An Image could change the text

I remember what Sue Coe said in a seminar last year in Falmouth Uni, she reminded artists to keep asking question to themselves: ‘the content of your work — what can you show in art that is now shown? What is important to say at this time? What is your mission? What is your passionate about? The Visual Language module made me think of what I’ve been trying to express in my work, my technique, the process and approach.

I’m finding my language through empathy, by putting my feet on someone else’s shoes and by living someone else’s live. An illustration must have stance, context, content and what impact it is trying to convey. I’m approaching it through metaphor. A metaphor is a figure of speech in which a term or phrase is applied to something to which it is not literally applicable in order to suggest resemblance, a symbol. 

My first practice is by using the language of flower. I referred to a work by an American artist John Singer Sargent in 1885 – Carnation, Lily, Lily, Rose. The artwork can be read a botanical symbol of flower-girls, with subtle sexual hint of lighting a lantern (slang in French for vagina), and the taper as a symbolic paintbrush (also used to hand-pollinate flowers) used to illuminate the paper of the lantern in the same way that a painter uses a paintbrush to create an image on a canvas.

Carnation, Lily, Lily, Rose 1885-6 by John Singer Sargent (1856-1925) - date January 16th, 2015

Carnation, Lily, Lily, Rose 1885-6 by John Singer Sargent (1856-1925) - date January 16th, 2015

So, to understand a little bit more about flower symbols, I researched the flower anatomy and meanings whether based on belief, colour or origin(i.e. Japanese language of flower – Hanakotoba).

©Ayu Baker, 2015. Flower Anatomy

©Ayu Baker, 2015. Flower Anatomy


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