I was influenced by the luminosity of the photograph and thus why I experimented using neon colours. The vibrancy of GeorgII Uvs  work made it a spectacular visualisation, showing merging of colours and dispertion. The movement and fluidity makes your eyes move side to side. Making sure to wonder what colours were attracted to each other and the colours that repel. Likewise politics and religion go together when it comes to power or even anything. Consequently, causing an attraction but what actually needs to happen is for them to repel. They need to exist in their own right without being made excuses for or meant to coexist because our judicial system. therefore, not really aiding to anyone, especially those who need it. 

In addition, what fascinates me about his work is that he speaks about beauty. A subject that is very subjective. He demonstrates a "journey through the cycles of life." Also, his painting technique is governed by "density" and he never directly uses a "brush." Consequently, having freedom of movement with the paint and so radically "alters our perception of the painting and its relationship with the surrounding space." By doing this he is juxtoposing our view while I discover how to juxtapose material.

GeorgII UVS

Wings 2 

2016

200 x 295 cm 

What I also find intriguing about this work is that I compare functionality and aesthetics, questioning what has more value while making my work. I made similar experiments using the scanner, moving it side to side, up and down in order to make the illusion of freedom of movement even though the mini experiments I made to form the composition were solid and I wanted to create fluidity. I did not realise that by doing this I was visually changing the properties of the objects by making the materials behave in a different manner to what it is originally viewed as. Therefore, creating contrast and illusion, which was an idea I wanted to explore at the start of my project. To develop my work further, I would have considered this approach using light UV light and other types of light that would not cause harm to me but hopefully to my work. Making prints this way would have been unoriginal and more interesting than using screen printing method.

The exhibition showcases a multi disciplinary approach, touching on subjects  such as: a lineage of "black intellectuality" and creativity.  She highlights on the significant of "ancestry" within the black cultural practices. I was intrigued by this because I wanted to discover the lineage of Nigeria and thus I wanted to understand how the origins of Lagosians selfishness of corruption resulted in the modern society being overpopulated.

I took this in front of Urbanest. CSM accommodation. 

I was drawn to the structure because it is forced to merge together and compromise in the environment it is in. Consequently, making it fascinating

I was intrigued by the detail of the fish. From this I came up with an idea to make my final piece out of little fins of metal but make it in the shape of bubblegum to cause confusion. I was wanted to explore traditional techniques to understand Japanese culture so that I could trace Nigerian traditional techniques of sculpture. For example, "wood sculptures." In addition, I wanted this influence to also make my work modern and relevant so that my audience could relate subtly.

What attracted me to Mali Morris work is that her composition was dependent on the "space" he was given. My sculpture was chosen at the leaf box due to the ambiance I could create using the space Before deciding a location for my work to be presented I considered just placing it in the middle of the field but that simply did not add any value to the sculpture itslef, it would have felt empty and unsettled. This is what I aimed to do, make work that juxtaposed it's environment. However, making the sculpture too similar to the ground, making it too similar to the qualities of a mountain. As if to say it is organically grown from the ground despite being man made. Being force to form. Although, this is how mountains are formed( tectonic plates create volcanoes along the plate barriers, which erupt and form mountains). Subsequently, the field would make sense. However, the placement of the sculpture on the leaf box meant that it was more questionable. Which is what I wanted. Morris is interested in, " structure," light" and "space" like me. Even the way the light show was different, it shone at an angle, making , my work appear dark and gloomy. This was due to the way the trees arched and protected the sculpture. She says let the "space make the selection" and that is essentially what I did when finding locations. The leaf box just felt hidden and incomplete. It had the ambiance and need for height. This can be seen from further distance. When you step back my sculpture is said to " create a landsacepe." A landscape that is fictional.

Peter Joseph at the Lisson gallery. Taken by me 

Three Blues, Yellow and Grey 2018 

Acrylic on cotton duck 

137.2 x 111.9 cm 

54 x 44 

JOSEI70007

“Representation is, as always, something that belongs to words and not to pictorial substitutes,” Joseph says. “For the artist, the subject of the painting is his life.” My sculpture is very much open to interpretation but this does not take away from the art itself. Like what it is originated from. That's how I interpret this. I have also noticed, I am drawn to architecture. The way the space is showcases with objects in it for aesthetics and less functionality.

 Matisse , 2012

Acrylic on canvas 

78 3/4 x 78 3/4 inches 

200 x 200 cm

Signed, titled and dated verso

SIRTA0011

Taken by me at Alon Zakim 

Star to the Stars 

2016 oil on the board construction

Dimension: 77 x 176.5 x 27cm ( 30 7/8 x 70 1/8 x 10 5/8 in) 

What I find intriguing about this Hughes paintings is that at first glance the painting appears to be made of one image and not 3 separate solid blocks. 

What fascinates me about his paintings is that his art essentially defies reality. He makes you question reality vs an alternative reality. Why you may ask?  At first glance of these “wooden blocks” represents itself as one image. However, I discovered as you sway from side to side the image appears to move with you, causing confusion because it is first read as one conglomerate but becomes a moving image, giving me as the reader a “ false perspective.” Almost, like a magic trick. Making me question what is really real? The space around me or the moving image in front of me. This idea of “immortality” irks through his paintings. Hughes speaks his painting being “live” once he is dead due to the fact he is soon to be dead. It is ironic that the paintings act as walls to be placed on walls; the walls in which they are being placed on are inanimate, constituting of no life and having no excitement. Although, the paintings being alive due to the illusion of movement. How can something live forever but is not even actually in the present. However, the flow of movement can be considered as being alert due to the fact that if you move side to side it appears as if the object is following you but at a point if you move backwards, you notice the image is not really moving at all.