, suggesting that it is momentary and easily lost. Beauty standards can be used as a starting point for investigating and challenging societal norms and standards for beauty as well as the effects of these standards on people and groups. When viewing the exhibition, the viewer has the opportunity to interact with the artwork and material on display while considering their own experiences and ideals of beauty. In this manner, the interaction between an audience and beauty standards is one of empowerment and awareness.

EMMA FUSI

KEVIN LU

Restoring mental health through art

COVID-19 came into our world 3 years ago and it has seriously affected and taken away people’s lives. This pandemic has caused the population to be in quarantine and lockdowns where they couldn’t go outside. Furthermore, this changed many people’s lives such as habits, personalities and mental health. Many people have suffered from depression, loneliness and many other issues as a result. Moreover, I’m one of these people. I have overcome many issues in my mental health by visiting places, playing sports or playing with my pet in my freetime. In this exhibition, I’m exploring different art styles and material to express the negative emotions that I had to deal with and the road to overcome those same emotions by finding beauty in the world. In addition, artists have influenced my style and technique, such as Vincent Van Gogh, Monet, and Picasso. Their art styles can evoke a range of strong emotions.

Most of the artworks that I made were landscape paintings. Landscape paintings can show the optimum contrast between the emotions. For example, a landscape can be very charming and pleasing to watch. In contrast, the deep meaning behind it can be very unhappy and bad. For example, Seaside, I chose to paint it using oil paint but using a post-impressionism method, which was the method that Van Gogh used to paint some of his artworks such as Starry Night Over The Rhône. The brush strokes were arranged the same way as Van Gogh did in his work. The brush strokes can represent the distorted world that the person sees in

his road to overcome the negative emotions. When looking at Van Gogh and Monet’s artworks, I can feel both happiness and loneliness, which would fit my theme of “the road to overcoming the negative emotions.” I have used techniques from those artists and have two emotions contrasting each other. One of the techniques that they use is using contrasting colors, warm and cold. For example, Tour to Venice was made according to Monet’s style, which was Impressionism. The brush strokes weren’t that strong and individual, and by contrast, they were random brush strokes. Monet’s artwork influenced me because his Impression, Sunrise has a very encouraging meaning, which I could also use for my Tour to Venice to symbolize encouraging the person in the artwork to stay positive. Leonid Afremov, a palette knife painter using bright and contrasting colors has effectively influenced me in using bright colors. The combination of bright colors and the person that is distorted creates a contrasting feeling which could relate the two emotions. The other one was an abstract self portrait inspired by Picasso, the way he painted the portrait had the audience feeling a lot of emotions, also giving them bad feelings, where it perfectly fits one of my intentions and this could be one of the first artworks because the abstract painting can symbolize distorted matters. Another painter that influenced me was Daler Usmonov. He uses direct colors and the action of the person to convey feelings of loneliness and emptiness, which lead me to something like this as well.

I will arrange the Lost in Brightness first because it

represents the loss and sadness of the character in the painting but also reaching for hope. All the other artworks will be the trip of that person where they are going through to cure the negative emotions. The artworks will only be kneaded on the board because all of my artwork is either paper or on canvas. What I want the audience to feel was distorted, sadness andloneliness at the beginning, feeling the same as the person in the artwork, then viewing the road to overcome the emotions. The audience will feel a little revitalized by the little hope along with the negative emotions. In the end, the audience will feel that the person is recovered after the distorted world that the person sees in the artwork, but still feeling a sense of emptiness and to discover that the person is actually the artist, which is me.

KEVIN LU

LIVIA MANETTI

Fear and phobias

Ever since I can remember I have had a strong fear of snakes, which often lead me to encounter uncomfortable situations. Even looking at a picture of them horrified me, and that’s when I realized it was no longer a fear but a phobia. This is mainly what inspired my exhibition, focusing on a vast range of phobias people commonly have. In researching why our minds tie such strong emotions to unnecessarily dangerous things, I discovered that these fears can be ingrained in our subconscious or formed by our conscious brains. In fact, some phobias may also be learned through classical conditioning, where a person associates an object or situation with a traumatic or negative event and the fear becomes ingrained in the person’s subconscious mind. However, in some cases they can also be consciously developed as a result of exposure to information or media that portrays a particular object or situation as dangerous. This explains that phobias can be influenced by humans, both in development as well as in resolution.

I selected the most common phobias in order to reach the maximum number of people. I would like my audience to consider the deeper significance of each phobia. I don’t necessarily wish for people to experience pure terror when viewing my Exhibition, but rather come to the realization that these phobias are linked to each other by one simple concept; the reality of fear is that we don’t actually fear the thing itself but rather the possible conclusion: death.

The two most significant works of my exhibition are the ones that highlight what overcoming a phobia might feel like. Exposure is the first artwork that appears in my Exhibition, and it is a photography project that highlights the vulnerability and strength it takes to face one’s fears. Vulnerability is crucial to the process of overcoming one’s fear, and I used my wrists and ankles (my weakest body parts) to communicate this message. The second, Silver Lining, is positioned as the last artwork in my Exhibition and my intention with this artwork is to communicate that fear is often in the mind, and in order to truly overcome their fear, they will also have to be willing to change a part of themselves, too, bringing my viewer to the realization that the phobia is inside of them and not in front.

All my works will be between the starting and ending points: Exposure, Silver Lining. I wish for the viewer’s emotional connection with my work to gradually increase from start to end. I will do so by giving a sense of realization of the concept of phobias. Each one of my works represent a concrete phobia whilst having a secondary hidden meaning behind the abstract concept of fears. In such a way, the audience will have a clear vision of how one perceives their sense of inferiority in the face of a phobia that makes them feel so small in comparison. Bringing them through a journey that will either teach them how to overcome it, or perceive a similar sensation.

LIVIA MANETTI

FABIOLA PATERNÒ

Dreams and the psyche

My exhibition explores the themes of dreams and the psyche, more specifically, the part of the brain that most people are often scared of or don’t acknowledge its presence. I like to call it the “odd part”, a mental space where nothing truly makes sense, emotions are tightened and concepts are distorted, often going against the preconceptions present in our society. It is the part of us we often push away, where imagination does not have limits, and where the most obscure yet fascinating thoughts and feelings are formed. I have used the theme of dreams and the unconscious mind to interpret this concept into art. It is important to keep in mind, when looking at my exhibition, that there isn’t always an explanation as to why I have portrayed a specific object or represented it in a certain way. I have tried to highlight the nonsensical aspects of a person, the deepest parts of the unconscious mind, and therefore the main purpose is not to forcefully make logical or rational sense but rather to challenge the viewer’s observation in accepting what is unexplained. However, leaving space for the viewer’s mind, to interpret it with freedom and choice. Overall, this exhibition is based on the exploration of the deepest and most abnormal parts of the brain and soul, where the strangest thoughts are stimulated and feelings are often absurd and uncontrollable. To portray this concept, I was inspired by dreams, capturing the melancholy aura of a distorted world. I explored the Surrealism art movement, specifically looking at the works of Dalì, Giorgio De Chirico, and Alfred Kubin.

Most of my artworks revolve around my absurdity, which I hope others can relate to. I have given two titles to each of my artworks; the second title is a concoction of sounds that aims to convey the absurd essence of the artwork. However, apart from the irrational and nonsensical aspects of my exhibition, there is a pattern of order in which the artworks have been placed. I arranged my pieces in a specific sequence; commencing with a self-portrait that captures the initial perception, often misleading, people may have according to one’s physical appearance. Each consecutive artwork explores a chronological journey, starting from childhood, the first love, the struggles of becoming an adult, and ultimately arriving at a state of inner peace, which in this case is explored through humor and ridiculing certain concepts. The way in which I have placed my exhibition creates a clear beginning and end. Lastly, an element I would like the audience to pay attention to when looking at the overall exhibition is the presence of hands. I find myself incorporating hands in my artwork all the time, sometimes without even realizing it, this is because they have a strong symbolic meaning for me.

Hands are the most tangible tool we possess for exploring our surroundings and interacting with the world. They play an important role in communicating and expressing emotions, from fear, and anguish to love and support. They are also symbolic of the human condition, our position in the world, and, our relationship with others. Hands represent humans’ ability to create, but also destroy,

connect, and disconnect. When it comes to dreams and the psyche, hands often represent our sense of control over our lives. Clenched fists might symbolize anger, while open palms might signify openness and acceptance. In the realm of psychology, hands also could represent the part of the psyche that mediates between the ID, the Superego, and the Ego. In my exhibition hands can be shown enlargen, cut off, holding on to something, or relaxed, they can be distorted or in fragments.

FABIOLA PATERNÒ

LAYLA PETERS

Sensory playground to evoke memories

This exhibition aims to examine the connections between art, the artist and childhood memories. Childhood experiences and memories shape our sense of self and our relationships with others and the world around us. The pieces in this exhibition have grown out of the journey to interpret and express my childhood spent on three separate continents, living within three different cultures, experiencing the joys and struggles of learning, playing and creating in multiple contexts and in multiple ways. The exhibition invites the viewer to reflect on their own childhood experiences and their role in shaping those connections.

The collection is influenced and inspired by three artists: Mike Kelley, Alma Thomas and Do Ho Suh. Mike Kelley was an American artist known for his unique approach to creating art - across genres - often repurposing everyday objects to create artistic expression. A series of his that first caught my attention was one made with stuffed animals collected from thrift shops. His art captures childhood and memory to me, mixed with a sense of pop culture and some irreverence. The second artist who inspired my collection is Alma Thomas. Thomas was a Black female expressionist painter who lived and worked alongside the American civil rights movement. Her work is bold, colourful and speaks to developing connection despite structural boundaries. Finally, Do Ho Suh is a South Korean artist whose artwork and installations explores concepts of home, identity and memories - all ideas

that I wanted to develop in my artwork.

A key theme of this collection is the use of texture in the artworks on display. Texture allows viewers to connect with the art on a sensory level. We have a natural inclination to touch and examine things about which we are curious; texture invites us to do that. The tactile elements in a piece of art can evoke emotions in a way that is different from visual cues, such as colour or form. For example, a rough, scratchy surface might remind us of a childhood memory of playing in the dirt. Texture also adds depth and dimensionality to an artwork, allowing it to come alive and engage the viewer on a new level. By incorporating artwork with a variety of textures, from the smooth and polished to the rough and organic, the exhibition creates a multisensory experience that resonates with viewers on an emotional level. The interaction between the viewers and the artworks is meant to leave an impression on both parties. As more people explore and manipulate the art, they will affect the experience of the viewers that come after them.

The textures in the artwork allow the viewer to feel the playfulness and emotion that I put into my works on a more tactile level. The interaction aspect of the pieces in the collection recreates the memory and atmosphere of the interactive sections of museums that I visited across the world as a child. I vividly remember going to science and art museums in different countries where I was allowed to play and experiment with different shapes and textures. The

sensory experience enhanced the way I interacted with the museum and created a personal and deeper connection with the exhibition content. The process of creating the artwork for this show evoked a similar sensory memory and a deep connection to childhood for me as an artist. The materials used throughout the collection add to the playful and childish experience of the art. I mainly used acrylic paint mixed with various substances (e.g., gravel, salt and flour). Further, I was able to experiment with various techniques such as gold foiling and cut-outs, and I embellished the works with hot glue, yarn and pom poms. The mix of materials offered the possibility to discover new textures and combinations - showcasing the creativity that can come from using the simplest of materials.

Ultimately, my vision for this exhibition is to create a ‘sensory playground’ of texture and memory. I want the viewer to connect with the art on more than just a visual level. I want them to experience the textures and colours - and within the art, to remember the simple joys of childhood memories.

LAYLA PETERS

VITTORIA SHAO

Capturing little moments in artworks

The theme of this exhibition wasn’t intentional. I was inspired by photographs that I’ve taken in the past months. During the process of reviewing images that I was satisfied with, I found a theme that they all had in common, or, I should say, my intention when I shot each of the images was their pleasureness. Hence, the overall theme for this body of work revolves around the notion of ‘pleasure,’ scenes, and landscapes that satisfy my flavor. By doing so, I’ll demonstrate artworks that appear fulfilling, and attractive and have the potential to grasp my soul, which prevents my attention from fading away. To share those moments during my life that made me feel relieved and shortly out of the torments encircling me. Even by staring at those landscapes, even as photographs and pieces of artwork, the pleasure they have on me wouldn’t reduce, I can nevertheless feel and recall those specific moments.

Half of my exhibition works consist of digital photography, and for the rest, I’ve applied mediums like oil paints and printmaking. The audience will first encounter Momentary, a short video with photos presented in sequences, giving them rapid glimpses of diverse scenes. They’re unable to carefully examine each image, prompting them to look at the following artworks. Moving forward, they would find Diffusion, Moon and Wave, three small-scale artworks that establish different aspects of view: the vibrant sky, the nebulous moon, and the ferocious wave. In Diffusion, I utilized Claude Monet’s painting style to depict the direction of light, as well

as his blending technique to illustrate the turbid and opaque textures of the clouds. This medium was chosen on the basis that it can accurately depict landscapes as seen by enhancing the demonstration of light within the painting. Furthermore, the same medium was used for the Moon as it has a similar role to the sun at night; it shines in the shadows to transmit hope: as a result,the more surreal the scene, the greater the viewer’s sense of being rescued is expressed. Wave is a printmaking work with wellobservable waves. Although the ocean is constantly moving but this display of waves allows audiences to have a paused view of contrasting wave movement with seafoam and the ocean. In the background, the audience will witness four pieces of collage. At the left is Collage, a set of mixed photographs that appear coherent and pleasurable when put together, although taken in a spread of time frame. Alongside, Sparkle and Volcanic Vapour represent uniqueness since they capture the reflection and movement of light. When the sun descends in the west direction, you might see the sun’s reflection in the opposite orientation with brilliant color combinations reflected on the clouds or buildings. Due to the rarity of this phenomenon, Sparkle has the property of healing my mood. Volcanic Vapour captures the light reflected to the clouds floating on top of the mountain and appears as smoke after a volcanic eruption. The last is Wait For, the audience can experience the stage of waiting. A wait without a count of time; to go and explore the unknown. Although these three stages of sunset merely took me half an hour in total, I wasn’t aware of how

long I’d been out at the veranda when immersed in the enjoyment of both being pleased to see the spectacular colors of the clouds and adjusting my camera to the adequate parameter.

In my exhibition, I arranged my works from front to back, starting with a short film and ending up with four digital photographs. The layout was designed to implant a sense of pleasure to the audience, preparing them to observe the landscapes behind the video. With Diffusion, Moon and Wave, the audience can imagine themselves at the sea, first observing the descending sun, then the conquest of the moon, and listening to the waves. At last, their tour finishes off with four sets of collages, allowing the viewer to have a direct view of distinct scenes in one go. The combination of digital photography and painting helps to convey the meaning of each artwork by amplifying the message and providing deeper meaning, perception and comprehension of displayed artworks.

VITTORIA SHAO

ALISA TILLMAN

Different perspectives; the teenage experience

My exhibition explores the multiple perspectives of ourselves and the world, demonstrating how they influence each other and cause us to think and communicate differently within environments. Through my exhibition I choose to highlight my theme through the interpretations of teenagers and the challenges/ internal battles that we face within ourselves and put out into the world. Additionally, I showcase some of the global issues which can impact the way we shape ourselves for presentation to society. Eyes are used as a key element of many of the artworks showcased to link the theme of perception together as eyes signify a gateway into the soul that defines us. Accompanying this I included characteristics of the world such as nature and personas to convey my theme. I was inspired to create this connection through my overall life experiences and how I feel as a teenager along with enlightening how the experiences of others that differentiate from my own can also be unifying. Especially since as individuals we grow older and learn what made or makes us who we are and what prevented us or pressured us to take on a character or attitude that we felt would get us further in life if we just complied to the social construct.

The materials used in this exhibition such as inks and pastels were used to portray the multiple emotions within my artworks in a bold mannerism. Ink pens are all about making a loud and clear statement as their versatile use allows it to be used alongside multiple art mediums. This suited the

theme of my exhibition well as the whole purpose is to communicate a message or a signal saying. “Hey! Look at me! This is how I feel! This is what you have made me become!”. This can also be said for the use of pastels and slight use of acrylics that are also evident amongst my words as the vast majority have a monochromatic color theme which is exploited through their use. Additionally, my choice of materials corresponds to the message of my works such as Uninhabitable, which uses ball point ink pens and acrylic paint to emphasize the importance of speech, specifically hate speech, and how the words that people communicate to us we can communicate back to ourselves causing us to feel a sense of being unable to adapt to our surroundings or our environment.

Two artists that have influenced my choice in mediums and ways of expressing my theme are Aida Muluneh and Yayoi Kusama. Both of these artists use very unique patterns in their artwork, such as Kusama’s use of dots, and very vibrant colors. I incorporated their use of vibrant colors in my colorful color scale portion of my artworks and Mulunehs’ monochromatic color scale and patterns in the beginning of my works. By incorporating their techniques into my own work I felt that I was able to accomplish adding a greater value to my artworks by playing off of their techniques to create a more evident yet thought provoking message.

The arrangement of the works is placed in the gradual involvement of color in the works circulating around

the focal point of my exhibition, the mobile of eyes. This gradual development of monochromatic to colorful color scale is to express the progression of identity and perspective issues. The monochrome scale artworks signify early development or the beginning of teenage life. During this stage the intention is to have the viewer perceive themself within the characters of my artworks and relate back to their process of self development. As the color scale increases, the perspectives of others start to become a factor in the identification process. This process continues until the perceptions of the world and the world on yourself become overwhelming, which is where full color is presented amongst the artworks.

ALISA TILLMAN

SASKA TOWLER

Good vs. evil

My exhibition relates to the popular notion of good and evil, and the emotions and feelings within those ideas. Good and evil are common themes in art, used to evoke emotions, create drama, and explore the complexities of human nature. In literature, visual art, and cinema, the duality of good and evil is often represented through characters and their actions. The portrayal of good and evil can range from simple black-and-white caricatures to more nuanced, multi-dimensional characters. Good and evil can also be used to explore broader social and political issues, such as power, justice, and morality. In the end, the use of good and evil in art is a way to reflect on the human experience and challenge our understanding of the world around us. Within my work I tried to present the multi dimensional aspects of good in evil in three major aspects. Loneliness, enlightenment and the loss of sense of self. Outside those boundaries I wanted to also be a little more literal, using traditional symbols of good and evil, for example angels, devils and the evil eye. In art, the idea of good and evil is often portrayed through the use of angelic and demonic characters. Angels are typically depicted as celestial beings with wings and halos, symbolizing purity, goodness, and divine guidance. On the other hand, devils are depicted as sinister creatures with horns and a tail, representing temptation, wickedness, and evil. These characters are often used to explore the duality of human nature and the struggle between right and wrong. Art can also be used to comment on societal and cultural attitudes towards good and evil, and to challenge

these perspectives. This is something I hopefully have eliminated throughout my exhibition.

I am using a mix of mediums within my exhibition. The majority of these pieces are oil paintings as I find that fitting to the genre I chose. There are many reasons I have chosen to favor oil paint, some of which being the longevity, versatility, slow drying time and rich colours. The colours in oil point tend to be very rich and luminous, this creates a dramatic effect and impactful images that i think work well in the majority of my pieces. I also chose to experiment with sculpture for one of my main pieces. All of my pieces add something to my overall exhibition, however, this piece brings a physical representation of the mind and personally I think it adds a sense of physicality to my overall exhibition . The final medium I chose to use is water colour. I found it somewhat untraditional for my personal art style, as I rarely use it because of personal preference. However I found that it was a great way to balance my pieces and add range to my exhibition.

As for the arrangement of my exhibition I will place my sculpture in the centre on some kind of pedestal. I think this will help ground my exhibition if there is a centre object. Furthermore as this is one of my more important pieces there is a sense of it ‘taking centre stage’ I would like it to have. As for the rest of my pieces I will be placing them by theme. As in, a piece that is more biblical will be placed next to a piece centred around loss of sense of self so as not to overwhelm the viewer with one them at one. I think

the main objective when placing my pieces is to not place too much emphasis on any of the aspects of my theme, whilst also bringing a sense of direction with my sculpture.

SASKA TOWLER

CAMILLA VITALE

Emotions; allowing us to live fully

Time is the greatest enemy of mankind. Our life, the memories and growth within, as well as every emotion felt, will die with us. As life is fleeting, so is each unique and consuming emotion felt. As the poet Robert Frost once said, “Nothing Gold Can Stay.” Nevertheless, time is a crucial concept within human life, as it also provides comfort; arguably, time heals all wounds. The continued sequence of existence, filled with evolution within oneself and those around, is unbeatable and unpredictable. As human beings, change is inevitable; and such change fills individuals with a vast range of emotions. Whether they are positive or negative, emotions dictate one’s appreciation and understanding of life within a particular moment. However, emotions are simply temporary. Though one may be consumed and deeply absorbed within their own feelings, such passion is only fleeting. Unexplainable to anyone else, no one can fully comprehend the depth of another’s true feeling and thought; yet emotions are the sole factor that dictate our perception and reaction to each moment.

Everything might be different. The unestablished future is cause for hope yet discomfort. Such mystery is revealed through time, whether it resolves itself for better or worse. This exhibition uncovers the temporary dominance of emotions, and offers criticism to society’s reaction to feeling. As human beings, the desire to expose the unknown often leads to a vicious cycle lacking satisfaction. However, the hunger for positive feelings, such as

satisfaction or happiness, tends to only disappoint. Acceptance and honesty are vital in order to let time heal the heat of one’s emotions. Instead of burying genuine feelings, embracing each raw emotion allows for the development of an individual overall. Nonetheless, such sensitivity comes in cruel forms like jealousy, dependence, and sabotage. Though this too is temporary, the torment within may feel permanent.

This Ephemeral Nature of Emotions highlights the depth of human nature and reaction. The variety of materials, ranging from acrylic paint, to pencil, or clay, resonates with the wide range of emotions exhibited. Despair, anger, and confusion in these works is shown through facial expressions and hand placement. Colors and their hues allow each work to reflect a certain mood. Texture also plays a role in depicting rough, aggressive concepts as opposed to smooth, soft ones. Such contrast is often seen whether it is of color, texture, or medium. Typically, the figures in this exhibition are colored gray, in order to emphasize the symbolism of other elements which are colored. Most of these works are done on a fairly large scale, relating to how imposing emotions may appear. They tend to uncover sincere yet specific feelings, while offering moments of reflection. The choice of the feelings selected, since most of them maintain a negative connotation, were specific in uncovering honesty and depth within human nature. Additionally, some works within this exhibition focus specifically on the result of time, as well as the distortion of time. In moments of

despair, time may feel never ending; while what one tries to hold on to never seems to last enough. As one progresses through the exhibition, different feelings are expressed in different styles; such as abstract or digital. The final poster works gather a collection of feelings and criticize society’s reaction to them. This targets how from a young age we are conditioned to feel a certain way, and is open to interpretation for the audience. However, some of the posters maintain this honest acceptance of emotion such as stuck in memories or the reliance on others approval. As the audience explores this exhibition, each artwork should resonate with a very specific, detailed emotion that surpasses the superficial ‘sad’ and ‘happy’. Finally, one may leave this exhibition reminded of how little time is given on this Earth, and the importance of embracing each minute.

CAMILLA VITALE

ERIC ZHAO

In the world there are a lot of objects that are intangible and cannot be seen with human eyes such as the shape of the wind and the color of the light. Usually time is represented by a clock, a watch or an hourglass, which is not how I wish time to be perceived as. Just like in Gabriel Dave’s exhibition: The Shape of Light, where he successfully demonstrated how light can physically be shown, I want to explore how time could be shown. When people think of time, they always think about clocks and sandglasses, but in my exhibition I don’t want time to be represented in such mechanical ways, I want to explore the true nature of time. Because time is present everywhere, I chose to represent time through a variety of media in order to express different characteristics of time. One of my artwork shows that at a specific time a certain emotion can be shown, another of my art pieces shows that through the passage of time, both creation and destruction can happen simultaneously. People say that time cannot be sensed with our five senses, but its visual trace is very obvious when it comes to aging. However, through my exploration of portraying time, I realized that time does not belong to our dimension, the 3rd dimension. Therefore, my artwork requires people to think how the exhibition is portraying time to fully understand meanings. I chose to create my artworks on a large scale because I intend my audience to be shocked and overwhelmed, both physically and intellectually. I am choosing to exhibit the artworks in a linear fashion, taking the audience on the same journey of

learning about and understanding time. However, there is one artwork that will be presented on the floor where people will stand on it and leave traces of their time they spent looking at the exhibition. I want to make the audience feel that they are standing on time and creating time.

ERIC ZHAO

ZHIROU ZHU

Characters and emotions

Through my work, I want to express the characters and the emotions that are embedded in a particular scene. As I further study the field of painting I realize that creating a full-bodied character usually requires a specific scene to express the deeper emotions of the character.

My first artwork is about doppelgänger. There are two men in the portrait. But actually, they are the same person. However, these are the two facets of its personality. Consider the simple fact that personality traits are often relative. There are always quiet, reserved people, and enthusiastic people. Or the heart has two sides, either good or evil. In the painting, the two people stand in for that. It’s also like people staring at one another in their youth and old age, different and inseparable. It also represents images of the soul, like people staring at one another in their youth and old age, different and unbreakable.I also selected a more subdued watercolor for the background in order to neutralize and highlight the portrait in the center.

The second one is inspired by music videos. the picture’s intense color saturation, the backdrop pyrotechnics, the carousel, and the aquamarine tower. That’s why I went for oil painting. the picture’s intense color saturation, the backdrop fireworks, the carousel, and the loft in teal. These objects all stand out visually in contrast to the pitch-black darkness. This work shows an image of an emancipated self. I hope to convey a sense of freedom. The girl goes

through a transition at the wealthy house of the main character, becoming more independent, savoring her “solo” moments during many dance scenes, showcasing classy choreography with a group of female dancers, and coming to a strong conclusion. The girl in the image radiates a radiance that is uniquely hers.

I hope the viewer can see this artwork illustrates the capacity to rise above adversity and rediscover oneself. It is also a background that has a guiding effect on the subject of the picture. As we can see, this is also a background with a magnificent scene. Bright neon lights on the carousel, eye-catching multicolored fireworks and a retro yet mysterious domed palace.

The most special piece of my work is the masquerade mask. These were frequently opulent dances performed for wealthy individuals and were particularly popular in Venice. Among the many uses for masquerade masks were hiding one’s identity and using different colors to exercise one’s right to free speech and express one’s thoughts and beliefs without worrying about punishment. I chose it because I believed it would allow people to be more authentic and true to themselves. People could avoid wearing the Botox grin mask by donning a physical version of it.

In my fourth work, the main character of the picture is no longer a human being, but objects. I used watercolor as the material for painting the

background. When I painted the “figurines”, I used oil paint instead of watercolor. This is due to the fact that, in my opinion, the visual impact and potency of oil paint’s colors are greater. It is what distinguishes the figures from the plain background. This is a world about objects. They also lead their own independent lives. They have also learned to use filters because their use of the Internet and social media has contaminated them. They lose their original appearance due to excessive beautify (web glow), to the point where they become lost. indulge in the virtual world without being able to leave it.

For the viewer, hanging increases the distance from the artwork, which makes them pay more attention to the painting as a whole, i.e. the harmony of tones, the overall composition, etc. However, if the display and contact is close, it will make the viewer look more closely, and they will see the deep emotions of the figures in the painting, the background or the message that the artist wants to convey in the composition.

My overall vision is emotion and character. Therefore I hope the viewer can see in this piece the meaning (behind) of the figure in the painting), and to see how the backgrounds affect the subject of the image.

ZHIROU ZHU