BA3CAP - Visual Lanuage (Alisha Johnstone)

Link to scrapbook:

Overview: Experimenting with the use of string, attempting to understand its functionality, outwith a 2 dimensional restriction.

Materials: Cardboard, string (painted with acrylic paint) & cardboard cylinders

Maquette

Reflection:

Overview: I printed photos in laminated formats to manipulate & project.

Manipulated prints

Acetate prints (used to project)

Projection

Reflection:

Projection: Creating environments

Overview: Continuing the process of photocopying upscaled work to project & create environments, attempting to create a comforting & familiar spaces.

Reflection:

Projecting upscaled work allows me to create environments that are familiar, and give me a sense of belonging in an unfamiliar world. Using monochromatic colours in a dark space comes most naturally to me, making me feel more at home. Placing myself within the environment allowed me to interact with the environment and react to it. Furthermore, I approached the use of string in a 3 dimensional way, allowing my to go outwith my comfort zone and push boundaries.

Next steps: I will continue this way of working, working within my scrapbook to upscale and project. I will take the 3D use of string further by using my studio space to pin up string in a spontaneous manner, reacting to emotion and drawing through use of shadow. Although, I may use this way of working to produce work in relation to the pictures documented within my scrapbook as well.

Artist Research:

André Werner (media related)

"The Dream Of The Japanese Beauty" (2009)

Andre Werner is a contemporary media artist who lives, works, and was born in Berlin. Werner studied Fine Art at the HdK in Berlin, and his work has been showcased at various exhibitions, art fairs, and video festivals. His most well-known work is his overhead installations, often using projectors to create evocative environments.

In the majority of Werner's artwork, he explores the concept of photographs and their impact on a person's sense of reality and worldview. Werner transforms pictures, liquids, objects, and other unconventional materials into moving images, utilising an overhead projector to project his work onto various surfaces, such as walls or buildings. Furthermore, Werner utilises light and shadows to immerse the viewer, allowing them to view the work from multiple perspectives. Examples of works and installations include "The Tide is High" (2021), "Circles" (2017), "Overpaintings" (a series, year unknown), and "La prisonnière du port" (2020). In his work "Portrait of a Lady from a Good Family", he uses a projector to showcase a printed portrait of a woman. He does so by placing the photograph in a bowl of water, running a vibrator on the projector lens, and a feather that softly sweeps across the water, creating spontaneous waves on the projection.

References:

overhead projector based new media art - André Werner

Reflection:

Drawing with string

Overview: Experimenting & drawing with string, in attempt to replicate environments I have documented within my scrapbook, and understand them.

Process

Reference photo

Upscalled Result

Upscaled work from sketchbook

Experimenting with shadow

Photocopies (on acetate)

Reflection:

When upscaling on acetate and drawing with string, I’ve noticed that I’ve stuck to the same process. I enjoy the long process of drawing with string, using glue and paint to replicate environments. Furthermore, the repetitive technique and habits I’ve picked up are therapeutic, and bring me a sense pf familiarity in such an overwhelming world.

Next steps:

I’ll project my depictions, continuing to create environments that are comforting to me. Furthermore, I’ll experiment with string further, like creating 3D environments and use it in various ways, like tying, to attempt to understand the material.

Artist Research

Yves Klein

Yves Klein was born in 1928 in Nice, France. Klein was a painter, similar to his parents. He is most famous for his blue monochrome paintings and unusual way of working. Klein's artistic career began in the 1940s, when he formulated his monochrome theories. Later, in 1952, Klein moved to Japan, where he practised Judo. He moved back to Paris in 1954 and taught Judo in Paris and Spain from 1955. During this time, Klein began immersing himself in his art, depicting emotion instead of form.

The majority of Klein's artwork goes against traditional artistic norms. Throughout Klein's career, he illustrated what he considered beautiful, which was deemed invisible to the naked eye. An example of this is the beauty of air itself; humans cannot see it, but it exists. Klein used blue paint in many of his works and monochromatic colour palettes. He used nature's forces in some of his work to create artwork. Examples of Klein's artworks are "IKB74" (1958), "Fire Painting" (1961), "Assemblage of Used Paint Rollers" (1962) and "Silence is Golden" (1960). In works such as "Fire Painting" (1961), he used a blowtorch, learning how to control the length of the blowtorch's flame, to showcase the trace of fire on canvas. Klein used Swedish cardboard to burn as it's unable to combust, and had firemen who cooled the work down with jets of water, so the work didn't burn to complete ashes.

Klein had a successful artistic career, using repetitive ways of working to depict emotion and the beauty of the world. At the age of 34, Klein died of a heart attack in 1962, but his impact on the artistic world lives on.

References:

Yves Klein 1928–1962 | Tate

Yves Klein - Yves Klein

The Art of Fire: Yves Klein - Eldvarm

Reflection:

Planning

To take my projection and upscaled work further, I will continue to work in my scrapbook, responding to different environments, objects and locations. I will focus on certain developments created within my scrapbook to upscale. When up scaling, I will draw with string on acetate on a larger scale, being A1 in size. I will work straight onto my studio wall (using acetate) to project onto.

Studio wall example:

Black lines: Acetate (biggest size from college shop, A3) stuck together using sellotape, on studio wall

Red lines: string stuck on top of acetate using a glue gun, depicting an environment relating to sketchbook work

Yellow lines: projection on top of string depiction

I may make it 3D in attempt to make sense of the environment in my own way, using layers of string to make the depiction come to life. I will stick to neutral and dark colours, as I feel more at home within dark environments, especially at night. This may be due to the comfort of the quietness and ability to hide in the shadows and observe without fear of being disturbed. I will use shades of black, whites, dark greens and greys, using acrylic paint to change the colour of the string.

I will project onto the final result to create shadow.

Results:

Process took approximately 10 hours

A1, string on acetate with acrylic paint on top

Projecting on top

Photos used

Reflection:

The process of sticking the string on acetate took about 10 hours to finish, due to the scale of the piece. The repetitive nature of folding the string down, the movement with my hands and gluing the string helps me understand the material and environment of the picture I’m referring to. My way of taking in information is repetition, and soothes my mind, finding it therapeutic. Due to how long the piece took, I didn’t add any 3D elements. I used pictures taken of places I came across, in the mindset of a stranger. These places felt comforting to me, so I projected on top of my A1 piece to create an atmosphere that feels familiar to me, reacting to light and composition.

Next steps:

Creating environments

Reflection

Chosen Brief: Stranger

After researching and considering both briefs, I decided on the Stranger brief. The stranger brief relates more to my practice, as I create more abstract work, and I find working based upon the stranger brief challenging at times. Furthermore, the Critical Practice module introduces index, meaning I have the opportunity to look into that further during the course, keeping my options open. The stranger brief forces me to think about my environment in the broadest sense, allowing me to go outwith my comfort zone. I’m eager to learn and grow, rather than doing what I’m comfortable with, and the stranger brief will allow me to do just that.

Planning

For the Visual Language module, I will plan, experiment and reflect to create work at a high standard. To begin creating work outside the workshops, I will create a “Strangers Scrapbook”, inspired by Thomas’s scrapbook in the movie called “The Man Who Fell to Earth”. In this scrapbook, I will attempt to record and understand the world around me using photography, depictions, words and objects (like leaves), relating to the brief. Moreover, I will attempt to draw using string on acetate, and experiment with different materials to work on and methods, relating to the “Map” workshop. To help me begin, I will focus on architecture, and attempt to illustrate the detail and the way I view it as a “Stranger”.

Experimenting

My "Strangers Scrapbook"

Title page

Link to view: https://1drv.ms/p/c/d2180a4fcabf16f2/EYIsDZexhYVGg5WDoo_TxdUBEBdL5Iw5-p4R0VBQBdVJ6w

Where I landed as a stranger, beginning documentation

Attempting to understand string as a material, aesthetic & source

Map workshop print collage

Attempting to understand the world through string

Drawing with String

Upscaled work from scrapbook

Photocopy of upscaled work on acetate

Acetate collage

Reflecting

To begin my “Stranger’s Scrapbook”, I placed myself in an unusual environment playing the role as a “Stranger”, who doesn’t understand the world around them. I documented a walk at night, taking pictures of places that caught my eye. I experimented with photography edits in attempt to make sense of the pictures that represented the places I was documenting.

I’ve decided to use string to attempt to draw and understand the world. As a stranger, I don’t know how string works and use it as a material to experiment and express myself with. I used a picture as a reference to draw from and understand the environment, portraying how it makes me feel as a stranger. I upscaled this to take the work further, on an A3 size of acetate.

I will continue to document the world around me within a sketchbook as I’ve found it helpful to progress within this module in accordance to the brief. To take my upscaled work further I will photocopy onto acetate and project.

Artist Research

Nike Savvas

Contemporary artist Nike Savvas, born in 1964 in Australia, is currently based in London, where she works. Although Savvas was trained as a painter, she works in various sectors within the artistic world, including sculpture, kinetic and light-based media, and installation. Savvas is a successful artist, having exhibited installation works throughout her career and completed numerous commissions. Examples of exhibitions and commission work are "Quicksilver" (2016), "To Make a Work of Timeless Art" (2011), "New Contemporaries" (1998) and "Paradigm Store" (2014). Savvas has a background in art theory and teaching, which she utilises within her career.

Savvas tends to push against traditional artistic norms in her work, often challenging boundaries. The majority of Savvas's work consists of large-scale installations, transforming paintings into 3D depictions. Savvas's 2D work takes inspiration from pop culture. Her work incorporates various techniques, including repetition, to create spontaneous or abstract atmospheres. Examples of artworks and installations that emphasise abstraction are "White Sinner" (2008), "Full of Love, Full of Wonder" (2005), "Simple Division" (1994), "Diamond Light" (2022) and "Sliding Ladder" (2010). In Savvas's large installation, "Sliding Ladder" (2010), she uses wool, wood, and steel to create three-dimensional web-like structures. Savvas took inspiration from the Caribbean skyline and used similar-coloured threads, such as teal, orange, and pink. She created geometric patterns using the thread to create carefully constructed tunnels and structures. This way of working catches the viewer's eye and draws the viewer's attention to detail, using the thread. Many shapes within the installation are visible, such as triangles, squares and hexagons, emphasising a mathematical look. The colours, strange structures and playful repetition emphasise a sense of abstraction and contrast within a calculated environment.

References:

Nike Savvas | MCA Australia

Nike Savvas - UAP

Artworks | Nike Savvas | Artist

Sliding Ladder by Nike Savvas - Gessato

Artwork:

"Sliding Ladder" (2010)

Reflection:

Stranger Brief Research

"The Man Who Fell to Earth" (1976)

Notes:

The movie "The Man Who Fell to Earth", made in 1976, is based on a 'martian' who travels to Earth in search of water for his own planet, to save his family.

Movie begins with unorthodox sounds and cinematography

- music arrangement is composed to emphasise strangeness of the movie

Noticing a difference between the stranger brief and the movie

-The main character, Thomas, knows how to communicate and use money to their benefit

Also noticing similarities as Thomas interacts with humans

-Obsessed with appearance as he continuously fixes his hair, evidencing that Thomas is attempting to appear human

-Doesn't pick up on social cues, for example, a handshake, rendering him strange in front of humans

-Thomas focuses on specific objects and movements, emphasising Thomas's attempt at understanding the world around him (may use this notion within my own work)

-He especially fixates on TV programmes, studying the activities & cinematography showing

-Thomas attempts to understand humans through TV & can watch multiple televisions at once, indicating obsession & inability to get overstimulated through television

-Later within the movie, Thomas mentions that he had a television at his home planet & watched recordings of Earth, indicating what brought him there

Thomas struggles within the environment at times, as he's not used to the world, i.e. while Thomas is sitting in a driving car, it feels too fast, and he becomes extremely dizzy

Thomas picks up quickly on how to become a successful business person and how to lead

He relates to people and things rich in culture, specifically Japanese culture, very intrigued by it

-Thomas later builds a house inspired by Japanese culture (i.e. Torii gates leading up to the front door), signifying that he relates to it and finds it comforting

Doesn't understand emotions and how people express them, especially romantic feelings, and tries to comprehend them throughout the film (may depict this within my work)

"The more secretive you are about your life, the more people are interested."

Gains a partner to rely on, finds comfort in her as she doesn't judge him and helps teach him to be "normal"

Gets convinced to attend church, as religion is extremely relevant in the human world

-can't sing at church, doesn't know how to pitch his voice, but later likes it

Thomas has a scrapbook of pictures, trying to understand and document the world around him, and what he's interested in (may use this idea within my artwork)

Thomas finds television eye-opening as it shows all of human life, but the true mysteries remain

Thomas gets experimented on when humans find out he's not from earth and held in captivity

Vinyl that a character uses to track Thomas whilst he's in hiding directly refers to the brief, the vinyl's title is "The Stranger"

Reflection:

I watched and took notes on the movie "The Man Who Fell to Earth" to further research the concepts of The Stranger brief, allowing me to pick a brief to create artwork based upon. Overall, I enjoyed the movie despite it making me uncomfortable. The film's point was to emphasise peculiarity and the unorthodox, although the constantly provocative scenes were unnecessary. I gained insight into the notion of the stranger brief and observed the film open-mindedly, rendering it a learning experience. Furthermore, I understand the stranger brief more and see potential with the concept. For example, working in response to the stranger brief would encourage me to enhance my photography and innovative skills, as I may take direct inspiration from the film. Moreover, I will put myself in a "stranger's shoes, using a scrapbook, like Thomas did in the movie, to document the world around me, beginning with photography.

Brief Research Reflection

I will pursue the Stranger brief. I will begin practical development into my concept by documenting what I see as a stranger within a journal, inspired by the notion within the movie of a martian's scrapbook.

Documenting Environments as a “Stranger”

Projection Workshop

Approach- For the Projection Workshop, I created work in relation to both briefs to make a final decision on what brief I decide to choose for the Visual Language module.

Step 1:

I began by picking out old 35mm slides provided by my lecturer that peaked my interest the most, I.e Jesus on a cross, and printed images onto acetate that related to both briefs.

Step 2:

I manipulated the acetate images by scratching & mark making, using ink, highlighter pens and pencils for the small slides and bigger images.

Step 3:

After manipulating the acetate, I used an overhead projector to showcase the bigger image on acetate and small 35mm slides. Moreover, I experimented with 3D aspects, like folding paper to project onto.

Step 4:

After that, I used an old school overhead projector using the 35mm slides. Unlike the previous projector, you can see the details of the slide and the result of the acetate and slide manipulation.

Step 4:

Lastly, I used a slide viewer to showcase the 35mm slides, illustrating the different depictions on the smaller slides.

Projection Workshop Reflection:

Overall, I throughly enjoyed the projection workshop as it allowed me to depict work related to both briefs and experiment. I’ve had experience using overhead projectors and used my knowledge to create work in accordance to both briefs, helping me decide on what one to pick.

For the Index brief, I used symbols to emphasise the concept of the brief. For example, I printed a pentagram symbol onto acetate, matching the dimensions of the 35mm slide so it would fit within the slide. I put the print behind the image of Jesus on a cross, depicting a meaningful contrast. People associate Jesus Christ with the sacred and holy, whereas the pentagram symbol directly refers to satanism, which is frowned upon. The meaningful contrast between the symbol and the image emphasises an indexical nature within the work, and different forms of religion.

For the Stranger brief, I used a picture of work I created in response to the stranger brief (image can be seen within the map workshop, finished result using string). I used the photo on the overhead projector and within one of the 35mm slides, specifically the slide showcasing the depiction of a man wrapped in cloth, lying unconsciously on a bed. Using work created previously from the workshop related to the stranger brief is taking ideas and concepts further, as I’m building on the response to the lines and colours within the map from the last workshop. To emphasise the nature of the stranger brief, I spontaneously added marks within the slides and acetate in reaction to the printed photo of the map workshop.

Stranger brief experimentation

Map workshop:

Approach- I am a stranger trying to understand the map. To me, the map may be an indication towards the clouds as the lines on the map represent a system within the clouds making them move/create weather.

Step 1:

Mark making around the lines, focussing on negative space

Step 2:

Painting string, attempting to imitate the lines on the map

Step 3:

Glueing string onto acetate over the map, copying the lines

Step 4:

Joining the string together

Map Workshop Reflection:

I found the Map Workshop helpful as it was less restrictive than the stranger brief workshop, where I had to follow instructions and a set of tasks. For the map workshop, I used pages from a book illustrating different maps, stuck them together, and approached the collated map with an open mind, pretending I'd never seen a map before. I began by using highlighters to make marks, focusing on the negative space, and then I used string to imitate the lines on the map. After hanging the string on a wall, I concluded that the map depicted a system within the clouds, controlling the weather, and the lines were clues to something.

This workshop allowed me to experiment and use my own perspective to develop a way of working that is in accordance with the Stranger brief. If I chose the stranger brief rather than the index brief, I would take the ideas from this workshop further. For example, my concept may focus on architecture so that I may take photographs of architecture and notions related to use as reference pictures. Furthermore, I would use a string on acetate to imitate the details of the architecture in an attempt to figure it out.

Index Brief Experimentation

Folded Forms Workshop:

Task 1:

Making a paper airplane using “The Monkey, Simple airplane instructions”

Task 2:

Making the same paper airplane on a bigger scale. It flew!

Task 3:

Making a “folded form” or a series of “folded forms”, using skills from the workshop. Must be free standing

Task 4:

Emily Dickens inspired Envelope poem, relating to index brief.

Folded Forms workshop Reflection:

The Folded Forms workshop corresponded more to the Index brief, as the first two tasks replicated aeroplanes. The workshop felt indexical, as the third task represented multiple meanings. For example, the paper protruding from the map indicates structures, linking it to buildings, i.e. the Twin Towers. I may use the techniques gained from the workshop to explore different ways of using paper. Furthermore, I've learned that materials can be used in various ways and in ways they're not intended for, I.e paper is meant for drawing/writing on but can be used to create 3-dimensional forms.

The Stranger brief is based on the concept that you're a stranger arriving in an unknown location. The stranger doesn't understand what anything means or does; you can only learn or guess. Furthermore, a stranger is someone someone (or everyone) doesn't know or is familiar with. A stranger can also be unfamiliar with a feeling, place, person, or object. A stranger is an unknown person, animal, place or emotion.

The brief is based on the notion that the stranger is unfamiliar with everyone; however, it can be connected to the idea that no one knows the stranger. An example of a situation surrounding a stranger is a baby being born and having to learn how to speak, move and eat.

In conclusion, the Stranger brief relates to our daily lives as we encounter strangers daily, i.e, walking past a stranger on the street. Furthermore, humans are continuously experiencing and learning new topics. Every day is different, whether learning a new hobby or encountering slightly colder weather.

My take:

I understand the Stranger brief and the concept behind it. However, I find it difficult to imagine how to create work per the brief. I would begin my work by pretending I know nothing of the world surrounding me to help. Pretending I know nothing about the world forces me to focus on simple components such as sound, movement, texture, shape, colour, etc.

Stripping everything back to sense (hearing, feeling, etc) could create an abstract working method. Starting work by using photography prints may be a helpful way to begin.

Stranger Workshop:

Task 1:

“You are a stranger just arrived in a new place.”

artwork

Reference picture

observation of ink in water while mark making

Task 2:

“You do not know what anything does. You may draw your own conclusions from your observations, which may be right or wrong.”

Artwork

Attempting to understand the object

Task 3:

“You do not know what anything means. You may learn, you may guess.”

Task 4:

“As you are not of this place, you have complete freedom to choose what you feel is the most appropriate means of communication.”

Stranger Workshop Reflection:

At first, I was leaning towards the Index brief, but after creating artwork in accordance to the Stranger Workshop, I've had second thoughts. I enjoy the approach to working in response to the Stranger brief (pretending that you're a stranger/alien) as it simplifies concepts to basic ideals. For example, a "Stranger" whose happened upon earth may not know how the human body works, moves or appears, so the Stranger would focus on certain body parts that may stand out to them i.e. through photography. I will develop on related ideas further.

Stranger Brief Research

Artist Research:

Daido Moriyama

Born in 1938 in Japan, Daido Moriyama is a photographer and co-founder of the avant-garde photo cooperative Vivo. Moriyama is most famous for his black and white street photography and is associated with a photography magazine called Provoke. Originally, Moriyama studied graphic design until he changed his course to photography in his early 20s. In 1961, Moriyama's artistic career flourished when he moved to Tokyo. While working as an assistant photographer, he learned basic photography skills from Vivo member Eikoh Hosoe. Three years later, Moriyama began working independently.

Moriyama was heavily influenced by society after the war in Japan and traditional values. Moriyama's work depicts various topics and political issues he witnessed, such as mass consumerism, radical art, and economic revival. Examples of works are "Kariudo (Hunter)" (1972), "Beach Boys, Zushi, Japan" (1967), "Viaduct, Bunkyo-ku, Tokyo" (1990), "Signed Daido Moriyama skate decks: set of 2 works ( Daido Moriyama photography)" (2019), and "How to Create a Beautiful Picture 6: Tights in Shimotakaido" (1987). Moriyama's "How to Create a Beautiful Picture 6: Tights in Shimotakaido" is a series of close-up pictures of fishnet tights on legs. This series of photographs is different in comparison to his street photography. The images represent the pattern of tights and the curves of the thigh, illustrating a sense of sensuality and intimacy; the close-up compositions emphasise this. Furthermore, this depicts the male gaze and the search for comfort in modern society after the war.

In the 70s and 80s, Moriyama continued creating work against traditional artistic norms. Moriyama shoots within and outside Japan, and is one of Japan's most influential contemporary photographers. His way of working stands out. I may research according to his techniques and work on the brief.

References:

Daidō Moriyama - Wikipedia

Moriyama Daido Official WebSite

Daido Moriyama | Artnet | Page 2

Daido Moriyama | 7 September - 20 October 2012 | Michael Hoppen Gallery

The Index brief is based on an article written by artist Rosalind Krauss in 1977. While observing New York, Krauss learned that a practice artists often use within Contemporary Art was its indexical nature. The word “Index” has multiple meanings, such as a measurement or a set of books (their titles, authors, etc). The visual language brief focuses on the meaning of Index in semiotic terms.

In semiotic terms, Index refers to a sign, symbol, or trace and what it signifies or represents. Krauss noticed that artwork interprets an indication or activity. For example, a footprint may indicate a person or animal and the movement of walking.

In its broadest sense, indexes surround us in our daily lives and can be observed and depicted in various ways. The concept of Index in semiotic terms can be captured photographically, within paintings, or in 3D work. Common indexes in everyday life may be the weather, E.g., droplets on windows signifying rain, or shadows indicating a light source.

My take:

I find the meaning of “Index” complex, as I think very literally. After practically exploring the conceptual meaning, I may find the brief easier to comprehend. Although I'm struggling with the definition, I enjoy a challenge; therefore, I'm intrigued by the Index brief. I'm interested in the emotional associations with Indexes and the reason behind interpretations.

To begin exploring the brief, I will focus on symbolism regarding Indexes and the emotions surrounding them. For example, I may explore the college to find traces of activities like crumbs, signifying eating. I will capture indexes and expand on them further practically, depicting the emotions or associations with them.

Index Workshop

Task 1: Activity

Index: Crumbs signifying eating

Index: Footprints signifying physical movement & water signifying a spillage

Task 2: Process

Task 3: Subject

using toys, string, and letters to create shadow

Index: shadow created by light

Index Workshop Reflection:

The Index workshop was helpful as it allowed me to understand the brief practically. I began the workshop by eating a biscuit, allowing the crumbs and leftover wrapper to become the art. I took this further by spilling water from a bottle onto the paper and walking over it repeatedly, creating an interesting composition. I had a similar process for the other two tasks.

Overall, this helped me gain knowledge on the brief. However, I will take a different approach in the future to explore the potential of the index brief further and help me choose what brief to work on for this module. I will plan, create and reflect to do so.

Index Brief research

Artist Research:

Carolee Scheemann

Born in America in 1939, Carolee Scheemann was a visual experimental artist famous for her multi-media artworks on the body, gender, sexuality and narrative. Scheemann studied a B.A. in philosophy and poetry at Bard College and earned an MFA in painting at the University of Illinois. In the late 1950s, Scheemann's artistic career began to flourish. During this time, Scheemann described the art community as "misogynistic", and by the 1980s, would be considered a feminist artist. Scheemann has used various media to create artwork, such as performance, film, photography, sculpture, and painting. After graduating, Scheemann taught at different universities and had an influential impact on the art world.

Scheemann's work has been exhibited multiple times, even after her death. In 2020, Scheemann's artwork was shown alongside other well-known female artists at the Pérez Art Museum in Miami, Florida. Other artists within this exhibition were Francesca Woodman, Ida Applebroog, Lorna Simpson, and Wanguechi Mutu. Scheemann's artwork was deeply personal and intimate, emphasising vulnerability. An example is her series of works called "Eye Body.. from Eye Body: 36 Transformative Actions for Camera" (1963), created in a loft space with objects like broken glass and mirrors, umbrellas, lights and motorised parts. In her series "Eye Body... Actions for Camera", Scheemann created an unusual environment with various materials and objects, and captured herself naked within the scene.

Furthermore, she covered herself in chalk, grease, paint, plastic and rocks while naked to add to the abstractity of the work. Scheemann is being vulnerable with the viewer as she's showcasing her body in different lighting and angles, making her body the focal point. Her work is eye-catching and striking, challenging traditional artistic norms. Scheemann's work depicts themes of sexism, as this series was in relation to how women were mistreated within the Art Stud Club and the art world overall. Examples of other artworks that explore similar concepts are "Nine is a Four Letter Word" (1991), "Fuses" (1964–1967) and "Portrait Partials" (1970).

In conclusion, Carolee Scheemann was an influential and vital feminist artist. Contemporary artists will continue to look up to her after her death in March 2019. Like the brief, Scheemann illustrated an indexical nature as she often used light and shadow in her films and photography. Furthermore, she signified movement and action through her stills. The emotions and topics she depicted, I may do similarly.