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ink wash tonal drawing - archive 2 + process photos

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  archive 2 - objects - birdcages ink wash - 2 archives For the portrait archive, I wanted to do something that had meaning. Coincidentally, I also enjoy drawing female facial features, so I knew I wanted it to be all women. So I decided on feminist symbols throughout history. I was careful when choosing my subjects in order to maintain a diverse collection of timelines and ethnicities.  I knew I wanted the second archive to be something that changed your perception of the first one, so I went with birdcages. It juxtaposes the strong feminism in the first by suggesting they are trapped by something. Whether the women are trapped by societal perceptions of their time, capabilities in activism and advocacy, or something else, I'm not sure. I just enjoyed how different yet connected the two collections look together.  exhibition / process photos

ink wash tonal drawing - archive 1

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  archive 1 - portraits - women in power anne boleyn sojourner truth mary shelley frida khalo mary wollstonecraft sacagawea indira gandhi sophia, a person of quality cleopatra rosa parks vera wang medusa

scribble line

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  scribble line drawing - Nosferatu  blue ballpoint pen on 18 x 24 in paper For my scribble line drawing assignment, I was inspired to do something sorta creepy / horror-esque. I thought, who else could I do other than the Nosferatu himself? I also wanted to do a portrait because that is something I do not do too often. I found the scribbling technique to be difficult to master; it is hard to generate something 'random' that is not controlled. I am honestly not the happiest with how this came out, but that's alright, ya live and ya learn. 

informal archive - second half

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  archive theme - rocks I tried to limit the selection to rocks found in Canada, specifically Alberta. I also tried to narrow down my selection to rocks found outside. Only 6 rocks were from my own personal collection (figures 12, 13, 25, 27, 28, and 30).  My personal favourites from the collection are figures 9, 13, 25, and 30.