"The modern fact is that we no longer believe in this world."

Deleuze, G. (1985) cited in Murray, J. (2020) Kinematic Rhetoric: Non-Discursive, Time-Affect Images in Motion. London: Anthem Press, p. 59.

Andrew Wyeth's "Wind from the Sea" (1947). Tempera on hardboard [Online] [Accessed on 25 November 2020]

Ludwig von Hofmann's "Largo (Sonnenuntergang)" (c. 1898). Oil on canvas [Online] [Accessed on 25 November 2020]

It can be said that the frame of a painting is a window into its world; the edges of the canvas exist as a limit to the space contained within. The two paintings explicitly visualise the unreality of art; with the inclusion of the window, Andrew Wyeth places us in front of a space - in some way, due to the extremely evocative depiction of the wind through the delicate blinds, we are inside of the piece, the spatial limit of the room depicted being yet another limit past the limit of the canvas itself.

von Hofmann's painting is a little more explicit in it's depiction of a spatial limit. The frame being a deliberate part of the painting - without it, the expanse is endless, but the elaborate frame being deliberately included with the photograph of this artwork suggests a tight pairing of the two. Imagining the piece without the frame, we're somewhat in the water - being used to photographs of the sea online, we can somewhat suspend the disbelief, not seeing the grain of the paint up close; the frame, however, carries over this barrier that would otherwise not translate as well.

de Sarthe Gallery (2014) MARIKO MORI. [Online] [Accessed on 2 November, 2020.]

Mary Spencer's 'Two-Sided Quilt: Strips' (c. 1970). Cotton, flannel, polyester, synthetic knits [Online] [Accessed on 2 November 2020]

Mariko Mori's otherworldly pictures of the subtly extraordinary within the ordinary create 'pocket universes' that surround the strange figure. How curious that one figure can change so much...

Making quilts is inherently personal - but of course also cultural. The usage of secondhand fabrics that have been worn and used, transforms something that has been worn on the skin and worn through life events into a displayed item; a cohesive form that ties all of these experiences together

Lucy T. Pettway's '"LeMoyne Star"—Twenty-Block Variation (Quiltmaker's Name: "Twinkle Twinkle Little Star)"' (c. 1975). Cotton, polyester, corduroy [Online] [Accessed on 2 November 2020]

Lucy T. Pettway's '"Blazing Star" (Quiltmaker's Name) With "Pinwheel" Corner Blocks' (1968). Polyester, double knit, nylon knit [Online] [Accessed on 2 November 2020]

Maude Irvine Kerns' 'Shadow of the Earth' (1950). [Online] [Accessed on 25 November 2020]

The fantastical space, an alien eye on the colours of the earth. I always wonder, how would an alien depict the Earth? Our eyes are so used to it, that when life drawing, one has to train the eye to really 'see' - used to familiar forms, we're completely blind to them. Familiarity makes the thing invisible, so it surely takes an outsider to see it for what it is.

Kerns was born in 1876 and lived right into 1965 - seeing the world at the turn of the millennium and experiencing the atomic age through the eyes of the 19th century is expressed so explicitly in the alien appearance of her artworks.

Bill Viola's 'Room for St. John of the Cross' (1983). Video/sound installation [Online] [Accessed on 24 November 2020]

St. John of the cross was isolated for nine months in a cell, during which, he wrote extremely vivid and 'ecstatic' poetry. Projecting your mind beyond the reality of your space is the true power of the imagination, almost transhumanist in its vision - the ability to expand the mind beyond the prison of the flesh is both as traditionally religious as it is Extropian.

The projection of images and the usage of light and space to create another world is the focus for me in this project - how can I create my room in other people's minds?

Brian Brake's 'Japan Series: Tokyo Strip' (1963). Film photograph [Online] [Accessed on 8 November 2020]

the un-curated, unkempt space - its functionality on full show with its disarray. the aesthetic of the lived-in, used space; there's a narrative of sorts, a life lived through these objects, the space leaving an imprint of those who reside within it.

Kyoichi Tsuzuki's 'Happy Victims' photobook documents fashion-junkies and their bedrooms, devoted fully to their favourite clothing brands.

"Tsuzuki says, "I’m a journalist not an artist. I think of myself as a mediator who exposes the creative power of unknown artists, the man in the street, in the country, everywhere in the world"."

Field, C. (2003) Happy Victims - Kyoichi Tsuzuki At The Photographers' Gallery [Online] [Accessed on 8 November 2020]