Crush: Radical Art Therapy for the Broken-hearted

Rosie Richardson N0758429 Negotiated Project FASH30108 Cover image - Own images, 2020

3

p.9

Before All Else

p.15

Belonging

p.17

Sense of Identity

p.19

Co-dependency

p.21

First Heartbreak

p.23

Support System

p.25

Interlinked

p.27

Digital Ease

p.29

Breaking-up

p.31

‘The Digital House Clean’

p.33

Sophie Calle: Take Care of Yourself

p.35

The Truth in it

p.37

Rage

p.43

The Current Market

p.45

The Gap

p.47

Can it be Helped?

p.51 Creative Relief p.55

The Big Idea

p.57 Introducing Crush p.61

The Crush Consumer

p.69 Brokenships.com p.71

Creative Concept & Influences

p.79 Brand Guidelines p.85 The Venue p.91 The Event p.97

Route to Consumer

p.109 Conclusion p.111 Illustrations p.113 References p.115 Bibliography

Fig. 1

1.

2.

3.

4.

Asserting control over where and how you let your emotions overtake your usual sense of judgment Venting through alternate means which prevents further damaging repercussions A managed release of emotion which doesn’t impact you greater than your own temperament Damage control

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The negative connotations attached to the break-up process is detrimental to one’s mental health, selfesteem, productivity, and more. Within this report I aim to dissect the common break-up, how we face it and how we deal with it. Heartbreak is universal, in a study done in conjunction with Graeme Simsions’ book ‘The Rosie Project’, research found that women ‘enjoy two long-term relationships and have [their] heartbroken twice’ (digitalhub, 2014) before meeting the ‘one’. Results also found that six in ten Brits had given up on the concept of finding true love (digitalhub, 2014). Despite convincing results, the survey cannot be considered indicative of an entire population, due to the sample size of 2000 people. In my opinion the sample size is not comprehensive enough to represent the perpetually

changing demographic of the UK population.

There appears to be a negative correlation between the statistics for the population as a whole and for individuals aged 17-30, this is underpinned by results relating to physical intimacy and dating habits (such as cheating and blind dates). With limited study directed toward this age range, I hope to provide a youthful perspective on an everpresent matter. For the purpose of this report I will be writing from the perspective of heterosexual relationships as it allows me to offer my personal insight, though all information and text is written in a more general sense.

Fig. 2

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Fig. 3

11

Fig. 4

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“[we’re] naturally driven toward e s t a b l i s h i n g and sustaining belongingness,” Many dating terms are easily misread or used in opposing contexts, often misleading or confusing situations. One term which breaks beyond the surface is “belonging”; to belong with the understanding of “acceptance as a natural part” is to appreciate your personal acceptance and deserving to be a part of something greater than oneself (which is in contradiction to understanding the phrase in terms of being made a possession, which is void of romantic sense unlike the other). Roy Baumeister and Mark Leary (1995) claim we are all “naturally driven toward establishing and sustaining belongingness,” a statement which is representative of our reluctance to break social bonds just as much as we are eager to form them. They further establish that in many cases people are reluctant to separate from even destructive relationships, feeling as though they belong to something, which also supports theory that this sense of security expands to even toxic environments. This sense of belonging is essential to our well-being, it is the subconscious yearning for “meaningful, profound bonding.” Baumeister & Leary (1995) explain, and it breaks further than our need for “superficial social ties or sexual interactions.” Developing their logic, to feel a lack of belonging induces varied undesirable traits, such as a “decrease in the levels of health, happiness, and adjustment… Further asserting that people who lack belongingness suffer higher levels of mental and physical illness and are more prone to a broad range of behavioural problems, ranging from traffic accidents to criminality to suicide.”

Fig. 5

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Fig. 6

When single an individual has autonomy over the characteristics and traits that define them. This independence allows you to find a version of oneself that is truer, with deeper clarity and justification. It is typical for intimate relationships to fuse partners’ identities; as boundary lines are restructured, immersion into each other’s character is undeniable and makes an impression on the individuals own personality. We disturb our habitual daily patterns; our trusted comforts become vulnerable within the alteration, subsequently leading us to redefine and readjust parts of us that have previously been consistent and safe.

To have a clouded sense of oneself often generates anxiety, it is common for people to feel resentment toward themselves for giving up vital parts of their being (Lachmann, 2013). Our routine interactions

with a new partner are bound to sway some of our judgements and beliefs unconsciously into theirs. New ways of thinking and the trust that is placed in them aids us in an intellectual and moral sense. Despite this, when a partner disagrees with us, we tend to feel invalidated and devalued to different extents. Sarah Lachmann is a clinical psychologist specialised in relationship issues and self-esteem, she explains that many tend to question their own judgement, and to let your side of the argument slide, for the sake of peace or sanity, often descending into a loss of assurance in yourself. Standing your ground and believing in your views will allow you more clarity on who you are as a person, to surrender your beliefs will almost always cloud your vision of who you were before ‘us’ (2013).

Yo ua lw But ays i ou d

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in a more distorted way.

Suzann

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If you feel that the core of your identity is not validated, you may take a stand for things that don’t matter, which compels you to become an extreme version of your true self.

e Lachmann, Social

will beg in t o

Psychologist

Traits include; General mood Dress sense Personal tastes Hobbies Psychologist Arthur Aron conducted research (1992) ...

Fig. 7

to assist his theory that when in a committed and close relationship your own self become interlaced with your partner’s self.

Lauren C. Howe is a social psychologist that looked into changes and recovery in self-definition amidst rejection, she claims that “we begin to think of our romantic partner as a part of ourselves – confusing our traits with their traits” (2016), memories become intertwined, our identity merged with theirs. Research overseen by Erica Slotter (2014) further supports Arons’ claims in which Slotter observes the relationships between 69 US college freshmen over a six month period, meeting her subjects every two weeks to interview them on the status of each relationship, and if they retained a sense of clarity on who they were. Evaluating her study, the 26 students who had split up in the six month period saw a plummet in results around clarity of their own identity and self-assurance post-breakup, moreover, scores continued to decline over the remainder of the study – the more confused each patient was about their identity, the more they showed signs of depression.

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Fig. 8 Co-dependency is a Responding with Co-dependency is a term which is often fearful reactions term which is often boldly misunderstood, (such as anger, boldly misunderstood, usually associated jealousy, usually associated with self-victimisation, obsessive with self-victimisation, controlling/enabling behaviour, to controlling/enabling attitudes, desperation, over-thinking attitudes, desperation, and neediness; however, and dwelling on

and neediness; however, Ann Smith, expert on their partners or Ann Smith, expert on healthy connections with own problems Responding with fearful healthy connections with reactions two published books on or becoming hyper-(such as anger, two published books on jealousy, obsessive co-dependency, says “the vigilant) is common co-dependency, says “the behaviour, to overtruth is what had been and where being cotruth is what had been thinking and dwelling labelled in the past as dependent receives its labelled in the past as on their partners or own co-dependency is actually negative connotations, co-dependency is actually problems human beings doing nonetheless intentions are or becoming human beings doing hyper-vigilant) what comes naturally typically good. Smith is common what comes naturally andthe where being co– loving” (2015). Our (2015) identifies that – loving” (2015). Our dependent its romantic relationships are worry of rejection and receives characteristics of romantic relationships are Substance Abuse, women negative connotations, heavily influenced by the loss comes from feeling Control, Exaggerated heavily influenced by the endure dependence nonetheless are relationship we have with unwanted and uncertain intentions Responsibility, Worth relationship we have with more diversely than men typically good.Dependency, Smith our parents; if deprived of their position/ Rescue our parents; if deprived do; women exerted identifies that the and Change of caring or loving attachment(2015) to others.

Orientation, of caring or loving characteristics of worry of rejection and sentiment, to whatever Extracted from an older Orientation, whereas sentiment, to whatever Control, Exaggerated loss comes extent, there is an ongoing study in the Journal of from feeling men only presented extent, there is an ongoing Responsibility, Worth unwanted uncertain strain which continues Substance Abuse, women andcharacteristics of Control strain which continues Dependency, Rescue of their position/ into adulthood, usually endure dependence and Exaggerated into adulthood, usually Orientation, and Change attachment to others. stimulating insecurity more diversely than men Responsibility (Wright & stimulating insecurity Orientation, whereas within relationships. do; womenExtracted exerted from an olderWright, 1990). within relationships. men only presented study in the Journal of

(Jandial, 2019)

wi n

David Sbarra, professor of clinical psychology, and Cindy Hazan, professor of human development, argue that our close partners help keep our physical systems in balance. A partner doesn’t only act as a lover and friend, but also works like a “combination alarm clock, pacemaker, and security blanket”, and so when this kind of life support it taken away, we are deprived of our drug, leaving us i thdr awa l The emotional highs from love and drugs are very similar, meaning that, when the substance is removed, the comedown can be similar too.

Sbarra and Hazan also noted that when going through a breakup, adults show “many of the same signs of physical deregulation that infants do if separated from a caregiver: physical agitation, disrupted sleep, irregular appetite, and so on.”

Fig. 9

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Fig. 10

Fig. 11 Everybody shares similar emotions amidst their first heart break, often a time you felt your lowest, it can be a dampening and crushing feeling, even as a memory.

Research shows that there is a scientific reason as to why breakups hurt more when we are younger, and why your first heartbreak hits the hardest. Dr Rahul Jandial (2019), neuroscientist and dual-trained brain surgeon, explains that the brain needs to contextualise, and this only happens with age. “Brain hormones and chemicals totally dominate when we’re younger and our brains haven’t learnt to contextualise situations, like a breakup yet either.” (Jandial 2019). Our brains engage better when things are consistent, maintaining order and going through patterns allow confidence and trust in our actions and our environment, which is why new experiences (e.g. getting dumped or seeing your ex with somebody else) can perplex us, leading to distress and out-of-character reactions, and usually takes longer to process.

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Fig. 12

Wavering scepticism throughout our digital progression has affirmed that the internet can offer up a system of security and trust that we often seek in real life, this support can extend to Baumeister & Learys’ (1995) statement that we are as reluctant to break social ties just as we are eager to form them; the tools that we are using daily have progressed enough to emote genuine emotion through its platforms, leaving us as connected to our devices as we could be to a friend or lover.

Millennials and, typically more so, Gen Z evidence a higher capability with such devices, most would not remember a time before basic digital luxuries and were weaned into such developments through childhood, giving them a dependable support system special to their generations. People now find themselves supported in countless ways by their phones, with a world of information and support at our fingertips a reliance has been bounded to these conveniences’ in form of instant messaging, banking, shopping, and so on‌

Attitudes communicated through dating websites, apps, social media, and instant messenger, we have constructed new rules and conventions which challenge tradition. Our phones and computers provide us more accessibility within the dating world, often allowing users to shield themselves from the awkwardness of face-to-face allurement; such availability enabled untraditional relationship types to flourish, such as causal, open, and long-distance. A typical romance between younger generations will often be more complicated and intense, despite the encounter likely being spontaneous and brief. (Brown, 1999: 310)

Fig. 13

Our immersion into a digital lifestyle has facilitated a trust for electronic devices. Consequently, we’ve proven to have a growing “tendency to exaggerate the appeal of people we meet online,” (Baym, 2010) as all the information we desire to know about an individual is readily available; information which has been edited in their favour and judged from a generous perspective.

We have become accustomed to our indulgence of social media, though what is not ordinarily acknowledged by many is the influence it has upon

our daily attitudes and taste. Many people have become somewhat obsessed by how their online presence will reflect upon them, things as little as what coffee you snap, to the influencers you repost, to your impulse buys. As a society we crave acceptance and recognition, social media allows us to portray a constructed version of ourselves which often becomes manipulated by the content we mindlessly scroll through; these alterations also take effect on prospective relationships.

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Fig..14

Though digital platforms have increased our desire for exploration and less intense social interactions, negative qualities commonly circulate with heightened emotions, especially under the romantic category. Conversation without the reassurance of physical emotion will often present trust and miscommunication issues, especially when talking with complete strangers. Not only has dating proved its random tendency for strange encounters, some people also struggle to keep social media from affecting

say it left them feeling more insecure

of females (aged 18-34) say they continued to be contacted after expressing disinterest to somebody on a dating site/app

their relationships. Pew Research Centre surveyed 13 to 17 year-olds on teen romance in the digital age (Anderson, 2015), finding that 27% find social media to cause feelings of jealously and uncertainty about their relationship – the support system that we have grown up with has created whole communities which enable the same worries as in physical life.

say online dating sites or apps made them feel more confident

of teen daters have accessed the mobile or online account of a current or former partner

of teen daters have modified or deleted their partner or ex-partners social media profile

of teens say social media makes them feel jealous or unsure about their relationship

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“With long working hours an online relationship is like fast food, e are, ready whneanugwhty, cheap, very often eaten alone without the exhaustion of social niceties.”

Sentimental and erotic opportunities have become widespread over the internet, as temptation lingers around the spoken for. The lacking physicality to online infidelity leads people to believe that “their online behaviours [are] innocent and harmless (despite the secrecy and highly sexual nature),” (Mileham 2007) this is recognised as Behavioural Rationalisation. Studies have proved that online infidelity can be addictive (Open University, 2015), the permissive approach to online affairs, despite common perceptions of innocence, has found 40% of online affairs turning into offline affairs (Lake, 2016). An anonymous participant of the Open University study (2015) commented, “I tried to stop but neither of us could, it would start again and since so easy, with all the technology we carry around it was an amazingly comforting and sexy thing to have. With long working hours an online relationship is like fast food, ready when we are, naughty, cheap, very often eaten alone without the exhaustion of social niceties.” (Open University, 2015) Unfaithful online behaviour has reduced our clarity on cheating in general, as what we had come to understand has again been reconstructed into different territories which often follow differing codes of conduct. The cheap thrills that come from misdirected intimacy online are difficult ones to judge, the impact of devastation caused by disloyalty through non-physical contact becomes debateable as we stretch further from our traditional understanding of cheating and into new

environments. The possibility of new sexual venture is present within many top-rated apps and internet sites; research finds that Brits are checking their phones every 12 minutes (Hymas, 2018) which is bound to heighten the temptation of exploiting the quick and easy nature of computer-mediated stimulation, whether in terms of egoboost, or non-physical sexual transaction.

It had been found that roughly 72% of people had known someone engaged in a cyber-affair in 2001 (Maheu), with higher numbers of people engaged with their devices it is likely that the sexual nature exercised online is pushed by hyper-convenience and the uninterrupted digital presence. Widespread associations between sex and computers could prove that feelings of reassurance, reliability, and autonomy through our devices is what makes us susceptible to the allurement.

Connections are not simple to eradicate as our reliability and availability across the internet grows, it is easy to become obsessed with the attentive nature of online relationships or encounters as they offer escapism from a person’s physical life.

Fig..15

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Fig..16

Coping with a romantic loss is emotionally strenuous, Mearns (1991) identified over of people became clinically depressed postbreakup in a study, with

of

people experiencing moderate to severe depression.

The disintegration and

removal of someone you have loved is a weight on your emotional, as well as physical wellbeing Being broken up with is detrimental to a person’s mental stability and causes ripples throughout their life, as they lose support that had been inadvertently promised.

Mental health decline is a common consequence, it has been evidenced through multiple studies that many lose a sense of their own identity post-breakup.

Along with unfamiliar self-destructive tendencies and a coping process which is moderately parallel to grief.

Despite such evidence, the grieving process following a break-up often goes interrupted and uncared for (to its necessary extent). When a romantic relationship ends with rejection, people are finding themselves to feel “not only in agony but incapacitated� (MacDonald & Leary, 2005), yet self-medication has been found in ice cream and rebounds (but not limited to), along with a general sense of social ignorance.

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Contemporary relationships are prominently supported using online platforms, and though many experiences are shared through the phone, ending a relationship that way is never taken well, people find it cruel and emotionless.

Does breaking up over text constitute a breakup or is it a suggestion within a longer process?

Obtaining clarity through a digitally communicated break-up is difficult; lacking physical presence creates a blurred understanding of the initiator’s commitment to the break-up or to you. An online break-up closes down communication abruptly and rids the instigator of the visual distress.

“I used to make myself physically sick because I couldn’t stop digging ”

When the conversation ends, the eyes go to social media.

Those who would advertise their intimacy on social mediums have also been shown to “perform their break-up very publicly” (Boyd 2010a, 2010b; Pascoe 2010), typically through what posts they share, photo captions, videos/pictures from nights out, etc.. People that publicly share their breakup online are using the platform for validation and support (Boyd, 2010b). People vary with their reintroduction to social media post-breakup; some find comfort in it where many find reminders. A cause for distress falls on the ‘digital house clean’ (Pascoe, 2010), which is the disposal of the relationship’s online presence.

The ‘digital house clean’(Pascoe, 2010) creates a scattered representation of the past period of your life, for some that period can be a substantial amount which leaves the heartbroken without the previous visual documentation/ scrapbooking that they found comfort and validation in. With already heightened anxiety around your selfawareness, the disposal of photos, contacts, and status’ leaves you with little to visually reflect upon yourself. Our profile appears to be ‘redefined’, foreshadowing life without them and a dated version of oneself. An often-forgotten detriment is the insecurity that follows at the close of an intimate relationship; the break-up has capability of inflicting a longer-lasting damage to their mental wellbeing.

The heartbroken often use social media excessively to feel

some presence to their ex; 30% of young people have said that their partner had invaded their privacy at least several times daily by reading their texts and checking up on them online (Digital Abuse Study, 2009). An interview respondent who spoke to me about her lifestyle amid heartbreak told me “I used to make myself physically sick because I couldn’t stop digging ”(See appendix, p.37), calling herself “obsessive” during the period following the breakup.

Where it can be said that a digital separation closes communication abruptly, it also has the capacity to increase your online engagement with the ex, as curiosity, paranoia and an open door ends in profile stalking/intrusion – “ I hacked into his social medias, I just really didn’t trust him,” (See appendix, p.37)

Fig..17

Fig..18

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Sophie Calle

Sophie Calle

What is it?

After receiving an unexpected email from a past lover ending their affair, Sophie Calle asked 107 women to analyse the letter according to their professional interests – creating an exhibition of varied critiques and interpretations in all forms of the message. The range of profession goes from psychologists to dancers, including a parrot that ate the email and a ‘sharp-shooter’ who shot holes into the text. Take Care of Yourself exhibits an eclectic mix of response to a singular ‘dumping’.

What can I take from it?

The broad range of perspective, and its confrontational nature. Those involved have created passionate responses to the email, as Calle creates something greater than her heartache, confronting unsettling and unsavoury emotions and allowing others to give an outside view. The exhibition is a space for reflection, taking greater care in understanding somebody else’s actions it gives spectators a nostalgic feeling to previous break-ups.

Fig..19

It exhibits the diversity of reaction and understanding. Calle claims it was a way to “take care of [herself]” (2007). She is known to use her painful life experiences and display it through means of visual exploration as a way of sharing her grief and taking time to come to terms with the pain. Take Care of Yourself drops the spectator into 107 points of view, in the style of crosswords, dramatic reading, analysis of the actual email, and more.

It turns something which was surreal and emotional to Calle into an eclectic critical analysis, showing the range of perspective and expression toward the careless break-up – it is a ‘universal document of how it feels to grieve for love’.

Fig..21

I received an email telling me it was over.

I didn’t know how to respond It was almost as if it hadn’t been meant for me.

It ended with the words, Take care of yourself. I followed this advice to the letter I asked 107 women (as well as two handpuppets and a parrot), chosen for their profession or skills, to interpret the letter.

To analyse it, comment on it, dance it, sing it. dissect it. exhaust it.

Understand it for me. Answer for me.

It was a way of taking the time to break up

a way to take care of myself.

Fig..20

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Many people will overlook their depression as sadness, leaving their mental health bruised. Denial can create a lack of consideration for their own feelings within the situation. Feelings are often prolonged because of the individual’s disassociation to them, disguising negative feelings which will inevitably prolong the situation.

The media will often present the heartbroken as an immobilised girl sobbing into a bucket of Ben and Jerrys, but we know that is not always the case. The messy breakup has been under-represented, leaving people feeling guilty over their shortcomings.

I held interviews with eleven 19-23 year-old women on how they coped post-breakup (See appendix, p.37) to understand the different approaches and experiences to heartbreak from a more personal perspective.

did you consider seeking help?

Fig..22

“The whole situation kick started me feeling so down all the time that I went “Nothing other than talking to my to the doctors for anti-depressants” friends them as the but I was a y we b bit reluctant did rok to tell n’t like him so they were really happy e u p w hich didn’t help m e feel better”

“eventually yes.

“I thought I was

But for

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much the anxi ousness not so actual a p break-up syc and ho like from the 2 ye “No as I fe stalki ars la ng of social media and stuff but I ter” wa like not a s lo n ot t o “No, depres I don’t think it’s talked about and f people se w y

ould

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The only help I go t was f rom my family an d frien ds!

”

“friends would sta rt screenshotting a nd sending [his instag ram activity] to me when weren’t doing it m yself, so I couldn’t escape at all”

“these feelings wouldn’t

go away on their own and this was something I needed to get over by myself”

a month or “[I had] maybe like dness then I two of just straight sa meone new started talking to so distract me” and it really helped

Fig..23

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Fig..24

what made you angry? people telling me i’ll be okay instead of actually asking how I am.

Converse trainers.

cans of Jo h n Smith.

music we’d listen to together.

seeing pictures or places that reminded me of him.

that I was the last one to give up.

his car.

seeing other couples. celebrity crushes I knew he had. people asking about the situation.

his new girlfriend.

The period following a break-up often sees people succumb to self-destructive tendencies as a result of the anger which is commonly experienced within the stages of grieving. Often impulsive and mindless, this is when the wrong things are said and done which typically leave you with a greater sense of regret. “Anger is hiding many of the emotions and pain that you carry,” (Holland, 2018). Described as a “masking effect” within Hollands’ explanation of the five stages of grief, she suggests that the frustration regularly leads to misdirected anger, inevitably adding to existing stress and negativity.

The excess of anger can frequently expose itself within self-destructive comforts, such as intoxication through alcohol or drugs, to sexual encounters.

No matter how destructive behaviour is expressed, it is usually an act of impulse. Though venting the negative feeling out is a good release for you in the short term, it is bound to contribute to the existing mental strain that you are experiencing - especially if that expression is misdirected around friends, family, or work.

Within my primary research, 90% of participants communicated a memorable sense of anger postbreakup. “I was just so angry, that’s it. No sadness or anything else, and I’m still angry now looking back” (See appendix, p.37) Holly explains a prolonged frustration, behavioural research on personal management of intrusive thoughts suggests that “suppression appears to have a paradoxical effect in that it produces the very thought that is to be avoided” (Marcks & Woods, 2004). The suppression of raw emotions around such intimate circumstance is bound to become frustrated into a drawn-out process, likely to impact your mental outlook and other relationships. Along with feelings of anger, 60% of subjects expressed some form of anxiety.

(See appendix, p.37) “Findings suggest that when one’s state of uncertainty is avoidable, anger is experienced alongside anxiety” (Anderson, Deschênes and Dugas, 2016); many feel as though the situation is “happening before [their] eyes with no control”(See appendix, p.37)), “avoidable” in the eyes of a person in grief becomes trivial and irrational, creating a tedious cycle.

Fig..25

37

As previously explained (See page 19), the emotional strain which comes from such heartbreak can be tougher to endure when you are unfamiliar to grief of that version.

The unanticipated jolt to reality often causes detriment to the individuals mental and physical wellbeing, as well as inflicting broader damage (onto your mental health, work ethic, other relationships..) as you learn to manage emotions you hadn’t experienced before.

Within my primary research (See appendix, p.37), I found 90% of subjects to communicate a memorable sense of anger within their interviews, despite the difference between each separate intimacy. The pent-up anger within grief can be destructive, misdirected, and regrettable, proving negative impact to unassociated elements of their life. Typically revealed through a moment of unexpected rage or frustration, the extent of your release has potential to damage existing connections as it intrudes into unrelated personal and professional environments.

What do you think would have helped at this time?

“I felt constantly angry, upset and hurt for weeks.”

“You think it would help but it just made me feel like a massive slag”

“I began to become angry “to not rage at “Him. Anyone that was and everyone friends with him in any kind of way.” resent and everything him for all the time” doing it” “I also felt angry because in the end… I wasn’t in the wrong!”

“I’m still definitely holding on to some bitterness.”

Anything you couldn’t stand?

“I was upset at first and then angry that I had no say in it and it was happening before my eyes with no control”

“…I became quite embarrassed and frustrated that I was being like that. Being really selfcritical”

“Better to be angry than sad, hating him made it easier to get over so I thought of the things I didn’t like about him”

“pretty much angry thoughts remembering all the bad stuff and being frustrated”

“I was just so angry, that’s it. No sadness or anything else and I’m still angry now looking 39

is an our anger in h it w t a on, th d consolati ies suggest n d a u rt st s fo u m o o ri c Va both y Enjoy us relief of You Secretl sks; y h W unconscio “ g explainin Seltzer a in an article ” (2018), Ph.D. Leon gry Getting An

for your ithin cidence n i o c a reflect w t o o t n s s e i i it end to It /insecur hat we t s t e s s s m e i n a k l c in an wea Seltzer o anger , t e g y a l r e v r i ct rself,” you n instin cate you r i u d t n i t v s o r o lanket alm validate omfort b c o t f “ o t d r n effo a ki lessreative of the ‘ e v ss, (2018) c i s s e as sadne suppr h s c i u s h c , i wh ions ng’ emot empoweri t. i u and g l anxiety,

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There is lacking support for young individuals grieving a break-up, with online and physical platforms being hugely targeted toward divorcees and parents. Though these platforms are inclusive of Gen Z and Millennials, their approach is more than often daunting and aggressively ‘official’, which they are not connecting to. The existing support tend to overstate or imply a greater sense of tragedy, which leaves those without ‘much to lose’ feeling less significant; in my research, when asking if participants if they sought help, one replied “No as I feel like not a lot of people would care” (See appendix, p.37) From my primary research, only 30% of girls sought help post-breakup due to deteriorating mental health, with one subject feeling suicidal, as an inadvertent implication of the separation.

Fig..26

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the gap

“I hadn’t really gone throug h a lot of life experience at that point either and so this was the bi ggest thing to have ever happ ened to me.”

(See appendix, p.37)

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Non-

The conversations following a breakup often consists of half-hearted support or irrelevant wisdom, which can leave the individual misdirected; to help the heartbroken it is important to understand that this grief varies, no two people will experience a loss of love in the same way.

One interview participant, when reflecting on what could have helped her amid the break-up, mentioned that “[she] would say somewhere to have the opportunity to speak to a stranger online about the breakup, but honestly I don’t think I would even use that” (See appendix, p.37) suggesting that it isn’t verbal support that heartbroken are necessarily needing, but some form of emotional consolation. “nothing else anyone else said would change my mind or how I felt” (See appendix, p.37)

It could be said that Gen Z individuals are

verbal

s

upp seeking validation ort more so than genuine support and guidance; as previously suggested (See page 23), Gen Z have found security and reliability online.

Our need for consistent validation and approval received through digital mediums has potentially transitioned to our physical reality.

Individuals may prefer to be in an environment which allows security of their emotions within conversation, alongside some form of physical release.

For instance, having discretion of their stories; allowing people to be in an environment of likeminded people without having to regurgitate the same story again. A focus on emotion and wellness in terms of helping people discredit their irrational thoughts, and to have a release of anger which may prove beneficial for the individual’s mental wellbeing and future interactions.

Friends POV

Despite this, 90% of subjects suggested that they struggled to socialise within one point or another postbreakup (See appendix, p.37), suggesting a lack of social belonging. “my girl-friends would always

try and I was and see what was going on and how felt too overwhelming” Alongside this, more and it just - Elisa, SEE APPENDIX!!!!

50% of those participants describe friends and/or family having an unintended negative influence upon their ability to cope. Some individuals claimed to simply “n o t [ b e ] o n e o f t h o s e people who talk about sensitive topics with [their] family”

(See appendix, p.37) hich can leave you without an environment to be emotional openly. Other circumstances presented a misinterpreted approach of support; “f r i e n d s w o u l d e v e n s t a r t

screenshotting and sending it to me when I weren’t doing it myself, s o I c o u l d n ’ t e s c a p e a t a l l ” (See

appendix, p.37)which inflicts an incontrollable negativity upon the individuals daily attitude.

Such research suggests that targeting friends and family could be an effective route toward helping them be more constructively supportive. Somehow communicating with the surrounding support about the enabling qualities they’re assisting alongside suggested sense of conversation which is approached from the heartbroken mindset. There should be beneficial communication with the surrounding support to address their negative tendencies as well as informing them how they should be helping their loved one in their time of disturbance.

Fig..27

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Preventing isolated decline

Fig..28

“these feelings wouldn’t go away on their own and this was something I needed to get over by myself”

(See appendix, p.37)

A common tendency is the belief that we need to cope alone. Wavering social interaction can be a detriment to the individuals mental health, with 60% developing anxiety amid their grief which can often be enabled by irrational thinking and a sense of hopelessness. It could prove beneficial to create a space for individuals to be with friends without the pressure of normal social anxieties; purposeful and positive distraction which avoids the normal aggravations and accidental negative conversations whilst informing all those involved how to be a positive influence during the grieving period.

The ‘break-up breakdown’ has been so normalised within film and tv that the detriments to your emotional and physical being are often downplayed; people tend to invalidate their raw emotion when they see it as a natural and common reaction. As individuals accept that “this is what everyone feels during the time” (See appendix, p.37),

they may begin to accept the inevitability of those emotions, embracing them whilst enabling a greater negative influence.

This period of, often destructive, healing could be critical to your mental health and social situations surpassing the time of distress. Therapy and other types of support can be a daunting prospect which many wouldn’t consider post-breakup (See page 35) often regardless of their levels of distress. With this knowledge is seems necessary to educate individuals of a healthier coping process under a less ‘medicated’ aesthetic by respectfully veering from the traditional versions of official support.

Embrace and Relieve – not Distract and Escape Each individual’s means of distraction disguises itself as an escape; where some will find themselves engrossed in digital mediums, others escape by over-sleeping, some by promiscuous encounters. These forms of distraction are a quick fix, ones that incompletely relieve you of reality and briefly preoccupy the mind, but this tends to leave the individual chasing distractions to temporarily lift the weight of their upset.

used TV and Film as a distraction

were consoled by sexual desire or contact

had an overreliance on social media

indulged in distractions which are likely to have negative influence (including intoxication and sexual indications)

Fig..29 Despite the entertainment of an easy distraction, one interviewee claims, “my head was definitely jumbled at the time; it would have felt good to concentrate on something else or nothing at all… Anything to feel that kind of relief,” (See appendix, p.37) Suggesting that the chaotic notion of having to occupy the mind through easy and quick distractions disrupts your clarity and stability in a scramble for a quick fix, whereas confronting the emotions you are trying to escape could be a better way of dealing and understanding them better.

Rather than dealing with the repercussions of negative distractions, focussing on those unavoidable feelings, and working them into a constructive outlet with better coping mechanisms could prevent a further decline of wellbeing. “[I had] maybe like a month or two of just straight sadness then I started to talk to someone new and it really helped to distract me” (See appendix, p.37) Some will become so distracted that they do not get closure of these emotions, causing them to resurface within your self-confidence and future relationships.

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The Great British Creativity Test, commissioned by BBC Arts and BBC Learning (Fancourt et al.,2019), analysed the link between creativity and wellbeing with a sample size of almost 50,000. The test found there to be “three main ways we use creativity as coping mechanisms to control our emotions:

1 a distraction tool - using creativity to avoid stress

2

a contemplation tool - using creativity to give us the mind space to reassess problems in our lives and make plans and a means of self-development to face challenges by building up self-esteem confidence

3

The study also found that “nothing beats taking part in live creative activities that involve face-to-face social interaction,” (Fancourt et al., 2019) after finding great emotional benefits from people who participated within a live choir.

Being creative has proved beneficial to people’s emotional health (Fancourt et al., 2019), regardless of the individual’s skill level or the duration spent on the piece. ‘Art Therapy has proved constructive for those suffering any type of trauma, as well as people simply feeling overwhelmed by their current situation. Such creative outlets give those who are feeling disorientated the time to “navigate their thoughts in a productive way” (ICS Digital Therapies, 2019). Artistic therapies allow an individual to confront hurtful emotions, and though the short-term of this can be emotionally draining, it can be highly cathartic and beneficial to your mental wellbeing.

Fig..30

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“I suffered 2 grave ne o : fe li y m in ts n e id c c a in which a streetcar The … n w o d e m d e k c o kn o.” g ie D is t n e id c c a r e oth Friday Kahlo

Fig..31

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Fig..32

Giving those who are struggling with their emotions a space to rage and relieve frustration within a contained environment, solely focused on action and release of emotion.

The aim is to prevent the heartbroken inflicting further, unintentional damage by allowing them an uninterrupted outlet to come to terms with their situations in a constructive and positive experience through alternative therapeutic methods.

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Fig..33

Crush is an event giv the heartbroken emotional relief throuing gh liv e art, leaving the outcomes un destructive touched to be exhibited.

Crush is the outlet for a contained breakdown which gives individuals the ability to relieve overwhelming emotions into auto-destructive art.

like-minded Creating a netwthoreyk of can feel people, where norm al. understood and

17-25-year-old females

needing to relieve their anger and frustrations post-breakup

To give our individuals a relief from antagonizing emotions and prevent them from inflicting further damage upon themselves as consequence of suppressed and misdirected rage.

Younger generations are not typically given a positive and uninterrupted outlet to grieve their break-ups in the same way that older generations are, Crush is tailored for the first heartbreak of emotional significance. Confronting uncomfortable emotions is likely to prevent them impacting your future relationships (platonic and intimate), and benefit your mental wellbeing (Fancourt et al., 2019).

An exhibition space which celebrates new art, the Tanks host performance, live art, and video installations within the concrete setting. The space will be transformed into an ethereal artistic experience.

Each individual will need Crush at differing points of their grief, the anger that Crush is influenced by can come immediately after a break-up, or much later down the line.

Individuals will Crush when their anger becomes more damaging them more than the break-up was. Most will come to vent when they feel they haven’t had an outlet yet.

Crush is strictly not using digital platforms as an attraction; with research finding that the heartbroken are negatively impacted by their use of social media (See appendix, p.37), we will advertise through social media only to deter individuals from their screens – disrupting their mindless scrolling by giving them a mindful task for a moment for composure.

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Fig..34

...getting you out of the house

...used to your own advantage

...rage without repercussions ...raising awareness to the detrimental affects of a heartbreak, regardless of age

...allowing a physical relief ...giving individuals a viable outlet for their emotions which ensures support around likeminded people

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Fig..37

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61

Fig..35

ic why i ohuldn’t understand ad to go through it

the heartbrok e Angie22, London

or in this case,

n

Angie is an undergraduate student in London and lives at home. She has recently gone through a break-up from a 1 ½ year relationship and has spent a ridiculous amount of time in bed, consoled by the Kardashians, Instagram, and Deliveroo. After time to overthink it, Angie has began feeling frustrated about her break-up situation, with a sudden aggression toward the ex.

Communication with him has ended, and though she talks to her friends constantly on WhatsApp she doesn’t want to bring up her affliction because she can’t be bothered for the conversations that follow. She’ll send a funny/ depressed Snapchat instead. The pentup anger becomes misdirected at her family over minor things, leaving her distanced from them.

Since the break-up she has skipped any days at uni starting before 11AM, not being ‘awake’ enough for the hour-long journey she spends reading the train adverts. Angie stays in bed mindlessly scrolling on Instagram, occasionally checking his Snapchat for any activity.

She has a mindful colouring book that she got two birthdays ago and has just started but finds it more distracting than enjoyable. She was planning on moving out with her ex but feels a bit lost around what she should be working toward now.

But she does not want to think about that right now, Angie gets a McDonalds delivered to her instead. She’s lost weight quickly over the past couple of weeks but will always have time for a Mayo Chicken. Then it’s back to Instagram and KUWTK.

63

Fig..36

you think

it would h e but it just mad [in that tilp e me me] feel like a massive sl*g

or in this case,

ail

s

Delila21,h Essex

m ice

22 drunken v o

Delilah lives at home and works part-time in Topshop while she is figuring out what career path she wants to follow. Her plans were based around eventually moving in with her ex, so the break-up has left her without a sense of direction, feeling an overwhelming uncertainty which contributes to recent anxiety.

Every time she thinks about the break-up her blood starts to boil, resenting him and even herself a bit. Every time she sees a Vauxhall Corsa, she gets the urge to key it.

Delilah’s friends parallel her high emotions when venting about the ex; she texts them about how she feels a lot, but often comes away feeling even more riled up. Sometimes she doesn’t even need to start the conversation before she is sent screenshots from his Instagram by them (usually something provoking, like some new female attention).

The past few weeks Delilah has been going to pubs and clubs a lot more than usual, taking up any motives that come her way. Hoping he is just as concerned with her, for every night out she posts a new sultry pic to Instagram – just to show off.

Getting drunk at least 3 times a week, she finds comfort in being plastered with her friends. She tends to be overly flirtatious when intoxicated, which haunts her when hungover as tipsy memories of grinding on about 50 strangers surface.

Even so, she still orders a new outfit from PLT and gets ready at the same time next week.

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To create an escape within immersive radical art, which allows heartbroken individuals to vent their suppressed emotions

For individuals to learn sustainable self-destruction which benefits their mental wellbeing

Giving individuals the opportunity to use the event as a starting point into understanding their emotions better

To shed light onto the detrimental impact a first heartbreak can have

To create a space which is solely focussed on physical release through auto-destructive art

For our consumer to leave with a weight lifted from their shoulders

To be considerate of the different mindsets that will get involved with Crush

VISION

Crush will be a trustworthy space for individuals to be open and careless

To exhibit the benefits of confronting touchy emotions

PROMISE

chest

You will get a lot of sh*t off your

Your pent up anger will be relieved

VALUES

The freedom to express raw emotion

The power of art therapy

PERSONALITY Fig..38

Supportive

Expressive Raw Passionate Liberating

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Brokenships.com is the online presence of the Museum of Broken Relationships (based in Los Angeles and Zagreb); with an open call for contributors keepsakes from past love, their virtual space is universal and allows people to post intrusive anecdotes about the things they’ve held onto for years.

They catalogue an honest overlook of heartbreak, whilst offering the contributors “therapeutic relief or simple closure,” (Brokenships, 2016) Most people reminisce on a relationship from many years ago, each displaying a different attitude toward their lost love – the site actively exhibits the many normal reactions to heartbreak. Typically showing a large gap of time between most people’s initial heartbreak to them posting on Brokenships.com, it seems obvious that their lives would have changed dramatically since, which may leave them without a viable outlet or anyone to vent to.

Fig..39

The anonymous platform allows people to reminisce without outside reaction; with no shame in their lingering thoughts, and no interrogatio n over ‘what it means’ by friends, or even official sup port. The site allows your feelings to simply exis t within a catalogue of diar y-style posts from all over the world, without any pressure of analysin g or acting upon the tormenting emotions the indi viduals often vent about.

Their minimalistic design offers an ope n and insightful view into a diverse range of people, giving us the opportunity to flick through realistic stories of the tolling affect of a heartbr eak, with some still showing harsh emotional stra in.

Many of the stories are from peoples youth, proving the lasting effect that insufficiently coping with a break-up at the time can have. Though many of the stories are light-hearted and reminiscent, a lot of them demonstrate a prolonged emotional torment about how the situation was left. The site echoes through the exposure of true emotion, the lacking physicality takes away the risk of enabling or badly worded conversation and has an overall feel of acceptance and normality.

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Fig..40

creative concept

Rip It Up and Start Again has been inspired by the

Fig..41

71

The auto-destructive art movement was born as a form of protest, ‘destruction as part of the creative process’ (Tate, n.d.) was led by Gustav Metzger after WWII after outrage over the invention and use of nuclear weapons. The idea of an altered perspective is played with a lot through auto-destructive art; where some have sole intention of changing your viewpoint(See fig.43), others will take a less obvious approach (See page 74).

Fig..42

Crush has been influenced

by Auto-Destructive art hugely, taking inspiration from its overall imperfect and demanding expression.

Crush’s radical art therapy events will follow similar direction to the movement, where we allow total freedom of emotion.

Fig..43

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Gustav Metzger

(Metzger quoted by Stuart Jeffries, The Guardian, 2012)

The important thing about burnin g a hole in that sheet,

was t h a t i t e n e d o o pp e n ae d a uu pp w nn ee w v v ii ee ww across the Thames of St Paul’s cathedral.

Auto-destructive art was nev er merely destructive.

create shapes. you cr and you as nv ca and eate shap a s y ro a st v De Destroy a can es

Fig..44

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Fig..45

Fig..46

Crush shou ld embody the chaos of a renaissa nce painting.

The chaotic vibe which is repeatedly depicted within paintings from the Renaissance has inspired the nature of Crush; an array of emotions are exhibited, from lust to rage, and washed with indulgent textures and rich colours.

I want crush to be a modern day immersion to a renaissance painting - full of passionate emotion and impetuous decisions.

a French word that means

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brand guidlines key colours

The colours are washedout tones, rich but inky.

Inspired by the similar was h of shades through renaissan ce pieces as well as in a lot of Daisuke Yokota’s colour photograph series Texture and pattern is a big part of Crus hs’ design recipe as they are contrasted throughout.

Crush uses a mix of

peeled wallpapers aged/worn surfaces

metallics

paper marbling glitches

Fig..47

printmaking

to create a rough and ready aesthetic which encourages an experimental approach to the event for the consumer

Fig..48

The mix of fonts are supportive of the expressive and experimental nature of the Crush design. Bursts of Subway NewYork Std contrast with Consolas and Futura as the ‘rash’ or irregular voice felt by the consumers

Subway NewYork Std Consolas

Futura PT

Regular Regular

Book Book oblique Demi

79

brand guidlines

Glitched cherubs are featured throughout the brand identity, a representation of the julted ‘innocence’ from heartache.

Within the Renaissance, cherubs persisted with a curious and cheeky personality -Crush ch

erubs are manipulated into the angels which in evitably follow Cupid

Fig..49

Crush’s logo is a hand-manipulated cherub which promotes the brands experimental and creative traits; the roughness of design isn’t threatening to non-creatives

It’s a physical representation of flipping (or folding) something and seeing it differently

The alternative logos for Crush are from playing around with the brand name by hand and scanner - working by trial and error, we cherish random and ‘bin-able’ creativity

Fig..50

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tone of voice

Fig..51

From interviews (See appendix, p.37) and conversation, it seems people want someone around to talk to but not necessarily for verbal support,

(About what she thinks would help)

“I would say somewhere to have the opportunity to speak to a stranger online about the break-up, but honestly I don’t think I would even use that.”

Crush will be straight to the point and stripped of sugar; the Crush consumer is looking for support without an overbearing tone, or anything too dramatic. We are inclusive of those who are just feeling pain from the heartbreak (opposed to a mental decline), therefore keep our language short and sweet so not to over-define the consumer.

The language is intended to engage the individuals with their self, in terms of thinking deeper into their feelings and emotions. We will influence them into being more in-touch with what they’re feeling and discourage distraction from their damaging qualities.

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The Tanks Tate Modern at

The Tanks are the ground floor galleries of Tate Modern celebrating new art by exhibiting live art and performance art.

Crush will take over the space for a threeday event which will immerse participants into an ethereal and emotional experience.

We don’t want people to feel constricted or overwhelmed, the open space allows them to interact with the event however they feel comfortable, whether it’s a step to the side or to get lost within the experience.

Fig..52

Fig..53

Fig..54

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Fig..55

pattern

xt u te

an

res

d p op s

Fig..56

of

r ich to n

es

space

lighting

ic

rs lou o muted c with d he ta as m me o r f W sses t c e e r l f g re ro ll p i w g Dim lightin nt e v r a the e e t l a s will ce a p s e Th

ll

We will be using the industrial looking sp ace to cre a t e an ether experience eal which imme rses indiv into organ i d uals ised chaos .

87

The event will have activities which work with

fabric and photo manipulation (e.g. tearing them apart and making something new)

easels are set up for people to be impulsive and original with paints (probably just by smacking that sh*%t on there)

spaces to basically just smash sh*%t. Similar to rage room experiences, but we’ll call it art

a graffiti wall for anyone to go crazy on (full well knwoing it will end up covered in d*%cks)

crystal resin workshops to preserve that thing you can’t get rid of

and more...

Fig..57

89

Fig..58

91

Fig..59

93

Fig..60

95

Fig..61

97

Designed to be thrown away, Crush is going to distribute paper bags used for takeaway delivery to meet the consumer in their homes and subtly promote random moments of creativity.

The bags have a template to rip out and create an origami heart, which when folded shows the Crush logo.

The heart isn’t intended to be kept, it represents that you can make something you like and still throw it away – as well as encouraging mindless art from everyday objects.

Fig..62

Fig..63

Fig..64

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Crush aims to use online platforms to divert the consumer from their phones; primary research found that the heartbroken become over-reliant on social media (See appendix p.37) as means of distraction.

The ads are kept subtle as to intrigue the individuals. Sponsored ads will be shown on Instagram stories which have a link which opens the Tate Modern website on our event (see page 85). As well as this, there will be small and simple crafty ideas to get the individual off of their phone; an example is the origami instructions, which can be made from any scrap paper lying about.

Fig..65

We want our consumer to be more creative and spend more time from their phones to create something, even if they hate the outcome. The quick crafts option will give them five-minute tasks which hopefully turn into everyday habit, whether it is instructed or mindless.

Fig..66

101

2:AM is a mental wellbeing publication for students that struggle with loneliness and sleep; in keeping with Crush’s empathetic yet motivational approach, we have published an article within the zine which will be shared around NTU. The feature should traffic younger people to Crush, as it is amongst students who would share with their friends if they see the article, and with students having connections across the country it is easy for them to pass on the message down to friends in London if they wish to.

The article touches on the honest detriments of a break-up, informing the reader on why they’re dealing with a heartbreak that way. Its end message is an encouragement to get creative with their feelings of frustration into a physical release, with little suggestions of what to do.

Fig..67

Fig..68

103

Fig..69

105

Pop-up adverts will be used on sites like PLT, Boohoo and Missguided to raise awareness of Crush, as primary research found individuals to be buying new clothes more frequently (see appendix, p.37) for nights out and to make their ex jealous on Instagram. Design of the ads will be subtle again, as to speak more engagingly to the reader, with

Fig..70

simple messages like ‘buy something you like, not what you think they’ll fancy you in’ which is more food for thought. The pop ups will have links which follow the same as the Instagram adverts.

We will have posters scattered around greater London which bluntly state the nature of Crush, giving them a general idea of the event. They’re intended to catch peoples eye as they walk by, boldly stating ‘Radical Art Therapy for the Broken-Hearted’ – hoping for our consumer to pass by either on their day-to-day or going to/from a night-out in the

Fig..71

city. Those who aren’t typically our consumer will see the posters and send recommendations to their friends that they think are in need of Crush.

107

There are younger individuals grieving recklessly after their first emotionally significant heartbreak; their typical actions and mindset in this period are altered with many facing a mental decline or weakened social bonds. Crush focuses on the anger of the heartbreak – the emotion is suppressed and misdirected which is causing them issues in the long-run, despite half-hearted efforts to distract and escape it through social media or intoxication. Crush encourages the expression of honest emotion as a form of relief, methods of sustainable self-destruction are implemented to free those that attend the event of their pent-up aggression and leaving them with a sense of closure and greater understanding of themselves. Crush has the potential to occupy spaces across the country and to further explore space and a broader range of activities for our consumer.

Fig..72

109

List of Illustrations 1.

Yokota, D (2014). Untitled, Abstracts series [image] 2.

Own image (2020). Glitched (graphic) 3.

Crossfield, A (2015). Framed (after Durer) 4.

Smilde, B (2014). Nimbus Dumont, Italy: Ronchini Gallery 5.

Own image (2020). Together (graphic) 6.

Woods, P (2019). Mother, 65, and what’s caught her eye [image] Available at: https://

www.instagram.com/p/B2cQJRGgNeH/?utm_source=ig_web_copy_link [accessed 05

April 2020] 7.

Own image (2020). Compromised Traits Infographic 8.

Oosterhof, J (2012). Lernert & Sander for Shots Magazine [image] Available at: https:// www.behance.net/gallery/3086603/Lernert-Sander-for-Shots-magazine [accessed 17 February 2020] 9.

Knight, N (2012) Rose IV [image] Available at: https://www.showstudio.com/projects/ roses-albion-barn/albion-barn-rose-photo-paintings [accessed 10 April 2020] 10.

Abramovic, M (1980). Rest Energy [performance art] Available at: https://youtu.be/ s9tK01PlpDU 11.

Sanchez, L M (2011) Dardos Corazon [sculpture] Available at: https://www.flickr.com/ photos/afrolindajoyas/6127910854/ 12.

Pickersgill, E (2014). Phyllis Photographing [image] Available at: https://www.removed. social/united-states [accessed 20 April 2020] 13.

Bonhomme, O (2017). Le Monde Newspaper Illustration [image] Available at: https:// www.behance.net/gallery/48769119/Le-Monde-Newspaper-Illustration-4 [accessed 9 April 2020] 14.

Nukem, H (2019) 21st Century Romance [image] Available at: https://www.hungertv. com/editorial/haris-nukems-photography-satirises-the-ideologies-of-the-21st-century/ [accessed 14 April 2020] 15.

Ludwig, D (n.d.) [painting] Available at: http://danielludwig.com/ 16.

Own work (2020) Double Take (graphic) 17.

Oursler, T (1994) Judy [Installation] Available at: https://pt.museuberardo.pt/colecao/ obras/926 [accessed 7 April 2020] 18.

Brest Brest Brest (2014) L’Aeronef [print] Available at: https://www.brestbrestbrest.fr/#/ aeronef-1314/ [accessed 7 April 2020] 19.

Calle, S (2007). Take Care of Yourself [image] 20.

Calle, S (2007). Take Care of Yourself: View of the French Pavillion [exhibition space] 21.

Calle, S (2007). Take Care of Yourself: View at the Bibliotheque Nationale de France [exhibition space] 22.

Own image (2020) Glitched Curious [graphic] 23.

Own image (2020) The Truth In It Infographic [graphic] 24.

Own image (2020). Mixed Up [graphic] 25.

Kruger, B (199). Don’t Make Me Angry [image] Available at: https://www.incollect. com/listings/fine-art/photographs/barbara-kruger-dont-make-me-angry-280615 [accessed 20 April 2020] 26.

Uberti, M (2003). Altro Spazio [installation] Available at: https://lightartblog. wordpress.com/2013/07/02/altro-spazio-by-massimo-uberti/ 27.

Own image (2020). Glitched [graphic] 28.

Own image (2020). Long face [graphic] 29.

Own image (2020). Infographic: Heartbroken tendencies 30.

Own image (2020). Reinvention [collage] 31.

Kahlo, F (1939) The Two Fridas [oil painting] Available at: https://www.fridakahlo.org/

the-two-fridas.jsp#prettyPhoto[image2]/0/ [accessed 19 February 2020] 32.

Own image (2020). Glitched Angel [graphic] 33.

Own image (2020). Scrunched Cherub [graphic] 34.

Own image (2020) Believe it [graphic] 35.

Own image (2020) The Heartbroken Consumer [collage] 36.

Own image (2020) 22 Drunken Voicemails Consumer [collage] 37.

Own image (2020) Nip to the shops [graphic] 38.

Own image (2020) Double Check [graphic] 39.

Brokenships (n.d.) Website Display [online] Available at: https://brokenships.com/ [accessed 13 May 2020] 40.

[Beshty, W (2017) Fedex Works. Available at: https://www.thisiscolossal.com/2017/01/ fedex-works-walead-beshty/ 41.

Ottolinger (n.d.) Silicone bags [fashion design] Available at: https://www.ottolinger. com/products/silicone-bag-1 [accessed 26 April 2020] 42.

Yokota, D (2014). Untitled, Abstracts series [image] 43.

Ono, Y (n.d) Instructive Art [image] 44.

Liversidge, H (1965) Gustav Metzger: Auto Destructive Art [performance art] Available at: https://youtu.be/9nzzLdiI9eg 45.

Bronzino (1545) Venus, Cupid, Folly and Time [painting] 46.

Raphael (1514) Galatea [painting] 47.

Own image (2020) Brand Guidelines [graphic] 48.

Own image (2020) Design Recipe [graphic] 49.

Own image(2020) Motifs [graphic] 50.

Own image (2020) Logo [graphic] 51.

Own image (2020) TOV Collage [graphic] 52.

Tate Modern (n.d.) The Tanks Exhibition Space [space] Available at: https://www.tate. org.uk/visit/tate-modern/tanks [accessed 25 April 2020] 53.

Own image (2020) Crush at the Tate Mockups [graphic] 54.

Condon, C (2017) Abandoned Playboy Mansion [photograph] Available at: https:// www.onlyinyourstate.com/tennessee/abandoned-mansion/ 55.

Own image (2012) Interiors moodboard 56.

Own image (2020) Crush Logo [graphic] 57.

Own image (2020) Crush Sign Mockups [graphic] 58.

Own image (2020) Crush Event: Entrance Visualisation [graphic] 59.

Own image (2020) Crush Event: Main Room Visualisation [graphic] 60.

Own image (2020) Crush Event: Smash Room Visualisation [graphic] 61.

Own image (2020) Glitch cherub [graphic] 62.

Own image (2020) Origami Takeaway Delivery Bag Mockup [graphic] 63.

Own image (2020) Crush Origami Folds [graphic] 64.

Own image (2020) Folded Origami Heart 65.

Own image (2020) Social Media Pop-Up Mockups [graphic] 66.

Own image (2020) Crush Origami Crane [graphic] 67.

2:AM Zine (2020) The Loneliness Issue Cover [print] 68.

2:AM Zine (2020) Contributor Zine Article [print] 69.

2:AM Zine (2020) Heartbreak Diet Article [print] 70.

Own image (2020) Crush Pop-up Mockup [graphic] 71.

Own image (2020) Crush Street Poster Mockup [graphic] 72.

Own image (2020) Together [graphic]

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