The VCE system: I’ve outlined its flaws. I’ve complained. I’ve mentioned my subjects.
One of the subjects I am most passionate about is Studio Arts. For the practical work folio, we have to choose a theme, and work with it through the first semester, develop concepts for final pieces, and then construct those final pieces. A course requirement is the proposal, which is outlined below. Insight and criticism appreciated. Examples to follow soon.

MYTHOLOGY AND STORYTELLING:
A YEAR 12 JOURNEY

Stories and language are a way of communicating ideas and thoughts greater than ourselves; written and visual imagery is able to be a front for underlying lessons or concepts, as chosen by the storyteller. The words of stories are a vessel for sentiment and newfound sentience of what we have learnt from them. My theme of mythology and storytelling will take me through the historical and visual depths of society and culture, as well as through my personal complexities and philosophies. The theme resonates in the childhood lust for narrative that I feel I have retained throughout my years. I am to examine and record these stories from across time and across the globe, and then manifest them figuratively into the characters which most predominately speak to me (be it their actions or the values that they represent).

My lust for information, as well as my overwhelming interest in the history of civilisation and its stories has led me to choose this theme. I believe that once I immerse myself in these stories, the art will flow from me more naturally than if I was to choose any other theme. One of my personal philosophies is that you can learn something from everyone. These stories and the people that tell me their stories will not only strengthen my workbook folio, but enrich me as a person. Finishing Studio Arts this year will prove to myself that doing what I love can get me where I want to be through hard work and experience. I feel as though over time I have sacrificed being a ‘dreamer’ as a child for becoming a ‘thinker’ for practicality’s sake. I want this folio to show that there can be a beautiful balance that results in profound, unique and exquisite final pieces.

Stories are prevalent in all cultures worldwide, and ideas and principles of those societies are reflected in those stories. I plan on thoroughly researching before compiling a final piece as to correctly honour the cultural significance of the tales I draw inspiration from. I have found that this research delights and intrigues me, and that giving justice to my subject matter by learning about it gives greater significance to my workbook journey and the final pieces I intend on creating.

As mentioned earlier, I believe that everyone has a story to tell, and a hypothesis I have formed because of this is the injection of individuals into mythological stories. In the past, great emperors have been likened to Gods, and people also inject aspects of themselves and their experiences into the characters of their stories. I want to reflect both myself and society (whether it is of the past, modern day, or both) in my art, to visually pronounce the missing link that the literature of these stories alone cannot target. If my visuals are striking enough, people will be moved enough to look at these stories and what they symbolise themselves.

The specific branches of mythology that I intend on looking into are ones that have both struck me in the past and/or provide good scope of narrative content and characterisation. This includes (from Europe) the feared creatures and Gods of Ancient Greek times, the strength and valour depicted in the Norse Gods and the mystery of Celtic folklore and Slavic Fairytales (such as those by the Brothers Grimm). From Asia, the complexity of Hinduism, the delicacy of Japanese fables and the wisdom of Chinese proverbs all equally interest me also.

In modern times, there has been much development on these traditional stories, with re-interpretations as well as newly developed tales that contain miniscule shards of the past within them. I have found graphic novels, videogames and traditional RPGs (role playing games such as Dungeons and Dragons) to contain the highest content of this within them, and my general interest in these areas has aided my absorption and interpretation of classic tales into modern day mindset and art form. I intend on making another area of which I study the modern day stories that are a part of our lives, and to signify that with a self portrait of some description.

I have used my life and the life of others to draw inspiration from – it seems that everyone has a story that has struck them, which they will keep in the recesses of their mind until the time comes when they need to recall them. I have also looked at artists who have been influenced by similar themes within their art, and those which I just really appreciate the style of. I would like to model my workbook and folio in the shadow of these unique influences, as to create something born from the inspiration that those sources have inflicted on me.

Traditionally, fantasy and mythological themed art falls into the category of classical romanticist painting. The chiaroscuro lighting technique of these paintings captures my imagination and inspires me. Seeing some of these types of paintings in front of me – their size and breathtaking technique – in galleries has evoked a “je ne sais quoi” within me; although I have not worked with this style previously, the way that these images tell stories is definitely how I want my final piece to work – if not in aesthetic, then in principle and emotional movement. One of the artists from this era that captures my attention is Henry Fuseli. His famous works such as ‘The Nightmare’ and ‘Silence’ speak to the darker parts of my imagination and help me to envisage ways that I can apply my love of ‘grunge’ and ‘gothic’ styles of using ink, charcoal, and Progresso pencils into my workbook and possibly my folio pieces, if I see it fit.

Although there are many contemporary romanticist-styled artists that work with a similar subject matter to that I have chosen (such as Howard David Johnstone), I wish to look more in to artists such as Beatriz Martin Vidal, who takes Slavic tales (amongst other things) and applies them to her dark, sketchy, ‘grungy’ style of art. Although her forms are not similar to mine, she uses a style and texture similar to that of Francisco De Goya and applies it to her work, sometimes highlighting focus points with lively colours to contrast amongst the dark landscapes and settings. I would like to experiment with a style reflecting this, with the use of watercolours and Copic markers, crossed with a variety of other mediums such as ink and traditional pencil sketch.

I would consider my style of drawing and art greatly influenced by the Lowbrow art / Pop-surrealist contemporary movement, and I like the scope that it gives to both portraits and figurative work. An artist from this area of the modern art world is Audrey Kawasaki. I am a great fan of her style and techniques (she often paints on smoothed wooden surfaces) – she has an amazing way of capturing fluid, feminine shapes within her figures, and retaining a lifelike quality to her subjects while at the same time shaping them to her specific style of features. Her “Hajinari” set relates directly to Japanese fables, which makes it useful to both my topic and how I could possibly implement my own style.

Symbology is often prevalent in mythological art, and I would also like to incorporate some of this in my workbook and final folio pieces. Because of this, I have looked at patterns of material, home ware and jewellery designs where relevant to the mythological schools I will be focusing on, as well as geometry, as it has always fascinated me. Another form of symbology that will be relevant is typography. I would like to incorporate words into my images somehow, as although pictures can tell a thousand words, language and writing have played a large part in the forming and conservation of mythology and storytelling. I would like to however be subtle with my use of language, as not to take away from the skills I have accumulated in traditional drawing and sketching – possibly with the use of single phrases, proverbs, or even a fictional language such as Tolkein’s Elvish.

Overall, and in short, I would like to focus on the portrayal of mythology from different global and historical cultures via use of figurative work and/or portraiture. I want to use fluid feminine movement and shapes, as I am more comfortable with the female form. I would like to experiment with colour, especially in contrast with monochromatic greyscale in order to see if I can create a harmony between the two styles. This will predominately be done with work in graphite pencil, inks and Copic markers. Along with this, the use of either geometry or symbolism in the background or a part of these characters will be created using the above mentioned mediums, possibly with the inclusion of frottage. If I am successful with these experiments, I will aim to create a collection of portraits or figures that will reflect the stories and passion that has gone into creating this folio.