Creating a Scene Essay Example

boosts my confidence. However, Kiki Smith stands out as being different.

At first, I did not share the same perspective as Kiki Smith when it came to her artwork. However, as time has passed, her quotes about art have started to resonate with me more and more. Through my research, I have come to appreciate her work in a progressively deeper way. One thing that I find admirable about Smith is that her creations are influenced by her own life experiences. For instance, she has held jobs as a surveyor, an electrician's assistant, a bartender, a cook, and an emergency medical technician. These various experiences have molded her into an artist who perceives and understands the world from multiple angles. The impact of this diversity and experience can be seen in Kleiner's quote: "Smith also aims to expose how society constructs the body and urges viewers to consider how external influences shape people’s perception of their bodies in both art and media" (Kleiner 994).

Moreover, Kiki Smith's quotes are reliable as they derive from her genuine experiences and suffering. The skill of producing a remarkable artwork requires a considerable effort in order to observe the outcome when one invests energy into it. My analysis begins with considering Kiki Smith's sensitivity and response to each fleeting moment, which plays a crucial role. Whenever I encounter confusion while working on my piece, I find solace in Kiki Smith's quote. This expression of her 'energy' cultivates my patience and instinctively guides me on when to conclude.

Consequently, my level of sensitivity towards the things I observe while taking notes has increased. This has allowed me to develop a connection with

the presented evidence. In fact, I often struggle with knowing what to do when I am drawing from my imagination, which often leads me to stop working. However, reflecting on Smith's quote helps me overcome my fear and continue working.

Emerging Aspects Regarding Scene Re-Creation

The five senses play a crucial role in attentive experience. Each sensory system serves as a gateway for imagination. Seeing, hearing, touching, smelling, and tasting all help me transition from the reactionary stage to the imaginative stage.

By engaging in these practices, I am able to evoke past memories and envision them in the present. The act of seeing something with my own eyes not only motivates me but also enhances my imagination. It creates an illusion that leads to the formation of multiple interpretations. This reinforces my responsibility as an artist, which is to make the unseen become visible. To accomplish this task, my hands serve as a supplementary means of visualization.

Sometimes, my hands move before I think and create improvisational drawings but most of the times I keenly follow the steps progressively so as not to lose what I had initially sensed in my imagination.

Scenario Building: The Pigeon Encounter

While walking to the subway, I observed a pigeon trailing behind me. In an attempt to separate paths, I increased my pace. Surprisingly, the pigeon matched its speed with mine.

Later, as I walked, a pigeon crossed my path and snatched a morsel of bread. I forced a fake smile at the bird and carried on. This anecdote about the pigeon originates from my personal diary entry. From this event, I conceived a drawing entitled "Race".

To start, I generated a series of memories related

to the word 'pigeon'. The pigeon transformed into bread, which then led me to Korea town. In Korea town, I encountered a mirror.

A mirror transformed into bath products which then transformed into coffee and further transformed into a library and so forth.The stream of consciousness continues for approximately two pages, encompassing various thoughts and experiences. The person reflects on different locations, people, events, and objects that have influenced them. The text jumps from one thought to another, creating a sense of randomness and association. Some of the mentioned elements include pigeons, bread, a mirror, bath products, coffee, a library, brownstone buildings, Europe, summer, friends, New York City, churches, music, Japan, physical education, prizes, white cotton swabs, tools, spaghetti, cheese, a boy, regret, olive meat packing district, Haiti, Central Park, thunderstorms, Prada clutch bags, friendship, Los Angeles, winter, Korea, heels, San Francisco, England and much more.
The text ends with the mention of art-related topics such as El Lissitzky's avant-garde typography and a straw in a hot coffee cup.

Colors

In the drawing 'Race', a few words were selectively transformed into forms, lines, and colors. These transformed elements include pigeon, mirror, bath products, and coffee. Through this process, I recreate a scene from my diary using these seemingly unrelated words.

The word pigeon changes into an organic shape with a lavender color. The mirror becomes two symmetrical squares, one above the gesso and the other below it. Bath products turn into wavy lines with multiple circles. These circles encircle the lavender organic shape. Finally, coffee transforms into dots of brown color.

These codes are not fixed, but they are immediately determined elements. The following step is another rapid decision

for positioning.

The Composition Element

Deriving the desired flow is crucial for composition. The success of the overall image depends on the arrangement of elements. The arrangement entices viewers to engage with the drawings and in museums, there are numerous aesthetically pleasing works.

However, only one painting in the collection immediately captures attention. But what if each work lacks any connecting elements other than form, line, and color? What if I organize the four forms of the elements in Race according to the brainstorming process steps? The forms are filled with vibrant colors, but placement is crucial to prevent the overall image from appearing dull. If not considered, viewers would lose interest and fail to appreciate the piece. When creating the drawings, my hands often act before my thoughts, as shown in the bottom line of the second page of the repeated word play structure. There are no predetermined structures when placing the transformed elements; I rely on my sensible intuition, which strengthens my artistic vision.

Since my drawings are abstract images, I rarely depict the real images I see.

Numbers and Gender

No rules exist in my drawing process; however, numbers hold specific meanings. Each number corresponds to certain characteristics of gender. One represents a young male, two represents a young female, three represents a thirty-year-old businessman, four represents a chubby middle-aged woman, five represents a teen boy, six represents a teen boy, seven represents being gay, eight represents an aged female, nine represents a young businessman, and ten represents a baby. Numbers play an indirect role in my drawing technique as they are used to depict gender rather than creating realistic images.

In

my drawing "Wall Street Lunch Scene", I have specifically highlighted the characteristics of gender. I observed two businessmen near Wall Street who were taking a coffee break. I decided to represent them using chopsticks instead of depicting their dress shirts and ties. Additionally, I included numbers that correspond to my theory on gender, dividing one chopstick into three parts and the other into nine parts.

Developing Consciousness and Communication in Art

Since my drawings originate from a stream of consciousness, the illustrations adopt a whimsical, arbitrary, obscure style. I control the process, and my imagination knows no bounds. Without explanation, the literal understanding of my drawings may be challenging. Nonetheless, I anticipate that viewers can perceive my intuition through the use of various elements, particularly communication. The utilization of forms, lines, and colors does not necessarily imply a specific subject matter.

They possess subtle and playful elements while also being unclear yet real. Their nature is childlike yet serious, and they portray both recklessness and fragility. Despite appearing ephemeral, they are all connected and each drawing holds a message derived from actual observations.

When viewers engage with my artwork, I believe that communication occurs between them and my drawings. As a non-verbal form of language, the sensation of my drawings has the power to communicate. Lewis and Lewis (26-27) state that fine art is typically an original creation that reflects the artist's personal effort, touch, and fresh ideas from their mind, spirit, and talent.

To demonstrate this point, let's examine Mark Rothko's painting. It evokes a vivid imagination within the audience. As viewers, we possess the capacity to interpret his paintings even though they lack organic form. Lewis &

Lewis (33) suggest that art must be comprehensible and its triumph depends on formal aspects like design and composition. With drawings, my aim is to convey a distinct significance that exists independently from verbal language.

Without interpretation, drawings may appear to be meaningless marks or objects. It doesn't matter to me if viewers understand my drawings exactly as I intended or not. I want them to form their own narratives based on the potential contained within my drawing. I consistently see forms, lines, and colors as elements brimming with potential.

Connections between Art Elements and Personal Experiences/Feelings

Regardless of the formalities involved, establishing a point of connection between art and personal life experiences, including encounters that influence the meaning derived from art. The possibilities of stories created by the viewer are similar to the various cases seen in mathematics.

Using my drawings, if I were to conduct a survey asking ten people to create a unique story, each person would likely provide a different response. Moreover, every element in the drawings would hold over ten distinct meanings that are directly or indirectly linked to their personal experiences. This suggests that when I make my drawings, I am essentially sharing my boundless imagination with others. The artist's personality is firmly imprinted in their work. Hence, the artist's emotions and experiences greatly shape their creations. Despite one's knowledge, intuitive feelings assist us in better understanding art.

My installation pieces connect my thoughts and personal experiences. The drawings allude to the transformed art that stems from these experiences. The indirect association comes from the stream of consciousness process, influenced by real-time observation. However, the installations intend to convey the actual experiences more directly

than my drawings.

Many of the installation pieces are created using objects from my home, such as in the piece titled 'Carried Away' where I selected a clear shower-curtain with netted pockets. In this artwork, I painted on the surface of the curtain while also transforming it into a bundle by removing most of the netted pockets. The use of objects from my home is enjoyable to me.

The place I reside in is my utmost comfortable space, located forty minutes away from school in the city. Nevertheless, regardless of its location, I truly adore my home. Whenever I depart from my house, my bag is always heavily packed, leading my friends to jokingly claim that I have packed the entire house with me.

When my bag is fully packed, I am at the peak of comfort. Yet, that doesn't imply that I disregard the observer. To express my laziness, I used a bed spread and repeatedly applied watery gesso to it.

After it hardened, I molded the sculpture into the shape of 'Harim'. To ensure stability, I used foam spray to fill the hollow form. On the outside, I adorned it with subtle images, while on the inside, I piled up drawings. The final result appears messy and unorganized, diverging from the drawings on the wall. Nevertheless, this artwork represents my tranquil and contemplative demeanor while staying at home. It possesses a stronger narrative element compared to the shower curtain.

Essentially, this portrays my unseen side at home, as well as the balancing act between personal and professional life. Guilt accompanies me when I'm not at the studio, yet it also highlights my dedication to work. I even contemplate

my work while at home, in bed, and beneath the covers. These thoughts, along with the drawings, can be viewed as part of the installation. All other installation pieces are described with a single word: home.

Each piece represents a unique episode centered around the concept of home, which means that my home and I are inseparable. The connection between my personality and my home environment is so strong that they blend together to form a distinct description of who I am. Moreover, this connection is evident in the atmosphere that is created in my house, where the choice of furniture, curtains, and their placement all reflect my personality and contribute to the desired ambience. In essence, every piece I create is a true reflection of my individuality.

Conclusion

When I initially presented my work in Korea, I spent considerable time explaining the work itself, its process, and the underlying reasons for its existence.

After building extensive visual knowledge throughout my study, I have gained enough confidence in my theory. This has changed the need for explanation to each accompanying piece, as I no longer feel it is essential for interpretation. As Kiki Smith's quote states, "I trust my work."

The material and critical perspective in collaborating with the world is well portrayed in Kiki Smith’s works of art, leading to new frontiers in my own pieces. While interpretations may not be necessary for all art, viewers must utilize their imagination in the absence of such interpretations. My works reflect the attention and reaction I give to even the smallest things, making previously invisible objects visible through human touch. Many things are clearly defined, either through words or

visual language.

In the midst of two defined objects like A and B, there exist unseen elements that remain undisclosed. It is my aspiration to be recognized as an artist who values these concealed aspects. I aim to unleash their potential and offer them to observers. Ultimately, evidence confirms that the modern art world is constructed upon the integration of personal ideas, individual encounters, emerging perspectives, and the essential function of imagination in reproducing realistic portrayals.