Добірка наукової літератури з теми "Psychological aspects of Watercolor painting"

The article is devoted to the study of the psychological aspects of Salvador Dalí’s personality and creative process. Based on the analyzed data taken from cultural and historical conditions of the artist's life, as well as from biographical, autobiographical facts and works of art, the following groups of factors were found that influenced both the psychological characteristics and elements of the artist's creative products. The group of macro factors includes geographical, in particular the tendency to portray the landscape, where the artist lived, as the background image in his paintings; global events (the image of the Civil War was used in the painting "Soft Construction with Boiled Beans: Premonition of Civil War" (1936)). Micro factors include two subcategories: close social environment and personal events. The death of the elder brother had seemingly an intense influence on artist's personality and creativity that led to the development of guilt in the parents who treated Dalí in a special way, as their second and only son. This situation formed a sense of permissiveness and uniqueness that, becoming Dalí’s fixed personality traits, were manifested in art: the widespread use of free associations and a surrealistic approach in paintings. Freud's ideas had an exceptional influence on Salvador Dalí, and led to the development of a unique method in his works of art - a paranoid-critical method that allows mixing real objects in paintings with the fantastic ones. It is worth noting the influence of two strong childhood emotional impressions that have signs of psychological trauma: contemplation of the decomposition process of a hedgehog’s corpse and entomophobia of grasshoppers. These two events formed individual images that the artist often used in his surrealist paintings. Therefore, based on these facts we can talk about the existence of a certain mechanism that transform the image of psychological trauma into a permanent element of creativity. The results of the study showed the presence of the following Dalí’s main personality traits: shyness (especially in childhood and adolescence), narcissistic personality type, alienation and closed nature, ambition and the desire for recognition. Thus, it can be argued that there is a certain mechanism in the creative process that transforms the formed psychological traumas and phobias into stable symbolic elements of creative products. The consistent effect of certain events in a life on personality structure was established and, accordingly, the impact of such events on a choice of a certain style in creativity was revealed.

The paper deals with coloristic means in the works by the well-known Ukrainian writer-Sixtier. It focuses on the functions of colors and color effects in the text, their analogues in painting, and the role of the colors in showing semantic and mood accents or expressing some implicated meanings. The researcher traces accordance of the literary means with expressive resources of painting art as they are recorded in the theory of art. Throughout all the periods of the writer’s creative work the prose by V. Drozd shows the author’s attention to the plastic wealth of the outside world and its coloristic potential. The search for the graphic forms of a psychological analysis, as well as the mood dominant, the background of event, the expressive color markers of semantic accents or meaningful image components of exposition, and, after all, the very painting-like modeling of the landscape or interior, stimulated new graphic experiments that renewed and deepened aesthetic impact of a literary work on a reader, due to the culture of visual perception and constructive imagination. The first attempts of verbal design and color rendering in V. Drozd’s works still testify to his literary apprenticeship showing excessively decorative nature, unambiguity of semantic associations, bright hues and chromatic saturation that looks rather as adopted from pictures and not taken from nature. Such artistic approach to the theme generates enormous, and at the same time ideologically typical, pathos associated with aesthetics of socialistic realism and therefore with the teaching function of art. The development of coloristic culture in the works of the prose writer is rooted in his attention to the rich range of hues, their emotional and expressive potential, and also in the author’s desire to show a psychological action in a more plastic and suggestive way. In order to reproduce the coloristic variety of sensory experience and underline important semantic implications the writer skillfully works on the parameters of achromatic light environment which becomes symbolized or transformed in a fantastic and hyperbolic way due to the expressive function of light markers. The light and color contrasts or combinations of hues may underline some essential semantic aspects of the verbal picture components within the reproduction of a landscape. The analysis of figurative and modeling means proves the artistic functionality of the verbal analogues of painting in V. Drozd’s prose, and its consistency with the aesthetic dominants of the Sixtiers.

The article reflects the problems arising in the process of teaching painters and designers to create etudes. By the empiric way the authors of the article have come to the conclusion that it is possible to group the problems which students face when reflecting light-and-air environment in etudes. On the basis of vast teaching practice the authors distinguish such most significant problems as: • difficulty in realizing the limitation of tone range of painting and graphics in comparison with natural surroundings; • mistakes made in defining the ratio of maximum light and maximum dark elements of the natural surroundings; • difficulty in reflecting the space depth. The authors’ vast teaching experience has allowed to formulate a complex approach to eliminating the above mentioned problems combining teaching and technical aspects and providing the following skills: • the complex perception of the nature object; • the ability to establish the ratio of the big main color spots; • the understanding of the nature objects’ tone and color change mechanism; • the ability to define the dependence between the visual tone and color and the distance to the object. To realize the mentioned complex approach the authors suggest implementing a system of different exercises and trainings. In the article they describe two alternative variants of trainings. The first one molds the perception of light-and-air environment by the method of “dyeing”, with the following fixing the molded skills in creating a series of elementary academic settings. The second training is based on the stipulation that watercolor grisaille does not demand any preliminary preparation for perception the influence of light-and-air environment. Thus, according to the training methods, a student automatically gets tone ranging of the whole work area. In the authors’ opinion, in addition to the mentioned exercises, students should be offered less difficult tasks in order to fix the skills and form the dynamic stereotype of defining the light-and-air environment’s influence in etudes.

The article analyzes the phenomenon of catharsis that occurs from the perception of the tragic in art. Based on the eudemonistic understanding of catharsis we trace the cultural and historical aspects of the problem and show that catharsis as an aesthetic and psychological phenomenon that emerged in antiquity in order to facilitate acceptance of the necessity of dying of Self for rebirth into a new life. Using the examples of expressionist paintings and their early origins (M. Grünewald, E. Munch, P. Picasso) we analyze catharsis that occurs in the process of the tragic artworks perception, showing its therapeutic value for the audience (accepting the inevitable and searching for meaning, struggling with despair, resisting chaos, evil, and destruction). We show that the tragic in art, including painting, creates an aesthetic space that penetrates the living space of the subject of artistic perception and creates the possibility of expanding the conceptual horizon and spiritual renewal.

The reign of Abū al-Fath Jalāl al-Dīn Muhammad Akbar (1556–1605) was a fruitful period of the political, cultural and spiritual synthesis of Persian, Indian, and European tradition, as well as an artistic and aesthetic renaissance. This cosmopolitan, universal and charismatic ruler strived for the external, political, material and spiritual well-being of his colourful empire. In search of a balance between the external and internal, and in his endeavours for the unification and uniformity of India he gradually created a completely new style of Mughal arts, which is a stunning reflection of his personality’s transformations, principles, insights, interests, and spiritual growth.The paper focuses on a psychological portrait of the ruler, who dictated aesthetics and the style of the classical period of Mughal arts which consists of the three basic developmental phases of Akbar’s enigmatic character. The thesis on the parallel development of Akbar’s personality and Mughal arts is supported by research on the influence of certain European and Persian aesthetic elements, and mainly on the influence of Indian philosophical-religious tradition (the doctrines on rasa, bhakti, yoga, and tantra). The early period of Mughal arts, with predominantly realistic elements, coincides with the ruler’s dynamic, youthful enthusiasm and immense curiosity to acquaint himself the most varied aspects of external events and appearances. The second, the mature period, which enriches this earlier realism by means of mystical elements and the symbolism of Indian pre-Mughal painting, is marked by the shift into the interior and by searching for the harmony between the material and spiritual. In the late period of Mughal painting, however, reflexive and lyrical works prevail, which are a reflection of completion of Akbar’s spiritual quests, and the unique project of multifaceted synthesis that he undertook and promoted.

Article addresses issues, constrained with the use of property colors allowing to use him, as psychological factor, for the achievement of aims, facilitating vital indexes or impedimental to the functional processes, showing up in contrasting relations in an interior. The use of the contrast effect is based on a person’s desire to compare everything. When studying the manifestation of contrast from a scientific point of view, two aspects of the problem are distinguished: psycho physiological and aesthetic. Both factors must be considered when creating an interior. Contrast in the interior, as in painting, is important, especially when choosing expressiveness. Depending on the intensity, the contrast can give the impression of diversity, strength, determination. To create a mood in the interior, convey emotions and set the right accents, you need to transform the walls into an interesting element of design. You need to create a complete composition of all the elements of the interior. Contrasting interiors are always expressive. Particular attention should be paid to the arrangement of a work of art in a contemporary interior and its integration into the architectural space. By creating a painting for the interior directly, we can change the architectural space and set the color palette, as well as choose the material to create the artwork. Choosing a work of art allows designers to create bold interiors to order. This article aims to explain and systematically characterize the selection of materials and principles in determining the type and purpose of the interior, as well as to formulate the criteria for creating a competent contemporary interior, using contrasting features when finding the main visual focus in the interior. Thus, the contrast used as a means of organizing the architectural environment also works to enhance the impact of the work of art on the created interior and multiply its significance.

Consideration of the social dynamics of childhood is of particular interest caused by attention to the child’s world, its values and subculture. The presented cultural and historical aspect to some extent reveals the key positions aimed at characterizing the child period from birth to 11 years. In this period, the foundations of the future personality are laid through upbringing, creative development, and the influence of various social and cultural processes. Each historical epoch made a certain contribution to the childhood picture. In antiquity philosophical views on the growing stage are formed, in the Middle Ages artists displayed the children world by painting it on canvases, the Renaissance appeals through literature to psychological aspects of childhood. The past century with collected experience of previous generations allows to reveal the full potential, previously dormant in pedagogical thought. This contributed to the emergence of new leisure facilities, the children’s movement (not only in Russia but also abroad), writing children’s literature, etc. We give the generalized characteristic of the child’s personality development process is given and we pay attention to the historical dynamics of social and cultural childhood issues. We reveal the factors that most qualitatively influence the development stage of a person, understanding the concept of “childhood”.

SUMMARY The scientific interests of Rev. Professor Janusz Pasierb revolved mostly around questions related to Polish art, often in the perspective of European interconnections, inspirations, as well as differences. The present study has been inspired by an observation by Rev. Professor Pasierb made in reference to a sphere of human activity unrelated to art. Describing in one of his papers the figure of Bishop Konstantyn Dominik (1870–1942), Professor Pasierb employed the phrase extraordinary ordinariness17. In the present text, this term will be used to discuss an artist whose oeuvre depicts ‘extraordinary ordinariness’ in the most multi-aspected and spectacular way. Rembrandt van Rijn was at once a traditionalist and innovator, both in regard to the range of employed subjects and compositional schemes and his craftsmanship. His knowledge of the achievements of his forerunners, continuously developed, inspired his own artistic quest. Despite the fact that he was a painter in the period when elaborated allegory was universally employed, he insisted on the realism of scenes and directness of compositions in order to bring out the extra-sensual dimension, based on symbolism hidden in prosaic life. His works open spaces of universal experiences and feelings, at the same time inclining us to pose questions concerning their complex intellectual interpretation or Rembrandt’s technique. His mastery is equally palpable in his biblical compositions, landscapes or brilliant psychological portraits, while each of the genres was depicted by him both in painting and in graphic arts, which was rare in the times when most artists specialized in only one medium, or even in one genre, like portraits or landscapes, in one medium. Rembrandt is one of the artists referred to as painters-engravers (peintre-graveur), like Albrecht Dürer or Lucas van Leyden before him. In graphic arts in particular, he introduced new technical and compositional solutions, issuing works that often astound with their innovative approach and extremely individual interpretation. Rembrandt’s versatility in terms of addressing various genres is particularly visible in his prints. Certain subjects were resumed by him as he looked for ever new solutions. Several chosen examples of graphic works depicting religious themes combining in various aspects traditionalism and innovation will be discussed to illustrate Rembrandt’s iconographic, compositional and technical concepts and search.

from different fi elds of art refer to the same topic. Stable repetition of phenomena, the names of which were originally perceived in the poetic and metaphorical way, indicates the formation of a certain genre branch, little developed in scientifi c research. Genre neoformations of this kind include walks, behind the semantic layer of which a certain set of stylistic means shines through. It is not by chance that attempts are made to comprehend this phenomenon in aesthetic and artistic aspects. Objectives. The purpose of the article is to highlight the phenomena of artistic culture with the most vivid signs of promenade elements, to consider a set of musical instruments used by French composers of the late 19th – early 20th century in the music “walks”. Methods. To determine the role of walks in the genre palette of the music of the 20th century, the historical biographical and the comparative research methods were used. Results. The author of the article reveals the role of walks in the French national life and culture. Their characteristic signs are the following: desire for rest, lightness of being, enjoying the moment. From here, the verbal landscapes from the “In Search of Lost Time” novel by M. Proust take their beginning in, which were inspired by his walking in the Bois de Boulogne forest, in the outskirts of Paris, the province of Illiers-Combray, where the writer took care of fl owers, trees and shrubs. A similar passion for walking and studying the fl ora was also experienced by the enlightener J.-J. Rousseau. He was known to spend a long time feasting eyes on plants, collecting herbariums, often recording his observations. This also explains why C. Monet loved wandering in the wilds. The famous artist, known for his landscape paintings, bought from the local farmers a piece of land that bordered with his estate in order to freely wander around the fi elds in search of the right object, favorable angle or necessary lighting. As a result, promenade walking, being a typical national feature, is often embodied in French music and poetry. This phenomenon is common outside of French art as well. In music, we can refer to “The Walk” by S. Prokofi ev and “The Walk” from the “Pictures at an Exhibition” by M. Mussorgsky; in prose - “The Walk” by N. Karamzin, “Walking in Rome” by G. Morton, “Walking with Pushkin” by A. Tertz, “Six Walks in the Fictional Woods” by U. Eco; in painting – “The Walk” by M. Chagall, “An Evening Walk”, “A Man and a Woman on a Walk in the Forest” by A. Toulouse-Lautrec, “A Walk”, “A Walk” by P. Delvaux, “A Walk” by E. Degas. Quite a few works in the genre of walks revealed such areas of public knowledge as lecture sessions, historical excursions and reviews of art. Thus, the art critic, historian, art historian S. Stavitsky organized a lecture session “Walk as a genre of modern art”, which consisted of three meetings: “Walk Aesthetics”, “Walk and Neo-avant-garde”, and “Actionist Walks”. Polish literary critic Z. Kopech published a collection of articles called “Walks in Modern Polish Literature” devoted to the issues of national prose, poetry and drama. E. Kulikova wrote the work called “Walks in the Lyrics of Anna Akhmatova”, where the author reviews several of her poems , including “The Walks”. B. Godard’s piano cycle “Chemin Faisant” (1880–1881) was analyzed, where each of the pieces appears as a sketch, a “photography” of a walking person. The fi rst three items of the cycle – “Going Over”, “Crying” and “Singing”, form a mini-cycle, since they contrast with each other in terms of image and content, although they remain related in terms of the selected means complex. Among them are: fi gures of movement, repetition, dynamic approach of “moving closer-moving away”, staccato technique in outside pieces. The unifying principle is the direction of all stylistic means to visualize a music image. This explains the presence and individual traits, since the character’s image created by the composer is endowed with a unique identity. The distinctness, tangibility of B. Godard’s musical images makes one ponder over the impact of cinema on musical art: its abilities through the details – expressions of eyes, facial expressions, turns of the head – transmit a change of emotional state, moods, put together a special emotional and psychological plot. A different approach to a descriptive music in “The Walks” (1921) by F. Poulenc is revealed, where the composer does not present a character on a walk, and does not tell stories. Instead, he creates the appropriate surrounding, inspires us with the atmosphere of such different and contrasting walks with the help of harmonic colors, tempos, texture, dynamic and articulation means. His music language is far from being simple, it is full of bizarre rhythms and complex chords, thus putting forward serious technical requirements. Above all, the composer’s targeted attitudes when creating the visible realism of his urban plots are evidenced by numerous text remarks, which are designed to guide a musician as accurately as possible towards the required performance character. They are found everywhere and relate to all components of the music: tempo, sound level, mood, articulation, agogics, pedal usage. A set of various sound and visual means help a performer to implement the composer’s instructions. Conclusions. The universal and wide compositional possibilities of walks as a special artistic genre are proved by its relevance in various types of art and scientifi c knowledge. The authors use different means of declaring their idea, and different way to materialize it. This versatile experience opens the way to comprehending the new and the unexplored, steadily and leisurely, as if you are just a curious walking person.

Nostalgia and food are intertwined universals in human experience. All of us have experienced nostalgia centered on food, and all of us have experienced food infused with nostalgia. To explore the links between nostalgia and food, I start with a rough taxonomy of nostalgic foods, and illustrate it with examples. I argue that there is a psychological commonality to experiencing nostalgic foods: imagination. On my account, imagination is the key to understanding the cognitive, conative, affective, and perceptual aspects of experiencing nostalgic foods. In turn, the recognition of imagination’s centrality in experiencing nostalgic foods reveals how food can produce aesthetic experiences comparable to those produced by literature and painting.

Drawing on Jungian and Post Jungian Psychology as theoretical frameworks, the psychologically transformative properties of painting are explored as aesthetic process and aesthetic product in abstract painting. Consideration is given to precedents within modern culture and the arts in relation to mainstream and marginal practice, along with the concept of the Other as Outsider. Speculations on the idea of altered states of consciousness are explored in relation to different values (both cultural and a-cultural) and the primacy of imagination in the formation of affective relationships between self and world.

This exegesis is an exploration of meditative process in painting and drawing and accompanies an exhibition of paintings and large drawings called What Lies Beneath. The text contains several passages, called "meditations," which accompany the themes approached in the chapters and give insight into the thoughts and practices of the artist. The methodology involves the examination of the evidence of the work produced by selected artists, looking at the words of artists in notebooks, diaries and interviews and surveying a small number of local contemporary artists. The text opens up the possibilities of drapery and garments and of still life as paths to meditative practice in painting and drawing. The qualities that characterize meditative process/practice, derived from my observations, are categorized. Some of the strengths of these processes are revealed through the examination of the work of artists, both contemporary and historical. The work of Vermeer, Sanchez Cotan, Francisco Zurbaran and contemporary artists Anne Judell, Simon Cooper, Jude Rae, Alison Watt and Eva Hesse highlight different aspects of the meditative process in painting and drawing. The art works in the exhibition are documented and bring out the meditative processes that have contributed to their creation, including the use and meaning of the subject (drapery and the garment as a form of still life).

霍秀霞.
"2010年9月".
"2010 nian 9 yue".
Thesis (M.F.A.)--Chinese University of Hong Kong, 2010.
Includes bibliographical references (leaves 36-37).
Abstracts in Chinese and English.
Huo Xiuxia.
Chapter 1. --- 引言----一場革命 --- p.7
Chapter 2. --- 呈現物本身----潛意識 --- p.8
Chapter 2.1 --- 潛意識的定義 --- p.8
Chapter 2.2 --- 佛洛伊德潛意識學說在超現實主義上的現實思考 --- p.10
Chapter 3. --- “潛意識的解放´ح在當代呈現的模式 --- p.14
Chapter 3.1 --- 拉康與克莉斯托娃 --- p.14
Chapter 3.2 --- 如何衍生成爲當代模式 --- p.18
Chapter 3.3 --- "我的創作""Automatic drawing´ح與泥塑空殼" --- p.24
Chapter 4. --- 結論
Chapter 5.1 --- 潛意識的工作 --- p.29
Chapter 5.2 --- 我的理想國 --- p.32
圖片來源 --- p.35
參考書目 --- p.36

D. Tech. Fine and Applied Art
The aim of this study was to investigate whether there is an association between art making and the brain state known as flow, a construct defined by Mihaly Csikszentmihalyi. Links were sought between artists' perceived propensity to experience flow and quantified experimental data of the same art-making events. A predominantly psychological theoretical framework had to be created, contextual as well as conceptual, of historical and contemporary leanings that have formulated understandings of creativity and flow. These indicate that flow can trace its origins to concepts of human happiness and excellence, motivation, self-determination and peak experiences. These concepts illustrate that in pursuing intrinsic endeavours such as art making, a person is continuously engaged in reflectivity and deliberation concerning his or her actions and aims, which tend to be self-motivated or autotelic. In this study the autotelic and self-reflecting leanings of art making were found to be germane to flow. A key aspect for understanding the flow experience is Arne Dietrich's hypothesis of transient hypofrontality, described as enabling the temporary suppression of the analytical and meta-conscious capacities of the explicit system. In this study, transient hypofrontality was found to be germane to interpretations of flow and art making.

Workplace violence is reported to be on the increase, and within the South African Police Service, the inherently stressful nature of policing leads to high rates of suicide and violent behaviour. Contemporary investigations of workplace violence reveal epistemological, methodological and theoretical biases towards positivistic, rational-empirical approaches resulting in partial understandings and limited scope. This study aimed to qualitatively explore workplace violence as a socially embedded act. In-depth, semi-structured interviews were conducted with a primary participant and three others directly related to him in order to supplement existing understandings from a social constructionist perspective. Discourse analysis allowed for discovery of socio-historically located discursive networks, while an ethnographic or empathic technique was used to gain insight into the life worlds of participants. Discourses of organisational negligence, betrayal and concurrent discourses of group solidarity and cohesion and organisational culpability reveal a reliance on external locus of control and avoidance coping. Discourses of absolution due to another‟s involvement, retribution, justice, and innocence perverted by a stronger agency relied on strategies of justification, denial, disclaimer, excuse or apology to negotiate positive participant identities. Discourses of masculinity allowed for a corroboration, justification and maintenance of male violence in general, and social discourses of female subjugation and commodification were used as a means to deflect responsibility and as justifications for actions of violence towards women. Inherent in all discourses was a deep socially and historically embedded conception that facilitates violent action as an expression of maleness in all spheres of life. From an ethnographic or empathic perspective, participants‟ world views were polarised around masculinity and femininity, suggesting that an ability to remain unemotional in situations of turmoil is a highly-prized characteristic of maleness, especially in a hypermasculine setting such as the police. The implicit and explicit approbation for the expression of masculine stoicism, as opposed to feminine or „weaker‟ emotions, causes recruits to experience isolation and shame if unable to face traumatic situations with the requisite dispassion, leading to negative coping mechanisms, depression, and suicide or violence. The conclusion can be drawn that prevention of violence relies on extrication of the concept of violence from masculinity at ideological, cultural and social levels within the SAPS, and the concurrent reduction in justificatory discourses reliant on an external locus of control. This has considerable implications, including the radical transformation of the organisation through the development of a clear vision of the future that can be supported by management, members and the community; the empowerment of employees through active participation in decisions and development of skills through training; rigorous modification of the practices that generate inequitable social conditions; and the revolution of cultural practices that venerate and enforce gendered inequalities.
Psychology
D. Litt. et Phil. (Consulting Psychology)

The autobiographical nature of my work deals with the space between the innocence of childhood and the wisdom of adulthood. I explore the complexities of personal experience, old and new landscapes and the scar tissue of memory. The work deals with beginnings and departures, relationships and conflict of power and vulnerability in the quest to make sense of life. My work connects with moments of childhood that I try to retain as a touchstone for authentic experience. The images are derived from personal and familial experiences, moving through to the universal to tell the human tale, using the human body as a metaphor. The body becomes the subject matter for expressing ideas about our universal and personal concerns. I explore the gulf between the real and the unreal through examining themes such as identity, vulnerability, anxiety, fear, alienation, abandonment, loss, corruption of innocence, love and death within a contemporary urban framework. These emotions are played out against the backdrop of daily domesticity and reflect the physical reality of the world around us, often exposing the contrast between the orderly veneer of our daily lives and our emotional reality. My work methodology uses narrative found in books, films, fairy tales or fables to explore the conflicting emotions which structure human identity and interaction. I use the stories as a way of approaching ideas or emotions and exploiting the story as a focus of cultural knowledge. In the search for emotional truth I draw parallels between my art practice and the search for authenticity within the theatre. My work is an attempt to explain my own creative process in relation to the artists who have influenced me, my childhood, its rich tradition of storytelling and my passion for theatre and literature as well as a search for meaning in my own relationships and life's journey. This is conveyed through a series of paintings and works on paper.

Text in English, with abstracts and keywords in English and Xhosa
The study delves into traumatic memories rooted in the unconscious mind and the modalities of expression of traumatic memories of childhood. Specific reference is made to the trauma studies of Cathy Caruth and Bessel van der Kolk. Using a framework of contemporary trauma theory, I argue that trauma manifests through childhood sexual abuse (CSA) manifests in trauma and that a number of artworks by myself, Penny Siopis and Nathani Lüneberg, reflect such trauma. The research is conducted as practice-led research and focuses on interpretations of selected artworks as well as a theoretical component. The body of large-scale digital paintings plays a significant role in the research process, which implies that theory leads practice and vice versa. The work encompasses the visual exploration of CSA and it is specifically analysed according to my interpretation of symbols such as the naked female body and intimate scenes which illustrate, vulnerabilty, curtains that metaphorically represent a view into my unconscious mind. The symbol of the uterus or the womb, where a foetus or unborn baby develops and grows, is a symbol of nurturing and protection. The artworks are primarily considered according to notions of CSA that cause betrayal and traumatic associations with sex, angst and psychological fragility in children. The exhibition portrays the psychobiological and psyhoanalytical aspects of childhood trauma resulting from CSA. The creative work consists of four digital paintings and seven photographic artworks. The artworks in The Silent Wound Series portray CSA, childhood trauma, and traumatic memories in the unconscious. Dealing with the understanding and representation of childhood trauma such as CSA, these themes are continuously embodied in my artworks. As the portrayal of the fragile girl child’s body as a signifier in the artworks relates to my personal situation, I choose an empathic view of childhood trauma within the study, portraying traumatic events and the memories thereof in the unconscious. The aim of the study is to recognise how digital painting and photography enable the representation and understanding of CSA and traumatic memories and how the silenced and abused child’s voice can be expressed through the affective and transactive quality of art. The main study objective is to investigate if traumatic memories occur in victims of CSA.
Uphononongo lungena nzulu kwiinkumbulo ezoyikisayo ezendele kwingqondo eleleyo kunye neendlela zokubonisa iinkumbulo ezibuhlungu zobuntwana. Ngokukhethekileyo kujoliswe kuphando olwenziwe kwizifundo zomothuko zikaCathy Caruth noBessel van der Kolk. Ndisebenzisa isakhelo sethiyori yanamhlanje, ndivakalisa ukuba umothuko wokuxhatshazwa ngokwesondo ebuntwaneni (i-CSA) bubonakala kuloyiko kwaye eminye yemisebenzi yam yobugcisa, uPenny Siopis kunye noNathani Lüneberg, ibonisa uloyiko olunjalo. Uphando lwenziwa njengophando olukhokelwa kukuziqhelanisa kwaye lujolise kutoliko lwemisebenzi yobugcisa ekhethiweyo kunye nenxalenye yethiyori. Uvimba wemizobo emikhulu yedijithali idlala indima ebalulekileyo kwinkqubo yophando, oko kuthetha ukuba ithiyori ikhokelela ekusebenzeni kwaye nangokuphendulelekileyo. Umsebenzi uquka uphando olubonakalayo kwe-CSA kwaye ucazululwa ngokukodwa ngokokutolika kwam iisimboli ezinje ngomzimba wabasetyhini ehamba ze kunye nemiboniso esondeleleneyo ebonisa, ukuba sesichengeni, iikhethini ngokukwekwayo ezimele imbono kwingqondo yam eleleyo. Uphawu lwesibeleko okanye isibeleko, apho umbungu okanye usana olungekazalwa lukhula khona kwaye lukhule, siluphawu lokondla nokukhusela. Imisebenzi yobugcisa iqwalaselwa ikakhulu ngokwemibono ye-CSA ebangela ukungcatshwa kunye nomanyano oludakumbisayo ngezesondo, ixhala kunye nobu-ethe-ethe ngokwengqondo ebantwaneni. Umboniso uzoba iimeko zengqondo ephilayo kunye nohlalutyo lwengqondo elimeleyo yobuntwana ebangelwe yi-CSA. Umsebenzi wobugcisa unemizobo emine yedijithali kunye neefoto zobugcisa esixhenxe. Imisebenzi yobugcisa kwi-Silent Wound Series izoba i-CSA, umothuko wobuntwana, kunye neenkumbulo ezibuhlungu ezikwingqondo eleleyo. Ukusebenza nokuqonda nokutolika ukwenzakaliswa kobuntwana okufana ne-CSA, le mixholo ihlala iyinxalenye kwimisebenzi yam yobugcisa.Njengoko ukwenza uzobo lomzimba o-ethe-ethe womntwana oyintombazana njengomboniso kwimisebenzi yobugcisa kunxulumene nemeko yam yobuqu, ndikhetha umbono onovelwano wokwenzakala kobuntwana kolu phononongo, ndibonisa iziganeko ezihlasimlis 'umzimba kunye neenkumbulo zazo ezingqondweni ezileleyo. Injongo yophando kukufuna ukuqonda ukuba imizobo ngedijithali kunye nokufota kukwenza njani ukumelwa kunye nokuqondwa kwe-CSA neenkumbulo ezenzakalisayo nokuba ilizwi elithulisiweyo nempatho-mbi yomntwana linokuvakaliswa njani ngokomgangatho ochaphazelayo notshintshayo wobugcisa. Eyona njongo iphambili yophando kukuphanda ukuba iinkumbulo ezibuhlungu ziyenzeka kumaxhoba e-CSA.
Arts and Music
M.V.A.