FIA3- Art as Code
My skateboard responded to Dr Glen Skien’s style which is to use printing to show magical patterns. It is a representation of my identity and my mental world. I portrayed my inner world as a unique planet called Exo. On planet Exo, the sky is dark but starry and mysterious with countless colorful and shining stars that lightens the planet. My artwork reflects my inner world, which is a world without loneliness but full of warmth and love. On my skateboard, s, j, x are the initial letters of my name. Blue, pink, and yellow are used to paint these three letters which are the same colors as the stars on Exo. The black background represents my inner fear, but the colorful stars dispelled my fear and anxiety. These stars are my friends and family who always unconditionally support me in my life. Without them, I won’t be the positive and independent person I am today.
Skateboard shows identities and idea of me toward my own personalities
Details and different view: Skateboard shows identities and idea of me toward my own personalities
Techniques: The moon and different color of stars are used and put on my selfie by using the app Photoshop to indicate my mental world.
Detail: My selfie related to the idea of my inner world and related to the theme of my skateboard.
Techniques: The blue and yellow starts and the milky way are used and applied on top of my second selfie by using the app Photoshop. The use of Milky Way is related to the base tone of my skateboard.
Detail: My selfie with the filter of milky way gives me the idea of my skateboard’s design and is also related with my inner world.
Techniques: The colorful planet filter is used and added on top of my third selfie by using the app Photoshop to indicate that my mental world is described as an independent and beautiful planet in the vast space of universe .
Detail: My selfie with the filter of colourful planet gives me the idea of the colour of the letters that I put on my skateboard to show my identity.
Techniques: My fourth selfie was processed by adding a black and white filter on it and a purple square around my nose and mouth by using Photoshop.
Detail: The special black and white filter and the special use of purple colour shows my pinner world is unique and different.
symbol In my skateboard , I use the color of night sky as the background. I use the colorful stars to decorate my skateboard. The stars are not with only one color but with variations of color and shape. This night sky and colorful stars are used to express the idea that my personal mental world is not a mundane world but a creative, unique and extraordinary world. My Inner world is like an independent planet in the universe. I name the expression of my mental world my planet Exo.
Selfie Planning
research •
Judy Watson was born in 1959 in Munduberra, Queensland, Australia and lives and works in Brisbane.
• The artist uses printmaking, drawing, painting and installation to explore themes relating to her Aboriginal heritage. • Watson’s matrilineal family is from Waanyi country in Northwest Queensland and her work is inspired by traditional Waanyi culture. • Judy Watson has described her experiences of travelling to her great-grandmother’s country in north-west Queensland, as ‘learning from the ground up’. It is a philosophy she has transplanted on her several journeys and residencies abroad. In 1997 she represented Australia at the Venice Biennale, along with Emily Kam Ngwarray and Yvonne Koolmatrie. • Watson’s matrilineal link to the country of her ancestors has always been central to her printmaking and painting. The hidden histories of Indigenous experience on the colonial frontier – particularly those of women – continue to inspire her. Watson seeks the indelible impressions of past presence on the landscape – rubbings, engravings and incisions – and subtly inscribes them upon her work. Often using natural materials found in situ, she colours the canvas while it is laid wet on the ground, allowing the earth’s contours to form a blueprint for the pigments pooling upon it. Forms of humans or natural features, as in saltpan, 1992, emerge from within. Watson does not frame her paintings, preferring to hang them so that they appear to float off the wall, or even spill onto the floor, their organic shapes suggesting a flayed hide.
• Abdul Abdullah was born in 1986, Perth, Western Australia. Lives and works Sydney, New South Wales. Abdul Abdullah is an Australian multi-disciplinary artist. As a self-described ‘outsider amongst outsiders’ with a post 9/11 mindset, his practice is primarily concerned with the experience of the ‘other’. Abdullah’s projects have engaged with different marginalized minority groups and he is particularly interested in the disjuncture between perception/projection of identity and the reality of lived experience. Identifying as a Muslim and having both Malay/Indonesian and convict/settler Australian heritage, Abdullah occupies a precarious space in the political discourse that puts him at odds with popular definitions. He sees himself as an artist working in the peripheries of a peripheral city, in a peripheral country, orbiting a world on the brink. His work has been censored by politicians who have accused him of attacking Australian culture, and once a member of the Christian Democratic Party wrote that he wants to “convert young Australians” and that he “worships a moon god”. • Abdul Abdullah is a seventh-generation Australian Muslim whose work addresses the politicisation of Muslim identity within mainstream Australian culture. Working across portraiture, photography and painting, Abdullah uses his experience of growing up Muslim in the suburbs of Perth, and coming of age in a post–September 11 world, to expose the prejudices and stereotypes which have demonised and marginalised Muslim youth today. • Abdullah’s work is included in numerous collections including the Queensland Gallery of Modern Art (GOMA); the National Gallery of Australia, Canberra; Artbank, Sydney; University of Western Australia, Perth; Murdoch University, Perth; Islamic Museum of Australia, Melbourne; Campbelltown Arts Centre, NSW; and Bendigo Art Gallery, Victoria.
• Dr. Glen Skien is a North Queensland artist/printmaker who relocated to Brisbane in 2007 to complete both a masters and doctorate of visual arts. After 10 years of tutoring in printmaking and associate lecturer with Griffith University Queensland College of Art, his works are often a hybrid response of print, collage and artists’ book forms. Skien has recently developed a series of communitybased workshops Material Thinking: The Poetics of Process that reinforce the intuitive and poetic associations that underpin the artist’s personal studio practice. • Skien is possibly best-known for his hybrid artist books/box works – small divided boxes that hold a range of mysterious treasures; bundles of tiny prints bound in red thread and fragmentary found objects – though works from across the range of his creative output, from large-scale multi-panel prints to small cut-paper globes reminiscent of old-fashioned dioramas, were acclaimed as far back as 2010 at the extensive exhibition, Room, Letter, Window, Map at Redland Gallery in Brisbane. Oh Bird, a much more intimate exhibition mainly due to the size of the venue, followed soon after, showing at Hand Held Gallery in Melbourne in June 2010. Hand Held was a tiny gallery in Paramount Arcade, off Swanston Street, which specialized in artists’ books and small works. Thus the exhibition showcased a series of Skien’s exquisite tobacco tin works from the series All of the things I could have told you about birds, a title suggestive of the nostalgia that is a constant element of Skien’s work. • Simple forms and objects are repeated throughout Skien’s body of work: a black gentleman’s umbrella, boats, rendered in the simplest terms, and birds. This iconography of simplicity is based upon Skien’s belief that “objects may define us,”1 and in Skien’s hands the simple objects he works with are imbued with nostalgia and layered associations. Birds have become particularly common in Skien’s work, and it seems that their symbolism is significant and personal, as metaphoric expressions of self, perhaps. A large scale multi-panel etching from 2008 bears the delightful title Biography with Spangled Drongoes, and in 1997 he established a print studio in Mackay called Silent Parrot Press.