The topic I have chosen for my final major project comes under the concept of change through ageing and with this nostalgia. More specifically, I would like to Investigate the relationship between time and our perceptions of age both internally and socially- anchoring on the question of whether anyone actually 'feels' like the age they are and what impact this has on their perceptions of time and experience of growing old. My project will be Informed by my own limited experience on the matter while primarily grasping the experience of those around me- especially family and older family members. Thus, my project will be Infused with the theme of change among generations and the relationships between them and in this way rooted in personal experiences- how our memories fuelled by experience change and what this means for who we are, whether we change or what’s around us does. I would like to experiment with a more manual approach In terms of medium which I Intend to be mixed - for example Involving ephemera, and collaging multiple formats. My end intentions involve a physical model which I would animate within. The majority of my primary research will take the form of Interviews as well as personal archival collection- representation of a person's experience by objects In association with them. Initial secondary research by theme comes from forms of storytelling, for example, the short, animated film Late Afternoon about an elderly woman living In both the past and present state and navigating memories. The style of my work may be Influenced by Illustrative works for children's books In juxtaposition with the concept of getting older and leaving such worlds behind.

My final outcome for the project Room Tone in the developmental stage was a physical, visual representation of the process of loss through ageing which manifests itself in the spaces we inhabit. I was exploring how a person’s life imprints itself in their home through the collection of their experiences, taste, character etc and thus what this leaves behind when that person passes. The medium of miniaturism allowed me to manipulate the space intentionally and generate an uncanny atmosphere essential to eliciting a response from the audience. The world of interiors is something I find interests me and is the subject focus I would like to carry forward.

• Archival collection
• Collage
• Mixed media
• Sculpture
• 3D Modelling
• Illustration
• Photography
• Ephemera (found object)
  

(Tate, n.d.)

(The Holburne Museum, n.d.)

(The royal opera house)

(Pinterest, n.d.)

(The Metropolitan Museum of Art, 2023)

The question of soul is an age-old philosophical one. Dealt with in one approach by the dualists who argue that body and soul (mind) are two separate entities- originating with Plato and developed by Descartes with the famous ‘Cogito ergo Sum’ or ‘I think therefore I am’ argument. Since we are able to doubt the existence of our physical body- it could be a simulation or manifestation orchestrated by an evil demon- but we cannot doubt the existence of our mind since by thinking of the potential that it doesn’t exist we are verifying its existence- we have to be using the existing mind to doubt whether the mind exists; a paradox. This leads to the point of Leibniz’ Law that if two objects are identical they have identical properties- if entity x and y are identical then every predicate (necessary quality) that x possesses must also be possessed by y. Therefore, since the mind and body have the differing properties; of being able to be doubted and not- they are not identical and there is a distinction between them. This leaves to the possible explanation for how our physical bodies change yet we feel the same person within as we age- sometimes feeling as if we’ve always been one age or we stopped feeling older than we were at one age milestone. This is something which is lost in dementia- when a person’s mind begins to deteriorate often more than or with their body and this can lead to a greater confusion of time and age where someone truly feels as though they are reliving or returning to a past age.

*

While the process of ageing can be positively impacted by the health care available to us in an ever advancing age, the act of ageing itself and the deterioration of the body, mind and memory is still not something we can really control. Despite this, there are still systems being developed which are tailored to a greater understanding of and compassion towards the unique experience of ageing. Scandinavian countries in particular like Sweden have been credited with paving the way in terms of geriatric care, since the creation of their ‘Dementia Villages’ which deinstitutionalise nursing homes by creating a safe, functioning neighbourhood for dementia sufferers to live within supported by trained professionals. Focus on improving the living standards of the elderly can also be newly observed in the existence of job roles such as ‘nostalgist’ who combine the skills of interior designer with historical researcher and therapist to create comforting living environments based on memories and looking into the past. This sort of work would primarily be in care homes and retirement communities.

This research and contextual information regarding my project backs up my interest in space with more to do with the science of space. Further technical research into this sort of thing could potentially lend a hand to the emotional emphasis which interests my in spaces and interiors in the first place.

primary/ anecdotal research

• How old are you?
• Do you feel like the age you are?
• If not, what age do you feel like?
• Do you believe in the idea of a soul (a part of us different from the physical body) ?
• If so, how would you describe the soul?
• Has your sense of self changed in the last decade?
• Do you feel inhibited by your physical body?
• Has your sense of self been affected by ageing? (Positively/ negatively)
• Are you afraid of ageing? If so why?
• Do you worry about memory loss?
• How well would you say you remember your childhood home/homes?
• To what extent do you agree with the statement “your environment (e.g. home, bedroom, office) is an extension of your self?”
• In what way do you feel like you have defined the spaces you inhabit?
• Would you say that these spaces have defined you?
• To what extent would you say that physical possessions are important to you
• Is there one (or a few) object (s) that spring to mind when you think of “memories of childhood” ?
• Do you have any memory of a physical possession which you used to own but have since lost?
• Do you feel that you have experienced any great sense of loss in your lifetime?
• If so, how would describe this loss?

Reflections:

• I simply wanted to gather a body of experience from different ages; more retrospective from the older generations and possibly predictions from the younger generations.

• While I didn’t necessarily find the interview/questionnaire process particularly fruitful it did validate a lot of my pervious ideas regarding personal perceptions of one’s age changing as they grow older.

• I did find the personal anecdotes to be an emotional driver in my work and provide a further meaningful emotional backdrop to my exploration which promoted greater understanding of my subject matter.
  

Oscar causer, 18

Max Carruthers, 19

• 19
• Yes
  
• N/A
  
• No
  
• N/A
  
• Yes, I feel more aware of myself as a person
  
• Yes (so much)
  
• Yes, positively. Life when I was young feels like a dream now, not quite real.
  
• Yes, I don't like the idea of changing who I am and having my body fail me when I'm old
• Yes, I think that if I don't remember it it's like it didn't even happen
• Very well because I haven't moved
• Kind of, I think your environment affects you but doesn't make you who you are
• Very little I'm bad at decorating and I'm messy
• Not really
• Barely at all, I could lose most of my possessions and be fine. No deep attachment to anything
• Books and my rats
• Yes I had a pet monkey called Monkey that my rats chewed up
• Not really

eve campbell, 20

• 20
• I almost wrote 19 so apparently I don’t know that I’m 20. I feel like I am. Sometimes I feel older, or maybe not older just more boring and mature than other people my age? But sometimes I feel the exact same as when I was so much younger. Like I remember how it felt to be a child so well and I feel like it hasn’t changed that much? I think especially when it comes to feeling scared.
• I don’t know a specific age
• Definitely
• I feel like the soul is everything you wouldn’t be able to see if you cut us open but it’s what our friends and loved ones know. Your personality and traits, your mind, your memories, your beliefs, your passion, your kind ness, your love
• Definitely, I feel like at uni I’ve gotten to know myself a lot and now that I’m facing the idea of being an adult I feel different. I look at things I did a few years ago and I feel so different from that person.
• Somewhat? One of the things that motivates me to workout and move is the fact that I want to take advantage of my healthy body and help it last for a long time. Sometimes I feel inhibited by pain or tiredness
• Definitely. I sometimes wish I could go back to being a child. Other times I think about how I am a better person now in some ways, especially compared to when I was a teen. However I also think I’ve lost a lot of the confidence that I had when I was a child.

• Yes I’m terrified of being old. I’m scared of being an adult and I don’t want to be old or a burden
• Yes it is one of my biggest fears
• Very well
• I feel like sometimes it isn’t true because if you don’t have that much control over your space - for example, it doesn’t belong to you or you don’t have the money or time for it to be the way you want. I try to make my spaces my own
• I’m not sure if I have defined any of them. Maybe when I have my own house I can define that
• Spaces in an abstract sense yes, the space of a family. Probably sharing a bedroom was quite important. Having an old house and old furniture probably defined my tastes?
• I think they are very important, more so then they should be
• A lot of objects... Definitely my baby teddies. The frog curtains that were taken down from our bedroom
• Yes. A cute hello kitty purse, Hello kitty hair band that I lost in Dublin one day. I dunno why there are two hello kitty items that’s kind of weird
• Yes definitely, I think the biggest loss I feel is the loss of grandma and the fact that her illness meant we never got to know her. But also of our big family and the time being together and how it changed
• I feel like the loss in our family has changed the way that life feels and the way family feels when we get together and feel the absence around us

duncan campbell, 55

Polly Arnold, 58

• 58
• No, not really
• In mind and spirit, I feel 18 in body I feel mid-40’s
• Yes, completely
• The soul is something outside of your conscious self that exists within you. It is a floating, unattached part of you, like an aura which co-exists with your physicality but in an abstract form. It is your essence, your spiritual self and is hard to fully grasp or define. In many ways it is another sense – like smell, or taste.
• Yes
• No, not especially
• Superficially yes, I see myself ageing which is dispiriting – wrinkles etc - and I feel older and less robust but I also feel more relaxed and care less about what people think
• In some ways yes I am afraid of ageing. My direct experience of ageing has not been positive looking at the older generation – disease, illness, physical and mental incapacitation. But I can see nice aspects, slowing down, relaxing into a calmer, more gentle lifestage. Doing more of the things I like to do
• Yes, there is a lot of dementia in my family and that does worry me
• Incredibly well, but it is also still in our family so I visit regularly
• I very much agree
• I have always been very interested in creating environments that are homely, welcoming, soft, calm and I think I go to great lengths to establish that both at home and in the workplace. I like comfort and quirky, unique features in a house and work space. I like to be in a space that I find relaxing and appealing.
• At home yes, very much so and I like that people associate me with my home and say it is very like me. At work, not so much as I haven’t had full ownership of the space
• I think they are important to me. I love the things that I love and they give me great pleasure
• Many things spring to mind – paintings, furniture, objects, plants, flowers, photographs…..lots of things
• Yes. I lost a beautiful full length silver metallic evening dress that I wore to be a bridesmaid for a friend’s wedding. I don’t know where it went and think of it often and wonder what happened to it
• I have had a huge amount of loss in my life
• It is multifacted. I have lost people I loved and animals and places. My best friend left Ireland when I was about 7 and I was devastated and still remember the gut wrenching feeling when I said goodbye. My grandmothers beautiful house in Sligo was sold when I was 15. I loved it so much and had so many happy memories of being there. She was a wonderful gardener and the air always smelt amazing of sweet pea and stock and fresh grass and the sea. The house was always so warm and comforting – the smell of the furniture and carpet when sun warmed them up and also lovely smells of cooking and baking. And then my mother got dementia when she was 70 and slowly vanished over the following 10 years until she died. During that difficult time of loss, my brother died and then after my brother, my sister in law and our family dog. Loss has been a defining part of my life

• 55
• No
• Maybe 35
• Yes
• Something that lives after physical death. Something that stores and senses positive and negative energy.
• A little
• Sometimes
• Positively
• Afraid of losing cognitive and physical function
• Yes
• Very well
• True
• By building, designing maintaining and tidying
• A little
• Fairly
• A blanket. toy monkey with the long tail
• A few vague memories
• Not really
• Not much loss

Colin Campbell, 84

• 84
• No
• It varies. Between 65 and 75.
• No
• N/A
• Yes, to some extent
• Inhibited no, constrained yes
• Negatively yes but there are some positives
• Afraid no, concerned yes
• Yes
• Not well at all
• Extension no, representative to some extent
• Garden very much, orchard too, otherwise not much
• To a degree yes
• Not at all, really
• Penguin cake decorations
• No
• Great? No
• Youth?

VERNA CAMPBELL, 84

• 84
• No, I find it amazing to be so old
• Possibly around 60- It varies. Sometimes when in company and talking to people I feel as young as ever. Socialising makes me feel young. Well, perhaps not a teenager but certainly as young as I’ve felt in the last 30 years. If tired and slightly unwell then perhaps about 60?
• Well I’m not religious so would immediately say no. The idea that the body dies and the soul goes to heaven is a bit silly but if by ’soul’ you mean something more than our physical body then ‘yes’ of course. There are our feelings, our memories, our ‘personality’. We are more than skin and bone.
• I think I fight to keep my sense of self. I find other people treat me differently from the past. They obviously look at my physical body and treat me as an old person! I do now often wonder who I am. Not having a job and going to work every day changes one, but since that happened 20 years ago we can’t count it! I certainly feel different from the year when I was Sheriff. My sense of self was very different then and it has changed since. The answer to that is probably ‘yes’. But I fight to keep my sense of self.
• More inhibited than I did. It was a surprise to discover that I couldn’t run fast any more! My slight knee problem means that I am aware of stairs. I’m not sure I feel inhibited but I am aware that I worry slightly that I might encounter difficulties, also, I slightly worry about falling on uneven pavements.
• I’m also aware of not being seen by people when I walk along the street. It’s partly because I’m small and so people nearly knock me over! But I’ve mentioned this to others and they’ve had the same experience. It could be that people walk along looking at their phones so don’t see others in the same we used to. It could be that people care about others far less than they used to. I do think that awareness of others and care for others has diminished.
• Definitely. It’s quite scary to think that you won’t be able to be independent any more. That you will have to be looked after because you can’t look after yourself. That you might be in pain or permanent discomfort. I want to go on living the life I have now. I don’t need to be younger, or more fit, I am happy to stay as I am. Not to be able to go out and walk Benji? Horrendous.
• A little. If I don’t know I’ve lost my memory I suppose that’s alright.
• I remember them really well. Often if I can’t sleep I walk round my childhood home. I remember all the rooms and what was in them. I remember the road and the houses and where my friends lived. I also remember my great aunt's house where I visited regularly and stayed the night in the period before I went to secondary school (not much after that). I can walk from the bus stop, see all the houses, go up the passage to the back gate, through it into the kitchen. I can see the kitchen and the small hallway and the pantry on the left under the stairs and her 2 rooms (the first changed after she had a fire in it!). I can see all the furniture in it and the pictures on the wall. I can also see the much larger house that we moved into when I was 15.
  
• Mm. I suppose to an extent. Maybe my home and therefore my taste is a slight reaction to my parents’ taste. I was very keen to embrace everything that was modern and Scandinavian in the 60s. I have probably become that ‘modern’ person. I like clean lines and good design and a lack of clutter. Is that me? It is now and I suppose that became my taste from in my 20s.
• I have defined them by buying furniture and items which have clean lines. I like art too but have not spent much money on it over time. Much of that has been grandpa’s choice because he particularly likes Matisse. So we have a lot of reproductions. I have tried to buy original works, several by artist friends, but also pieces which are reflective of places we’ve visited e.g. the Eskimo art that we bought in Canada - along with some native Indian. An aboriginal picture from Australia, a piece of batik from Bali
• Maybe. Would people look at me and think that my house would be as it is? Recently our daughter brought some friends to the house to stay while we were away. They loved it and thought it very modern for a home inhabited by two old people! So, I think I’d like to believe that these spaces define me!
• My immediate reaction is that they are not but I realise there would be immense sadness if some of these things disappeared. For example I’m really trying to hold on to our car because I love it. We’ve had it for 20 years and I want to keep it. I will be immensely sad when it is no longer useable and we have to buy a new one. Also the pear tree in the front garden. I love it and will be so sad when it dies. I love our 60s furniture and don’t like the idea of it being sold when I die. I want my grandchildren to have their own homes so that several items can go to them and be valued by them! Would ’nostalgia’ be the correct word?
• No, I really don’t think there is. Except, of course, photographs. They’re precious.
• Of people I loved- my mother
• It still creates pangs of pain 19 years later

Visible mending is a stop frame documentary animation short film dealing with the emotional significance surrounding the act of knitting and how it affects different people’s lives. The therapeutic benefits of knitting as a relaxant, means of giving to others, means of feeling accomplishment, reliable hobby in unstable times, or as or simple distraction are recorded personally with the testament of various interviewees who each use knitting differently for some emotional relief in their lives. These people are represented by knitted or crocheted characters/objects of their choice and their personal input defines the film. The stop motion animation technique brings a charming personality to the sweet and friendly woollen creatures. There is variation in the media used, for example with a folded paper version of the character and a painted digitally animated sequence. The use of lighting primarily contributes to the transparency of the film, since real people are revealing personal experiences and their knitted representatives are displayed simply in a neutral white setting. There are occasionally light shadows like the panes of a window or a subject spot light which creates a more dynamic image and presentation of the subjects.

The significance of the almost ‘found object’ approach to this work being that the subjects are themselves objects representative of emotional relationships to knitting.

Bloomers is another documentary short film animation by Samantha Moore which is in 2D and utilises the medium of fabric in that the animation is of the objects themselves- materials carrying emotional weight (like Visible Mending). The narrative manifested in the physical, tangible object which generates a dynamic and textural feel. The line work has the unique visual appeal of ink drawn on a thinker material canvas (loo roll, cotton) and this combined with the loose movement like film real which gives the movement in the animation the very appropriate impression of fabric being run through a sewing machine. Variation in medium into grainy paper, loo roll, cotton, explicit pair of underwear make for a dynamic viewing experience.

The recreation of memory is explored visually through the collaging of animation formats over camera footage- the recreation of something by animation is a potential avenue I could explore.

2001 a space odyssey

The themes I can gather from this short film are that of reflection and loss- a feeling of loss and mourning for a time gone by but also the confusion of an ageing mind and how one’s past experiences are tangled with the present conscious mind of an elderly woman. Memories are triggered by particular specific events and experiences like being served tea. The subject becomes a child version of themselves and flows between dreamscape and reality all the while progressing through their life’s development and journey through different ages and periods of time. Almost like how your life is said to flash before your eyes at the moment of death, those closer to the end of their lives have their whole lives to look back on, and this reminiscence can be painful when you feel a sense of time lost. For example, the elderly woman flutters back into reality and is appalled by her wrinkled hands where once her skin was youthful.

(IMDb, 2024)

The iconic adventure/sci-fi film 2001 A Space Odyssey made in 1968 by director Stanley Kubrick has a strange and unique final scene in which the character visits his future aged self who has allegedly been "taken in by godlike entities; creatures of pure energy and intelligence." Following the slow-paced uneasy scene we then see what we assume to be the character in foetus form hovering in an orb above Earth. Through the combination of unnatural sci-fi lighting by a neon floor with the traditional antique looking furniture and decadent walls, the setting of this scene specifically possesses an uncanny feeling. Given the sparsely decorated room and especially through the juxtaposition of maximalist old- fashioned furnishings with the modern minimalist lit up floor the space has a distinctly liminal feel. This visual aesthetic together with the theme of ageing leaves this scene to be something I find very inspiring- To me feels like representative of the striped back depiction of a memory- fragments of what we remember specifically presented in an otherwise unfamiliar place in a way which make us uneasy.

(Pinterest, n.d.)

The significance of liminal space with regard to my project seems to perfectly encapsulate the feeling of uneasy recognition which comes with dementia- looking at spaces which appear nostalgic but you cannot place why- like a dream, also capturing the feeling of absence of people in very clearly human spaces- something felt in places left behind by the absence of someone’s passing. Transition is also integral to age and change and is what defines liminal space.

Brendon Burton

Everywhere At the End of Time

Photographer Brendon Burton captures the eerie beauty and sadness found in abandoned places and locations of desolation which he explores in North America’s abandoned landscapes. His work is described as “visual archaeology”, which uncovers the fragmented human presence and experiences of those no longer inhabiting these places left in desolation. The photography is a form of storytelling which pieces stories together by visual ‘evidence’ left at the abandoned scenes where we can feel the lingering touch of human experience. The exploration of literal abandonment by intention and the deterioration of what’s left behind differs to the abandonment of a space in the inhabitant’s death which leaves the place the same as when they were alive- different to what Burton captures being the stages in the place’s deterioration.

Incremental Loss: Sculptural Installations

Robbie Rowlands

These dramatic and imposing instillation sculptures are part of a huge body of work by visual artist Robbie Rowlands in which ‘notions of stability and vulnerability’ are conveyed through the manipulation of objects and environments which are distorted to reflect the “inescapable passing of time that affects everything around us” (ROBBIE ROWLANDS, n.d.) I was particularly interested in his interior instillations where he sculpts using the body of the room itself and is thus confined by the shape of the space- with his work transforming that space. With relation to my project ideas the destruction of these barren interior spaces seems to represent the failure of someone’s memory in relation to said spaces where they called home - layers of memory peeling away like the walls, floor, ceiling of the room. This is something I feel the titles such as ‘incremental loss’, ‘I’m afraid this wont last’ and ‘with what remains’ reflect. The unique tactile approach of a sculptural approach is something that might be interesting to explore within my project because the literal act of moulding something mimics the way in which experience moulds memory and how memory mimics experience.

The caretaker

Everywhere At the End of Time

The 6 stage audio experience created by ‘The Caretaker’ (James Leyland Kirby) is an incredibly moving deep dive into the stages of dementia presented through an audio journey. The deterioration of the human mind is something which seems impossible to replicate through media, experienced only by those suffering and unable to communicate the experience, yet the themes of loss, confusion, terror, fractured remembrance feel so pronounced and painfully tangible in this 6 hour long piece of work. The promotion of increased empathy for dementia suffers especially among a younger generation who do not yet readily feel this threat of deterioration and ageing so strongly is something the creation is credited for. The repetition of the same hooks and music becoming gradually more warped, clouded, deconstructed and eventually destroyed as they become completely unrecognisable reflects the totality of dementia’s takeover of the brain and temporal perceptions. The album cover and concept art by Ivan Seal consist of his distinct surreal and abstract painting style with focus on the themes of memory and the creation of imagined objects which are full of uncanny resemblance. Cold muted colours and blurry subjects with hardly distinguishable forms dominate his depictions which capture a sense of surreal confusion and deterioration.

PRIMARY RESEARCH

Visual recording

What I am visually exploring here in my grandad’s house is the way a person’ s life imprints itself on the places they inhabit and thus how spaces hold memory and how memories hold spaces- which is the integral realm of exploration behind my project’s conceptual ideas. The house packed with his character and soul holds a distinct intangible air of loss in his absence ( something which I began capturing in my Room Tone project) and the process of organisation and preparing to leave the place behind that my family was undergoing was hugely emotionally influential to me in this project. I used the stretched 0.5 lens to capture the immensity of the space flooded with possessions and memories.

I realised that I had been looking at my theme from my perspective- the feeling of loss I feel in the absence of that presence and I was projecting - nostalgia and sentiment for the time they were there.

Capturing mages relating to eliciting emotions where only the room itself, its objects and possessions are the subjects- carrying emotion in memory.

Tate Britain

Millbank

London SW1P 4RG

primary research- MUSEUM VISITS

richard hamilton

tate britian

The interior collage utilises multiple elements from different sources as well as different print techniques like screen printing. This process along with the juxtaposition of different subjects creates a dynamic contrast between antique furniture with bold primary colours and shapes, for example. The abstract framing of these multiple conflicting elements creates a sense of temporal suspension or warping through a space in which different periods collide- represented by interior objects and furniture marked by the styles of their eras. As Hamilton said himself “Any interior is a set of anachronisms, a museum”.

^ Suggests the home is the museum of the self.

This got me thinking about my intrigue in interiors which I had never thought about in this way, being that an interior is like a museum of a persons life and this description really helps to frame my more abstract and emotional concepts in this project (and what I began to explore in Room Tone). In terms of the presentation of my thematic ideas the conceptualisation of someone’s life as a gallery or within a gallery space is something which I would like to explore. This also prompted the question of whether people can be considered anachronistic- their soul age leaving them in another time while their body ages and deteriorates.

Anachronism: A thing belonging to a period other than that which it exists

mark lecky

This work got me thinking about exhibition spaces themselves and the possible presentation of work (CGI rendered recording on a TV screen) - reminded me of the specific grainy video game aesthetic of certain, especially liminal, horror games. Aesthetically the colour grading is striped back and clinical while the digital static/ visual white noise from the screen lends a hand to the liminality of it.

“It is bare space, the artwork is stripped of its aura”

The fish-eye-lens framed empty room inside the head of the stainless steel Rabbit by Jeff Koon is presented as if reflected in the mirror-like surface of the sculpture and filmed by a camera crew which isn’t really there- and neither is the Rabbit (being CGI).

linder born

Similar to Richard Hamilton’s collage style, Linder Born’s work is interested in interiors. While Born’s work features much less contrasting visual elements in terms of shape, colour and form, she utilises the process of collage in a simple yet effective way- making particular use of negative space to isolate features of the collaged room (e.g., the bed, almost exiting the space). This could be an interesting way to fragment my presentation of a space.

zineb sedira

Themes concerning identity, personal history, vulnerability, intimacy and collective memory define Sadira’s fiction and documentary based autobiographical “film about film and filmmaking”. Above all the material and processes behind Zineb Sedira’s work is what I can learn from and gather the most inspiration from. The miniature room essentially being a 3D collage is a perfect example of the potential of mixed media work brought to life on a smaller scale- techniques like flattened paper features within a 3D space remind me of Lauren Child’s work on the Princess and the Pea illustrations.

planning and reflection

What I will focus on moving forward is mood, tone and aesthetic informed particularly by the research which promoted a directional shift in focus on liminality in spaces. I will need to consider subject matter and medium and begin extracting a visual identity from primary research such as my interior photography. This will enable me to begin experimentation which will allow me to advance my ideas through practice as research,

Keyword exercise:

surreal

steady

liminal

reflective

slow

pensive

Creating evocative and relevant words from a randomised assortment of letters

practice as research

‘makers morning’

The medium of black pen, fine liner, pencil, charcoal seemed to be appropriate for capturing my intended mood (informed by thematic features of my project being the ephemeral nature of memory and temporal perception). The loose illustrative sketching is an incomplete imitation of the space which is devoid of the soul of colour, with only texture and line being what remains. In a way representative of the fading of memories and of the presence of life in spaces. The room does not have definitive edges and is presented as not completely finished or filled, evocative of the blank spots in memory loss.

experimation

Editing using mobile app Snapseed and the expand tool- imperfectly expanding the image- choppy and unclear or ‘foggy’ like perceptions of memories.

Scanning the image on the printer allowed the interior to be warped in a way which isn’t immediately obvious or in your face but creates a more subtly expansive image which is imbued with an uneasy lack of realism.

alternative ideas/ experimentation

Inspired by Richard Hamilton’s collage format; especially in terms of juxtaposition of colour, shape and form. Placing objects of specific recalled memory into the otherwise abandoned and forgotten environment. Pops of life and character and recollection.

REFLECTIONS:

• Possible avenue of development moving forward; contrasting subjects presented in different mediums (monochrome-colourful, saturated-desaturated)
• Might be too much of a break in consistency of tone and subject presentation for me to be able to capture a constant surreal or liminal mood

printer scans

further experimentation

Pockets of collected artificial colour began to appear- interesting contrast and variation

creative development

Has a panoramic sort of effect- engulfing sense of space and retrospective experience of one’s life presented in their surroundings

Lining up the scans made for a montage type film real effect which to me could be representative of the disorientating experience of the disintegration of one’s memory manifested in a physical space being the room. The stretching, warping, chromatic aberrations make parts of the space unrecognisable especially with the illustrative style the room was made with in the first place.

AI PASSAGE GENERATOR

Title: Threads of Remembrance

In the cozy corner of a quaint little town, there stood an old house, weathered by time and embraced by ivy tendrils. Within its walls resided Mrs. Eleanor, an elderly woman whose days were woven with the threads of memory and nostalgia.

Eleanor was once vibrant, her laughter echoing through the corridors of her home. But now, time had etched its marks upon her, leaving her mind entangled in the labyrinth of dementia. Yet, within the recesses of her fading memory, fragments of the past lingered like delicate whispers.

Every morning, Eleanor would sit by the window, gazing at the dancing sunlight filtering through the curtains. In those fleeting moments, she would recall the golden days of her youth—the warmth of her mother's embrace, the melody of her father's voice, and the laughter of childhood friends.

But as the day unfolded, the shadows of forgetfulness crept in, veiling her thoughts in a shroud of confusion. Simple tasks became daunting challenges, and faces once familiar now seemed like strangers passing by. Yet amidst the haze of uncertainty, there remained a beacon of solace—her cherished keepsakes.

In a corner of the attic, nestled among dusty boxes and forgotten treasures, lay a trunk brimming with relics of days gone by. Eleanor would gingerly lift the lid, unveiling a trove of memories. Photographs frozen in time, letters yellowed with age, and trinkets imbued with sentimentality—all whispered tales of a life well-lived.

With trembling fingers, she would trace the contours of a faded photograph—a snapshot of a youthful couple lost in each other's gaze. Tears welled in her eyes as she whispered his name—William, her beloved husband. Though he had departed this world long ago, his presence lingered in the corners of her heart, a timeless companion in the journey of remembrance.

As dusk descended upon the town, Eleanor would retreat to her bedside, nestled beneath the covers like a fragile cocoon. In the quietude of night, memories would unfurl like petals, weaving a tapestry of bygone days. She would drift into slumber, cradled by the lullaby of nostalgia, as dreams intertwined with fragments of reality.

In the realm of dementia, where time is a fickle companion and memories slip through the crevices of consciousness, Eleanor found solace in the echoes of the past. For within the labyrinth of her mind, amidst the tangled threads of remembrance, the essence of who she was—and the love she held dear—remained eternally intertwined.

*

Left me with some evocative and poetic sentiments (in bold) but overall the depiction was more reminiscent of my initial sentimental and ‘wholesome’ approach to my topic which I have since moved away from.

‘makers morning’

Pleased with my previous outcome I returned to this format in order to generate more material to experiment with.

pEER REVIEW:

• “Yoooo that’s so cool”
• “I like how your illustrative style comes out when it’s scanned and edited because it definitely feels more like a memory rather than reality”

printer scanning

reflections:

• Giving the room more dimension and depth with the same subtle warp effect from scanning the image on the printer
  
• Like tracing memories
  
• Less impactful overall image- original illustration is less moody- possibly because the subject setting is lighter.
  

experimentATION

reflections:

• Reminds me of Salvador Dali’s iconic surrealist painting The Persistence of Memory in the dragging/melting imagery
  

Surrealism: Beyond realism; representing an alternate reality which is inaccessible by our consciousness

ALTERNATIVE IDEAS

A possible avenue of visual exploration for my final piece could be in the framing of the space I am potentially creating/ working within. Both Enter The Void and Dogville feature a bird’s eye overhead angle shot of a space which uniquely frames its presentation with a sense of transcendent objectivity. This sort of distance from viewer and subject is consistent with the distance one feels from memories and experiences of spaces they no longer recognise. This could be achieved using glass panes to separate levels of a drawing which I could continue to do in the same medium and illustrative style but frame with an overhead angle.

This could bring a certain dimension to the flat drawings with a new and unique way of framing the visuals.

(Previous reference)

‘MAKERS MORNING’

Using inversion of chalk on black card to highlight lines

Following the Tate Britain visit I had captured some photography of the physical spaces of the museum which I wanted to render myself.

• Exploring architectural features of gallery spaces as good examples of liminal settings which have great potential for transformation.
  

MID

POINT

REVIEW

reflections:

So far I have been heavily influenced by our maker’s mornings because they encourage us to prioritise manual creation which is always beneficial for open-minded ideas generation. I have found the transitions into digital experimentation and manipulation which this encouraged both visually inspiring and impactful to my creative development in terms of giving me confidence from a groundwork of visual information to associate my future production with.

I have carried out a considerable amount of research to inform my ideas which I have found very valuable, because I am constantly being influenced by them- especially as my conceptual ideas develop. I intend to continue, ideally with more primary research, especially in the form of gallery visits which I find are a good way to get out of my head and provide a dynamic environment to take inspiration from.

I have definitely decided that I don’t want to prioritise animation or moving image formats within this project because I am more interested in concept than story telling by narrative, especially using movement and focusing on a subject or character. This is something that the makers mornings have made especially clear to me.

In the second phase of my FMP I intend to develop and flesh out the physical making of my project to work towards clarifying my aims.

I would like to achieve a successful rendering of tone and mood in my project and part of this will involve advancing the uncanny realism of my renderings (while remaining within surrealist bounds) by working towards actualising my 3D ambitions.

Action Point to consider:

• Consider typeface and title sequence with branding that encapsulates your project for when it comes to presentation of final outcomes.
  

CREATIVE DEVELOPMENT

‘MAKERS MORNING’

Started testing with the box idea concept and then spent more time on it once I decided it would work.

Reflections:

• I ended up being really pleased with the natural and unintentional hue created by the natural lighting in the studio I was photographing in- I think that the ghoulish green/blue hue of the photography I captured contributes to a sense of unease.
• I realised that I did not necessarily have to draw the original drawings to the scale that I was photographing in (could’ve drawn them big and printed them smaller) but it lent a hand to the authenticity and texture of the pen and pencil work as well as saving time.
  

All of the interior elements of the new drawings were referenced from my primary photography of the interiors of my grandad’s house. I selected features from different rooms - in a way creating a collage of memories manifesting in one room. Due to the scale I was working on the illustrative style was minimalist with a sort of out of focus, foggy effect which I found effective in communicating my theme through mood and visual identity.

• Manual photography test
• Holding pictures overlayed in front of natural light from window.

• Testing the concept digitally using mobile app snapseed
  

Although the more dramatic editing gives the photography more depth, I actually found that the hues in the raw images from the cream paper and pencils and natural lighting evoked a more uncanny feeling.

• Photographed on the computer screen created a grainy texture
• Multiple layers of manipulation by scanning the original work created a different sort of colour grading and then photographing that image through what the screen does to it acted as an unintentional filter.

• Snapseed expand tool, layers of processing just like the way a memory is carried through our lives and experiences and sometimes altered by them in age and by time.
  

ALTERNATIVE IDEAS

Utilising and exploring the ephemeral nature of shadows just like the ephemeral nature of memories in the face of dementia and ageing. In terms of instillation, the leaves a different sense to stimulate- possibly in sound. Could also be manipulated to present outcomes- through shadows of outcomes or the shadow of a window pane to manipulate scale/ create realism in miniature and play with lighting.

updated action plan

“Re- Action” Plan

Things to consider:

-lighting

-scale

-branding of the whole creation? ^^^(NAME/TITLE) ‘gallery/museum of theirs/mine’ / ‘unwelcome guests’ / ‘visitors’ ‘visitors entrance/ exit’

-Consider audio?

-large version of room using prints

primary research- MUSEUM VISIT

Cambridge Heath Rd,

Bethnal Green, London E2 9PA

v&a museum of childhood

Studying miniatures as a useful way to gain inspiration for the possibilities of my format- uninhibited childhood creations - due to being designed with the play of children in mind the approach to creation is open-minded and inspiring.

I was able to explore first hand examples of literal physical make-ups and variations in mediums for a home-based set.

“Killer cabinet Doll’s house”

E.g., Room inside old furniture of the house; representation of memories one object itself can hold

E.g., open sided panels of the walls allowing sideways view

E.g., modular stacked house with separate rooms

(www.themodernhouse.com, 2017)

Place (Village)

Rachel whiteread

“There was a lot of love involved with them and then eventually the love was lost. They were transferred through generations. That transaction is always something that’s been in my work.” (Dex, 2017)

Her exhibition in the Young V&A Gallery consists of a ‘village’ of dollhouses stripped of furniture and interior decorations and lit up in a dark room known as Place (Village). I was most interested in the architectural makeup and exterior designs of the houses and how the strategic compilation of the vast collection of dollhouses creates a distinctly surreal atmosphere- similar to the feeling of eerie absence in abandoned places which Brendon Burton’s photographic series explored. The houses being empty yet holding such a familial character and sense of the lived experience definitely contributes to an uncanny valley feeling.

secondary research

^ rachel whiteread

Rachel Whiteread is a sculptor primarily working in casts- of space in and around objects. She preserves detail using various materials such as concrete which results in an uncanny inverse version of the subject which retains an impressive and recognisable amount of detail. Her work considers themes to do with “the traces of humanity impressed upon” domestic architecture sites and in this way her work is thematically consistent with themes of imprinted memories or memories of places existing like ghosts- places which only hold value from the memories people recall of them- leaving them shells when that memory is forgotten.

Ghost, Ghost II

secondary research

pallant house’s model art gallery

The work is a means of displaying contemporary art on a dollhouse’s scale and thus enabling the cultivation of a ‘dream collection’ without the burdens of cost and space. This newer work was inspired by ‘The Thirty-Four Gallery’- a creation in the same vein from 1934 after inspiration from Queen Mary’s Dolls’ House at Windsor Castle- largest dollhouse in the world. Modern artists such as Damien Hurst contributed to the work with miniature creations of their artwork.

Symbiosis of interests: dollhouse representing familiarity and childhood vs the uncanny and the gallery space is what provides objectivity and distance between self and memory with ageing. Additionally, the minimalism of the architecture in gallery's helps with managing the ambition behind the outcome of a physical dollhouse- also to challenge myself with minimalism in a gallery setting rather than maximalism which I find is my comfort zone and something I have previously explored.

Planning

The Thirty Four Gallery

Various ‘artifacts’ featured in different mediums - clay, paper, wood, printed scanned features, overlaying with projection and light manipulation.

Experience of a space not knowing why you recognise it or how it relates to you - dementia sufferers experience walking through their home unable to attach themselves and their experience to the place or find themselves and their memories which would be stored in the objects.

primary research- MUSEUM VISIT

13 Lincoln's Inn Fields, London, WC2A 3BP

Being literally a museum of the individual Sir John Sloan’s home, left as it was at the time of his death in 1837, this unique property provided the perfect anachronistic collection of inspiration. Over-hearing the space being described as a “labyrinth” by a fellow visitor summed up the experience of walking through the building. Not only is the architecture itself maze-like and intriguing but the contents of the building are a spectacle- a vast collection of architectural, sculptural, artistic and historical pieces and artifacts.

Sir john sloan’s museum

What I was interested in gathering was visual information through primary photography which I collected on two scales- the house itself and the miniature architectural models scattered throughout it. At this time the concept of making my own simple miniature building was at the back of my mind but I also thought it might be too ambitious and not fit into my timeline.

Planning

“The setting”

The dollhouse acts as archival ephemera, as something my grandad made, but also a memorable part of my own childhood which is itself symbolic of memory and ageing; making the piece a literal archive stored inside dollhouse's walls. Using this piece was the best choice in terms of time management as I was nearing the end of the project.

My initial inclination was to have a sterile white environment reminiscent of the clean bright gallery spaces. This had been my intention for a while and I was going to spray paint the interior white, visually ‘erase’ the memory of the space. What made me change my mind was that when I began planning shots I found that the existing worn down base of the dollhouse interior provided a more interesting canvas, and contributed to a more uncanny atmosphere given that the liminality came plenty from the emptiness and desolation within the space. After all, I decided that the concept of a ‘museum of the home’ might benefit from a more homely interior- looking like a new house just purchased and in need of repair.

REFLECTIONS:

• The darker moody lighting without my red bulb overhead makes for a more palatable image- less striking more underhanded tonal liminality- also looks more deceptively realistic
  
• The top floor is easier to work within but less interesting scope for shots using deceptive angles
• Shooting at night produces best results
  

creative development

‘Exhibition piece’

Anachronistic and ephemeral content collection; the chair is something I always remember from my grandad’s house in Ireland because it is a totally unique piece of furniture which was directly transformed by the inhabitants and visitors of the space- the names of everyone passing through the space recorded on the chair itself. The literal ephemeral nature of the time period the chair recorded is also manifested in the nature of the chair itself, constantly changing during that time and yet frozen within that period- the memories lost now.

REFLECTIONS:

• Trying something new was really important to me in this project and from reflection on my Room Tone final project I decided that if I had had more time I would’ve liked to make some furniture myself. I have learnt that I prefer working manually and manipulating physically and the medium of clay moulding itself is appropriate since the act of moulding reflects the way memories mould us yet are impermanent like soft clay.
  

• I had to adapt to time constraints from the clay’s natural drying time since I didn’t want to work with the main clay features while they were wet as I thought this might be risky
• I was originally sceptical of my ability to mould the more precise and fiddly aspects of the chair (being the legs and back support sticks) but I was luckily able to make use of an old strip of wooden sticks for sushi rolling I found in my kitchen which were the perfect size
• I struggled with the actual written element of the chair because the white spray paint I used on the model didn’t react well with the ink of the fine liner- overall this resulted in more illegible writing which I was happy with the result of because you wouldn't be able to read the names in miniature anyway and the lack of recognition in the words was fitting thematically.
  

LECTURE NOTES:

“What they finally remember is not the editing, not the camerawork, not the performances, not even the story, but how they felt” ----- Walter Murch

Thinking about emotional significance in my project the emotions could seemingly be sort of exclusive because they are coming from a very personal place and could be seen as confined to my specific experience. While the fundamental source of inspiration is certainly very personal to me the themes I’m exploring are not only wholly universal but I also intend to present them in a deliberately accessible way.

• Editing is used to establish a consistent style, for example, smooth transitions
  

^ e.g., Talented Mr Ripley

Things to think about in post production:

• sound design
• colour grading
  

CURATING NOTES:

• Gallery spaces (White cube, Amsterdam industrial space, Barbican)
  

• Think about how to exhibit the work in terms of positioning

• ^E.g., on the ceiling, using different mediums used to represent themes (wooden boards for nature)

• How do we get our audience moving through the space?

• What senses will you tap into- e.g., scent of rain, sound design (before even entering the room), sound before visuals

• Synthesise the room to reflect your exhibition- miniature room in a big room

Reflections:

Best way to present a gallery within a gallery could be found in the potential of the outcome being a virtual website home page welcoming you into the hypothetical gallery- a surreal experience presented in the objectivity of a virtual setting.

creative development

colour palettes

The unintentional chromatic aberrations created by my printer scanning experiments provided an interesting contrast to the monochromatic and stripped back colour palette of the illustrations. Aberrations being an “unwelcome departure from the normal” sort of mirrors the brain aberrations of the dementia sufferer. The camera’s ability to record and to link features (colours) is impaired like the mind’s ability to link events, people, faces, places etc. This accidental development from my experimentations is not only visually appealing from the high contrast change, but also reminded me of the themes I explored in Room Tone once I realised what these colours and visuals reminded me of- fire (with blue, yellow, red sometimes green flames). The thematic significance I associate with fire was present in the sound design for the project Room Tone (crackling flames) being representative of the ‘soul’ a place holds when inhabited- the time where the hearth is lit. The ‘heart’ of a place only burns as bright as the memory one holds of it once the person inhabiting it has gone. Fire has a huge number of symbolic associates such as power, destruction, desire, rebirth and purification. Its destructive power is what I find most significant with relation to the exploration of my themes; memories are presented with paper and fire is what destroys them- reflective of the all-consuming nature of dementia.

ABBERATION: A departure from what is normal, usual or expected, typically an unwelcome one

CHROMATIC ABBERATION: A failure of a lens to focus all colours to the same point creating an outline of unwanted colour along the edges of objects in high contrast photographs

using website ‘Coolors’

Ivan Seal- esque decaying earth tones- reflecting natural course of things

Creative development/ experimentation

I wanted to try my hand at some moving image work because I didn’t want the entire project to be static as I felt that wouldn’t demonstrate a nuanced approach and I also wanted to have more varied material to work with.

attempt 1

• The fire started in the corner and this led to the roof falling down prematurely so that I didn’t get a shot of much of the room actually burning
  

attempt 2

• I wanted the flames to be more at the back of the room and move forward so I started the fire from the back this time.
• I would’ve liked for a more dynamic angle framing the room while it burned but I couldn’t film multiple shots at once with just one camera and re-printing and assembling the room was time consuming.
• I would’ve liked for the video to have picked up less impact pf the match striking the back of the paper but overall I was pleased with the progression of the burning in this outcome.
  

With the burning I wanted to add a bit more of a dynamic and dramatic change from the pensive, uncanny, liminal approach I had been taking previously in the project because I thought a break from the surreal into something more tangible ( flames and fire) would be an interesting contrast in my work and something I could use for impactful juxtaposition in my final outcome.

experimentation with speed and rewind

REFLECTIONS:

• Reminds me of time-lapses of cans or apples degrading which is not my intention
  
• Is too far from the pensive atmosphere- and emotion I want to elicit- so fast-paced the impact is lost
  

Image overlay of burning room stills onto photograph of room using Snapseed

projection mapping experimentation

I printed the scanned images of the micro room and re-printed the panels to create a scaled up version which I filled with the video of the burning room using a projector.

REFLECTIONS:

• I was pleased with the effect of the projector picking up on the roof of the model
• I didn’t have much time with the projector so I was rushing a little and I would’ve liked to have more time to line the recording up with the model

Problem solving

• It was unrealistic to use in my final piece because I don’t have access to a projector at home, wouldn’t be able to bring my model into school and due to unforeseen circumstances limiting my contact hours I knew that I wouldn’t have time to check out a projector and bring it home. The alternative was just to digitally overlay the image in post-production if I decided I wanted to replicate this effect.
  

creative development

I had to better frame the shot in post production by cropping since I was rushing in the physical installation of the projection.

Digital overlay using premiere pro

Instead of manually projecting the work on top of the physical model again I decided that digitally overlaying the video on top of the photographs would save time at the final stages of my project where I had to cut corners due to unforeseen time constraints.

This also enable a more explicit overlay effect which I was happy with.

reflections:

• Do the same effect with the video with speed manipulation and rewind?
• Or slow it down?
  

final

creative

development

Synthesis of final outcomes

I originally began constructing a miniature gallery set using a cardboard box, spray-paint and wooden chips for details which was effective but the space was quite small, and after I noticed the shelves in my kitchen cabinet were the right size and colour and shape I decided that I would use them instead.

This use of furniture to display furniture in association with the memories objects hold was very fitting and reminded me of the dollhouse in the cabinet I had seen at the V&A.

With the time and access I would’ve liked to project my video work into the space (on the wall or small inside the miniature room again) and while I attempted digital manipulation it just wasn’t reaching the standard or desired effect I was looking for. Also I liked the static, still effect of the display and didn’t want to change that.

Final creative development

I was taking familiar elements from the original paper room instillation into the house and the flat paper cut outs juxtaposing with the 3D wooden setting created a dynamic textural feel.

I utilised different light sources like a stronger lamp light behind the paper cut outs in order to illuminate them- providing a glowing contrast to the matte interior.

problem solving

Photography quality is not as high as it should’ve been which is definitely disappointing at the end of the project due to the unforeseen circumstances of not being able to access a camera since I didn't have enough time to check one out of the kit store and return it before travelling to Ireland for my grandad’s funeral. As a compromise I tried to photograph with dimmer lighting in order to make the graininess more intentional.

Testing a concept of manually ‘projecting’ using my computer screen reflected in mirrors placed inside the dollhouse.

Final outcomes

BIBLIOGRAPHY

Cartoon Saloon |. (n.d.). Short Films - Cartoon Saloon |. [online] Available at: https://www.cartoonsaloon.ie/short-films/#LA [Accessed 3 Mar. 2024].

Moore, S. (2023). Visible Mending. [online] Vimeo. Available at: https://vimeo.com/827066711 [Accessed 3 Mar. 2024].

MEDIAACTIVE PROJECTS C.I.C. (n.d.). Visible Mending. [online] Available at: https://www.mediaactive.org/visible-mending.html.

The Metropolitan Museum of Art (2023). The Metropolitan Museum of Art. [online] Metmuseum.org. Available at: https://www.metmuseum.org/.

Dare to Question Why We Are So Afraid of Getting Older: Scilla Elworthy at TEDxMarrakesh 2012. (2012). YouTube. Available at: https://www.youtube.com/watch?v=J6zenOjPC1A.

TEDx Talks (2015). What if age is just a state of mind? | Bruce Grierson | TEDxPSU. YouTube. Available at: https://www.youtube.com/watch?v=56JMahuMlvE.

Paulson, D. (2022). ‘2001: A Space Odyssey’ Ending Explained: ‘I Can Feel It. My Mind Is Going.’ [online] Collider. Available at: https://collider.com/2001-a-space-odyssey-explained-stanley-kubrick-kier-dullea/.

TEDx TALKS (2016). Let’s change the way we think about old age | ​Zaria Gorvett | TEDxLausanne. YouTube. Available at: https://www.youtube.com/watch?v=IV0VlrtETJU.

Robson, D. (2018). The age you feel means more than your actual birthdate. [online] Bbc.com. Available at: https://www.bbc.com/future/article/20180712-the-age-you-feel-means-more-than-your-actual-birthdate.

www.psychologytoday.com. (n.d.). Why You May Feel So Much Younger Than You Are | Psychology Today United Kingdom. [online] Available at: https://www.psychologytoday.com/gb/blog/ulterior-motives/202308/you-probably-feel-younger-than-you-are#:~:text=In%20addition%2C%20several%20other%20factors [Accessed 3 Mar. 2024].

www.youtube.com. (n.d.). IRENE’S GHOST trailer | BFI London Film Festival 2018. [online] Available at: https://www.youtube.com/watch?v=GqAM8rjVQiU [Accessed 3 Mar. 2024].

TYKE FILMS. (n.d.). Plunge. [online] Available at: https://tykefilms.com/plunge [Accessed 3 Mar. 2024].

Projects, A. (2019). Bloomers by Samantha Moore. [online] Vimeo. Available at: https://vimeo.com/314358456 [Accessed 10 Mar. 2021].

theinspirationgrid.com. (n.d.). The Enchanted Hour: A digital artwork that interacts with the time of day | Inspiration Grid. [online] Available at: https://theinspirationgrid.com/editorial/the-enchanted-hour-a-digital-artwork-that-interacts-with-the-time-of-day/ [Accessed 14 Mar. 2024].

Spotify. (n.d.). Everywhere at The End Of Time - Stages 1-6 (Complete). [online] Available at: https://open.spotify.com/playlist/7vzdGCpEBMgLkqTWe4qZbM [Accessed 6 May 2024].

ROBBIE ROWLANDS. (n.d.). Selected works. [online] Available at: https://www.robbierowlands.com.au/artworks [Accessed 14 Mar. 2024].

careerswales.gov.wales. (n.d.). Job Information. [online] Available at: https://careerswales.gov.wales/job-information/nostalgist/job-role [Accessed 22 Apr. 2024].

ROBBIE ROWLANDS. (n.d.). About. [online] Available at: https://www.robbierowlands.com.au/about [Accessed 25 Apr. 2024].

www.luhringaugustine.com. (n.d.). Rachel Whiteread - Artists - Luhring Augustine. [online] Available at: https://www.luhringaugustine.com/artists/rachel-whiteread#tab:thumbnails.

Dex, R. (2017). Museum of Childhood gives Rachel Whiteread’s little village a home. [online] Evening Standard. Available at: https://www.standard.co.uk/culture/v-a-museum-of-childhood-gives-rachel-whitereads-dolls-house-village-a-home-a3497146.html [Accessed 2 May 2024].

Photography, H.L.-S. last updated C. from R.H. - (2021). Major artists create new micro artworks for miniature gallery. [online] wallpaper.com. Available at: https://www.wallpaper.com/art/model-art-gallery-2021-exhibition-pallant-house.

Coolors.co. (2018). Coolors. [online] Available at: https://coolors.co/eef0f2-c6c7c4-a2999e-846a6a-353b3c.

www.soane.org. (2015). Home. [online] Available at: https://www.soane.org/.

Pallant House Gallery. (2021). The Thirty Four Gallery | Perspectives. [online] Available at: https://pallant.org.uk/the-thirty-four-gallery/ [Accessed 6 May 2024].