: An Experimental Of A Sequence

A Communication Design Final project

Design Journal
Nattaphat Archavarungson

Preface :

I started the prep-project with an interest in human figure mentioning to form and shape of human figure whose are manifesting and perceiving by human. Afterwards, I have sketched quite a lot on figure and intentionally looking at objects (1) , Deeply observation. According to a Nietzsche (2) 's essay on existentialism after I have read it once, Comprehension that body and embody are divided states of human run concurrently at the same time. Consciousness controls the body,

Art is the objectification of feeling.

- Herman Melville -

There is more wisdom in your body than in your deepest philosophy.

Nietzsche

Otherwise, the body perceives the external enlightening consciousness. Living is reality which having a main question, a probability of problems as Pierre-Simon Laplace (3) said

Lifes most important questions are, for the most part, nothing but probability problems. (4)
Pierre-Simon Laplace
I would obviously saying that experimenting makes things became difference, artworks also dealing with changes over the time. Developing is a process of thinking systematically aiming to solve problems in front canvases.

1 Object is mentioning to Human Figure. 2. His writing are about criticizing texts on religion, morality, contemporary culture, philosophy and science, displaying a fondness for metaphor, irony and aphorism. Nietzsches influence remains substantial within and beyond philosophy, notably in existentialism, nihilism and postmodernism. 3. (17491827) was a French mathematician and astronomer, discoverer of the Laplace transform and Laplaces equation. 4. * Les questions les plus importantes de la vie ne sont en effet, pour la plupart, que des problmes de probabilit. translated from Frech

Research :

I was born in an age under the conflict of religions and primogenitors, There are diverse types of human, simply divided into groups. I am a yellow.

Untitled | Photograph | May, 2011

I stared at a figure in front of me asking myself about something I must do before time of mine comes and a domination from visibly matter would appears, revealing something as answers. also acknowledged me there is an only ending.

figure 1 ( front) | Photograph | May, 2011

Form live and death forcing me to thinking about timing and moment, Present and Past then the future. In every moments of life in each second we change mind , thought and vision or perspective or I could say point of view. In each time we moved from place to place we perceive something different that means eyes see something different from what they saw before that makes our logical thinking thinks in different way but of cause past or what we have seen I our life before are permanently attached to

our deepest mind called subconscious simply becoming a sensitively experience which having strong effect to the process of making decision which I mentioned as Probability and Possibility of moments by referring to Kolmogorovs Theory about Complexity and possibility.

Figure 1 (side) | Photograph | May, 2011

Diversity Photograph | May, 2011

Moving physical body is changing form of parts in the body from a basic physic theory Force, griping fork for a dinner also needs force from somewhere inner to having a steady hand for observing food before you eat. And, If an origin of force you stretch at your hand might be came from left leg, probably, it might be effected the elbow to rotating 20 degrees from its normal levels. and being effected continual to thigh and leg, these are just easy critical thinking writings.

Do researching, I mostly going to library for grabbing some books, Look back into my past I was determining myself to familiarize with History of Art closely, Firstly, I began with Jackson Pollock (1) , Abstractionism became my interest for a while. Then, I started reading art history documents from here later on. Within an implication of studying human figure I get back into peroid of the introducing for modern anatomy assuming from Leonardo Da Vinci (2) with his interest of human anatomy and his intelligence, He drawn all parts of body in to study case drawing.
*(3) Rembrandt, Pierre-Auguste Renoir, Paul Gauguin, Lucian Freud,

Honor Daumier, Henri de Toulouse-Lautrec, Egon Shiele, Edvard Munch, Edgar Degas, Edouardo Manet, Berthe Morisot and Georges Seurat are also caught my eyes into studying their journals and methods of working after a research on Leonardo was done.

Leonardo Da Vincis antomy sketches.

Thomas Cowperthwait Eakins photograph

Washerwoman, Study Camille Pissarro, the MET, NY , 1880 Metropolitan Museum of Art

Camille Pissarro was a French Impressionist and Neo-Impressionist painter. His importance resides in his contributions to both Impressionism and Post-Impressionism. Pissarro studied from great forerunners, including Gustave Courbet and Jean-Baptiste-Camille Corot. He later studied and worked alongside Georges Seurat and Paul Signac when he took on the Neo-Impressionist style at the age of 54. Pissarro is the only artist to have shown his work at all eight Paris Impressionist exhibitions, from 1874 to 1886. As a stylistic forerunner of Impressionism, he is today considered a father figure not only to the Impressionists but to all four of the major Post-Impressionists, including Georges Seurat, Paul Czanne, Vincent van Gogh and Paul Gauguin.

From a pissarros painting, I looking into details in the background showing some scratching and texture also diverse qualities of paint. On the top of the frame having some traces from a previous layer looks darker than an outer [finished surface]. half-figure painted brightly. I felt a woman emphasized by giving some lights and shadows. However, Specific place on canvas surface had given an importance [foreground] and some had been dropped down the color into more darker showing rhythmic and within focusing on figure and ground as well.

Michelangelo Merisi da Caravaggio was an Italian artist active in Rome, Naples, Malta, and Sicily between 1593 and 1610. His paintings, which combine a realistic observation of the human state, both physical and emotional, with a dramatic use of lighting, had a formative influence on the Baroque school of painting. Infamous while he lived, Caravaggio was forgotten almost immediately after his death, and it was only in the 20th century that his importance to the development of Western art was rediscovered. Despite this, his influence on the new Baroque style that eventually emerged from the ruins of Mannerism was profound. It can be seen directly or indirectly in the work of Rubens, Jusepe de Ribera, Bernini, and Rembrandt, and artists in the following generation heavily under his influence were called the Caravaggisti or Caravagesques, as well as Tenebrists or Tenebrosi (shadowists). Andre Berne-Joffroy, Paul Valrys secretary, said of him: What begins in the work of Caravaggio is, quite simply, modern painting.

Caravaggio-ism, I found a movement in a book of art history, not merely according to a classic painter caravaggio also an important artist in developing Western art. I researched on him very close, found out set of St. John the Baptist paintings, When I linked this to the western culture, religion based. St. John the Baptist was having role in history and Holy Bible somehow this still suspects. Assuming into his works in this set of painting, I see a very strong contrast and realistically done, Also coming with a strong content as well. Anatomic observing for this one is really effective as idea of a study case.

John the Baptist (John in the Wilderness), Caravaggio , c. 1604, Oil on canvas Nelson-Atkins Museum of Art, Kansas City

[1]

a figurative impressionist painter Edgar Degas. I was fascinated them at first time I saw in a book, expressively texture in the pastel painting but at the same time looks quite realistically painted, I thought after read historian article, they wrote a lot about his idea and identity of work as a impressionist.

[1]. After the Bath, Woman Drying Herself, Edgar Degas, Courtauld Institute Galleries, London, England [2]. Woman Combing her Hair, c.1887-90; Edgar Degas, Louvre, Paris [3]. After the Bath, Woman Drying Her Nape, c.1895 Edgar Degas Muse dOrsay, Paris

Frau in der Badewanne, c. 1886, Pastel, Hill-Stead Museum, Farmington, Connecticut

Edgar Degas was a French artist famous for his work in painting, sculpture, printmaking and drawing. He is regarded as one of the founders of Impressionism although he rejected the term, and preferred to be called a realist. Technically, Degas differs from the Impressionists in that he never adopted the Impressionist color fleck, and he continually belittled their practice of painting en plein air. He was often as anti-impressionist as the critics who reviewed the shows, according to art historian Carol Armstrong; as Degas himself explained, no art

was ever less spontaneous than mine. What I do is the result of reflection and of the study of the great masters; of inspiration, spontaneity, temperament, I know nothing. Nonetheless, he is described more accurately as an Impressionist than as a member of any other movement. His scenes of Parisian life, his off-center compositions, his experiments with color and form, and his friendship with several key Impressionist artistsmost notably Mary Cassatt and douard Manetall relate him intimately to the Impressionist movement

[1]

[1]

The Bath: Woman Scrubbing her Back, c. 1887, pastel on paper Honolulu Museum of Art

[1]

Puberty, 1894-5 Oil on canvas 151.5 x 110 cm

Figurative paintings became my interest for awhile and this routine of seeing and observing somehow decomposing masters work is simply help looking and open some new imagination from a traditionally, an academically or an independently type of work. Technique also have been provoked from seeing paintings daily. The more looking, the more observing, the more simplicity to remember and understand., learning compositions from various models.

[2]

[1]. The Bed, 1893, oil on cardboard, 51.3 x 70.4 cm, Musee dOrsay, Paris

[2]. In Bed The Kiss, Henri de Toulouse-Lautrec 1892, Private Collection

Nudity is a representative subject in art as human or according to human, for me not merely for nudity I also taking all figurative as art form, art form of imitating, expressing and representing. Reality of human happens because human alive, when we not alive we mean nothing to human, only state of was a human. Egon Schieles painting crushing viewers with an agony, eccentric from common social and cultural. Of cause, I felt disagree to Schieles work, but after considering for a while I acknowledged the fact that all human created to be procreating our species, Thereafter, I decided myself to maintaining an ideology. about procreating followed my father, he had done it twenty years ago. Our, reality is ridiculous. We are

proudly saying that we having traditional, I agreed with them, as usual. Yes, we have., we have them for guarantee that we will have some types of good and leave some types of bad to be exist. existed, existing. I think inasmuch from about is my idea of why Schieles image seem to be dark, rather than bright.

[1]

[2]

Desnudo femenino boca abajo (Female Nude Lying on Her Stomach), Egon Schiele, 1917, Honolulu Museum of Art

[1]. Standing Male Nude with Red Loincloth, Egon Schiele, 1914 gouache, watercolor, and pencil , 48x32cm Graphische Sammlung Albertina, Vienna, Austria [2]. Semi-nude, Reclining, Egon Schiele, 1910, indian ink, tempera, watercolor on paper Graphische Sammlung Albertina, Vienna, Austria

Quality of paints.

Quality of paint is a fundamental of modern art paintings, after the impressionist paintings, feeling have been an approaching extended from masters artworks before. What I do on paintings also relate with this, timing between each layers progressing I found out that dried paints sometimes mixed with acrylic-medium or diluted chemical pigments, in progress, I kept on painting and leaving some marks behind, when I stepped back I saw subject in foreground and traces of past as dried paints in background, indeed it had been painted over it by some oily wet and not reaching the thickness I wanted. However, Experimentals helping along developing stage to defining some things new on painting.

Frank Helmut Auerbach is a painter born in Germany. He has been a naturalised British citizen since 1947. Auerbach is a figurative painter, who focuses on portraits and city scenes in and around the area of London in which he lives, Camden Town. This also indicates that the thick paint in Auerbachs work, which led to some of Auerbachs paintings in the 1950s being considered difficult to hang, partly due to their weight and according to some newspaper reports in case the paint fell off, is not primarily the result of building up a lot of paint over time. It is in fact applied in a very short space of time, and may well be scraped off very soon after application. This

technique has not always been considered positively, with the Manchester Guardian newspaper commenting in 1956 that: The technique is so fantastically obtrusive that it is some time before one penetrates to the intentions that should justify this grotesque method.

Franz Kline was an American painter mainly associated with the Abstract Expressionist movement centered around New York in the 1940s and 1950s. As with Jackson Pollock and other Abstract Expressionists, he was labeled an action painter because of his seemingly spontaneous and intense style, focusing less, or not at all, on figures or

imagery, but on the actual brush strokes and use of canvas. For most of Klines [mature and representative] work, however, as the phrase goes, spontaneity is practiced. He would prepare many draft sketches notably, commonly on refuse telephone book pages before going to make his spontaneous work.

Regularly, I make research on paintings and commonly subjects in dailylife, Franz Kline and Frank Auerbach are both my research in stock.

Head of Gerda Boehm, Frank Auerbach, Oil on Canvas, 1965 56.5 x 71.7 cm, Private Collection, Courtesy of Marlborough Fine Art

Siegfried, Franz Kline , 1958, oil on canvas Gallery 13, United States

Jean-Baptiste Oudry was a French Rococo painter, engraver, and tapestry designer. He is particularly well known for his naturalistic pictures of animals and his hunt pieces depicting game.

A Hare and a Leg of Lamb, Jean-Baptiste Oudry, 1742, oil on canvas, Cleveland Museum of Art, Cleveland, Ohio, USA

Lucian Michael Freud, was a German-born British painter. Known chiefly for his thickly impastoed portrait and figure paintings, he was widely considered the pre-eminent British artist of his time. His works are noted for their psychological penetration, and for their often discomforting examination of the relationship between artist and model. I paint people, Freud said, not because of what they are like, not exactly in spite of what they are like, but how they happen to be. Freud painted fellow artists, including Frank Auerbach and Francis Bacon. He produced a series of portraits of the performance artist Leigh Bowery, and also painted Henrietta Moraes, a muse to many Soho artists. A series of huge nude portraits from the mid-1990s depicted the very large Sue Tilley, or Big Sue, some using her job title of Benefits Supervisor in the title of the painting,

After Czanne, 1999 - 2000. Oil on canvas, by Lucien Freud.

Two Men, Lucian Freud, 1988, oil on canvas, Scottish National Gallery of Modern Art, Edinburgh, UK

The Diagrame of Francis Bacon.

Conceptually describing of Francis Bacons progressing, hypothesis writing introduced me to looking on details of work more carefully, studying from master painters. this is an example shows a relation of artist with his interest and lifes experiences into work.

Bather, Salvador Dali, 1924, oil on canvas, Seated Girl Seen from the Back, Salvador Dali, 1928, oil on canvas, Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain

An X-ray film from friend showing mandible area from an alive, seems having some white color making sense to be some type of energy movement, or may cause of depth of field.

In late 2011, I started to draw some figures, male and female. Mostly male was a good choice at first for us in the class. For myself in that time observing is only the main idea on sketching those. Immediately, I have consciously looking at each human figure more deeper since I knew where Vertebral Columnsupposes to be within the construction of human linken with each other systematically. Then I found a fact that human figure is a delicate object made of nature. Nevertheless, A question is what are we?.

Feeling suffering, tragically or apprehension, among them is an uneasy situation for defining and dispersing them away. Keyword was found during doing some sketches in Siriraj Hospital, Mens head putting next to each other, some doing an eyes to eyes. Cabinet is brown, behind heads is a perforated wall, its color was Viridian(1) light getting from left through windows illuminated from cold into balanced with warm light yellow at highlight areas.

Sketch of mens portrait | Jul, 2011 Pen on paper

Children in bottles | Jul, 2011 Pen on paper

The knowledge that I do not remember myself awakens me.

- Fernando Pessoa, The Book of Disquiet -

I linked it with Nietzsches essay which I felt to be interest after I have read his writing as quotation about body , mind and embodiment which I might refer to Maurice Merleau-Ponty , He called it Phenomenological body I must not talking or referring to Maurice much by my intention not to taking part of his writing which I not read it much, so it might be misconceiving , However, for Nietzsches I do. Talking about body I would like to taking myself studying and research about history of dissection. Referring to Da vinci and another master before him I quite interest on how

Life begins from nothing till it becoming something alive. Some said It cause by our doing in past life which affected us in this life and cause us by our doing again and again as circle based on how good we are at presence. I am not saying that true by the way.

Anatomy study 1 | Jul, 2011 pencil on paper

Anatomy study 2 | Jul, 2011 pencil on paper

Anatomy study 3 | Jul, 2011 pencil on paper

Anatomy study 8 | Jul, 2011 pencil on paper Anatomy study 6 | Jul, 2011 pencil on paper

Anatomy study 11 | Jul, 2011 pencil on paper

Anatomy study 15 | Jul, 2011 pencil on paper

Anatomy study 16 | Jul, 2011 pencil on paper Anatomy study 17 | Jul, 2011 pencil on paper

Anatomy study 30 | Aug, 2011 pencil on paper Anatomy study 31 | Aug, 2011 pencil on paper

Anatomy study 22 | Jul, 2011 pencil on paper

Anatomy study 33 | Aug, 2011 pencil on paper

Anatomy study 35 | Aug, 2011 pencil on paper

Anatomy sketch 8 | Aug, 2011 pencil on paper

Anatomy study 46 | Aug, 2011 pencil on paper

Anatomy study 40 | Aug, 2011 pencil on paper

Anatomy study 47 | Aug, 2011 pencil on paper

Anatomy study 50 | Aug, 2011 pencil on paper

Anatomy sketch 11 | Aug, 2011 pencil on paper

Anatomy study 51 | Aug, 2011 pencil on paper

Anatomy sketch 16 | Sep, 2011 pen on paper Anatomy sketch 30 | Sep, 2011 pencil on paper

Supportive Theories :

{1} Probability theory {2} The Philosophy of Complexity {3} Existentialism & implication of humanism theory

City full of rules, Education is a propaganda. Labyrinth of discovering a happened phenomenon.

The word probability has been used in a variety of ways since it was first applied to the mathematical study of games of chance. Does probability measure the real, physical tendency of something to occur, or is it just a measure of how strongly one believes it will occur? In answering such questions, we interpret the probability values of probability theory. There are two broad categories of probability interpretations which can be called physical and evidential probabilities. Physical probabilities, which are also called objective or frequency probabilities, are associated with random physical systems such as roulette wheels, rolling dice and radioactive atoms. In such systems, a given type of event (such as the dice yielding a six) tends to occur at a persistent rate, or relative frequency, in a long run of trials.

Physical probabilities either explain, or are invoked to explain, these stable frequencies. Thus talk about physical probability makes sense only when dealing with well defined random experiments.

Anatomy sketch 30 | Sep, 2011 pencil on paper

This culminated in modern probability theory, on foundations laid by Andrey Nikolaevich Kolmogorov. Kolmogorov combined the notion of sample space, introduced by Richard von Mises, and measure theory and presented his axiom system for probability theory in 1933. Fairly quickly this became the mostly undisputed axiomatic basis for modern probability theory but alternatives exist, in particular the adoption of finite rather than countable additivity by Bruno de Finetti.

{above} {1} Probability chart | research on an internet and comparison between all of them {Right} {2} Top view of a snowy landscape {below} {3} A photograph of painting an abstract paint at surface thickness not much but points of interest are the qualities of paint usage and technique applied very admiration.
A study case of a probability found on internet showing a graph of something, In this case I was not looking at contents on paper as forms of text because some information is too specific and unknowing state of my thinking. However, Graph look complex and subtle, comparing to image below I found as a research on expressive texture and surface for being an alternative experimental method. after fitting them both beside each other, exhaustively resemble lines, form and space also edge of line casting texture-like, developing is formed up. More deeply associate from theory about a choice in a time Truly,If time passed, more choices would be bound and some other choices would slowly disappear. If we just breath something will passed and something new bound.

Human in action | sequence of photographs | Muybride. As an idea, transforming figures into painting also getting advantage from his sets of photographs in sequences might help me study relation between human, human figure, timing and probabilities.

social complexity

is a theoretical construct useful in the analysis of society. Contemporary definitions of complexity in the sciences are found in relation to systems theory, where a phenomenon under study has many parts and many possible arrangements of the relationships between those parts. At the same time, what is complex and what is simple is relative and may change with time. As a middle-range theoretical platform, social complexity can be applied to any research in which social interaction or the outcomes of such interactions can be observed, but particularly where they can be measured and expressed

as continuous or discrete data points. One common criticism often cited regarding the usefulness of complexity science in sociology is the difficulty of obtaining adequate data. Nonetheless, application of the concept of social complexity and the analysis of such complexity has begun and continues to be a ongoing field of inquiry in sociology. From childhood friendships and teen pregnancy to criminology and counterterrorism,theories of social complexity are being applied in almost all areas of sociological research.

Jean-Paul Sartre
a French existentialist philosopher, playwright, novelist, screenwriter, political activist, biographer, and literary critic. He was one of the leading figures in 20th century French philosophy and Marxism, and was one of the key figures in the philosophy of existentialism. His work continues to influence fields such as Marxist philosophy, sociology, critical theory and literary studies. Sartre was also noted for his relationship with the feminist author and social theorist Simone de Beauvoir. He was awarded the 1964 Nobel Prize in Literature but refused it, saying that he always declined official honours and that, a writer should not allow himself to be turned into an institution.

Complexity of Existentialist Morality

I will state what existentialist morality is not, then present the remaining qualities of existentialist morality, and finally consider whether or not this morality is coherent. (Sartre quotes are from Existentialism is a Humanism.) First, existentialists reject non-cognitivism. From the recognition of free will, they consider a person to be morally responsible for their actions. While existentialists are commonly called subjectivists, this does not suggest that they believe that decisions cannot be right or wrong, but rather it suggests that there is a moral weight upon those with free will yet obligation does not stem from any absolute human nature or a priori goodness. Second, existentialists reject consequentialism. This can be seen in the existentialist concept of "despair" and "acting without hope." When Sartre asks himself if the social ideal will ever become reality, he admits that such an end-state may be lost in the "sum of probabilities" but that he must still try to do what he believes is right. Consequentialism leads to Quietism; we cannot shirk what we feel we must do because of our fragile perception of consequences. Third, existentialists reject pure rule-deontology. While it may seem that an existentialist rejects rule-deontology because duty to anything external is non-authentic, in effect existentialists consider various duties when making decisions. Typically, it is the conflict of prima facie duties that causes anxiety in moral decisions. Insofar as Sartre recommends acting from instinct ("nothing remains but to trust our instincts"), the existentialist must reject Kantian duty-based ethics. However, existentialists do not justify actions with instinct, but rather strength of instinct is "proven" through action, and this duty-free decision making is the only thing an authentic person can do. What is left? Two sentiments remain standing. 1) Decisions made by a free person reinforce an ideal for all humans, and 2) decisions made by a free person (thus authentic) are not based upon external ideals.

1) It is a mistake to strictly interpret this "ideal making" as recommending an action to everyone else. R.M. Hare explains the untenability of pure situation ethics, "...to learn to do anything is never to learn to do an individual act; it is always to learn to do acts of a certain kind in a certain kind of situation; and this is to learn a principle" (The Language of Morals, Hare). Your action can never be repeated, as an individual action is situated in time; we must separate the relevant aspects of a situation from the irrelevant aspects - the result is a set of priorities of values, hierarchical principles. 2) It would also be a mistake to interpret "authentic action" as never coinciding with ideals outside one's self. Sartre considers the case of a person who chooses someone to take moral advice from; such an ideal may be external but the individual's eventual decision can be authentic insofar as he had an idea of the kind of advice he would receive from the person he chose to get advice from. Even if we act on an ideal outside ourselves, if we allow ourselves to make a genuinely free interpretation of the ideal then our action can still be authentic. Is this morality of existentialism coherent? It depends on how you reconcile the sentiments laid out above. It would be unacceptable to simply say that a person must both hold a personal ideal and avoid playacting as much as possible. Such a morality would be useless to anyone who does not have a critical technique of distinguishing authenticity from ideology. A coherent act-deontology (the ethics of existentialism) might approach something like W.D. Ross moral theory, except wed say the conflict of prima facie duties lead to some ideal that is not duty proper, such as an ideal of virtue or some characteristic. In this way an existentialist remains coherent in decision making, perhaps never promoting an intrinsically valuable duty, but certainly consistent in promoting instrumental duties to both any ideal that stems from genuine free will as well as existentialist authenticity itself.

Changing point of view is a passive according to the time, I sat in a bus and was thinking about that without noticing of an origin of this thinking and its conclusion could not even be a candidate of fact. I considered quite long enough to realized that left-hand side is The old Siam Department store and then I have to stand up and ringing bell to stop this bus before driver would accelerate pass a bus stop I must settle down next to old building in Pak Khlong talat area opposite Suankularb Wittayalai School. I forgot what I thought on the bus, maybe cause by rapidity of bus, that what I passed through. Existing replacing emptiness, Also, Time is an nihilation the existing to emptiness. not at once, but fading harmonically at the meanwhiles the time is walking.

Experimentally, I tried to composing something up from a directionally experience I faced. thinking about timing and space, work have been intimated for representing these.

Idea of composition 2 | Aug, 2011 | pencil on paper

Idea composition 2 | Aug, 2011 | pencil on paper

continually working, beginning with core of imagery, considering by weighting options, constructing space of contents. using time as a labor-saving machine, when goes too deep required more deeper consideration, stepping back for awhile somethings reveal. justification them very personal indeed. a step forward might bring backward. depth is important, repress to things in past, stepping back again, seeing an overall image. realization. still unknowing when to stop. Hopefully somehow I could develop my painting skill as equal as I draw.

Muybridges photographic sets of human in action I felt interest with human also these brought me a new convention of human in action as my models because in some case I could not find a life model for myself. In main reason for using these images as model is because of the beauty and also sets of actions as filmstrip, so I could easily select a moment for drawing as study.

Alexey Titarenko | Black & White Magic Of St. Petersburg (1995-1997) | set of photograps.

Shadow moves because of two things, I moved in case or surroundings move. Shadow is a trace of mine. somehow left behind. no need to looking at it. with all of these cant obliterate the reality of existing of me. whenever I can cast my shadow I alive. Unfortunately, someone leave without losing shadow. also someone I did left shadows with. evidently I was there.

Experimental 3 | Aug, 2011 Digital photo processing Experimental 4 | Aug, 2011 Digital photo processing

Capturing 1 | Aug, 2011 Photograph Timing and Space | Aug, 2011 photograph

Timing and Space 1 | Sep, 2011 Charcoal and pencil on paper Time overlapping | Sep , 2011 Charcoal and pencil on paper

Timing and Space 2 | Sep, 2011 Charcoal and pencil on paper

Life most important question is that probability problems. I read this in a park. Right palm holding a approximately nine inches multiply six inches book. My middle finger intervened between page 665 and 666. After I read a quote at the end of page 195, I closed that book after that day and have not read more it till today. Thinking about probability in present situation. at a state of making decision in a solution. If I decided to eat, It does not mean she have to eat as I do. or maybe she might eat something else I would not know.

Composition II | Nov, 2011 Crayon and pencil on paper

Composition I | Nov, 2011 Crayon and pencil on paper

Probability | Sep, 2011 Crayon and pencil on paper

Alexey Titarenko. Saint Petersburg, 1992, from City of Shadows series.

Figure 25 | Dec, 2011 Charcoal and pencil on paper

Figure 18 | Oct, 2011 Charcoal and pencil on paper

Figure 42 | Dec, 2011 Charcoal and pencil on paper

Figure 40 | Dec, 2011 Charcoal and pencil on paper

Figure 44 | Dec, 2011 Charcoal and pencil on paper Figure 42 | Dec, 2011 Charcoal and pencil on paper

Figure 50 | Nov , 2011 Charcoal and pencil on paper

Figure 21 | Sep, 2011 Charcoal and pencil on paper

[Above] Figure | Nov, 2011 Charcoal and pencil on paper

[Right] Figure | Nov, 2011 Charcoal and pencil on paper

Figure 40 | Dec, 2011 Charcoal and pencil on paper

Figure 40 | Nov, 2011 Charcoal and pencil on paper

Untitled | Nov, 2011 Charcoal and pencil on paper

Benjamin Lauder Ben Nicholson, was a British painter of abstract compositions (sometimes in low relief), landscape and still-life.

I got inspiration from the artist Ben Nicholson, a lot of his work is flat still life with bold colors and shapes. There isnt so much detail in his work in comparison to other artists, however it is just as effective. I like his use of colour, theyre not the exact set colour of the object, they are different and stand out. It showed me that I do not need to be precious with my work, and that sometimes mistakes can have a positive outcome in my work as his work shows that perfection is not needed to create a quality piece of work. this example below also having sense of timing and recognition of differentiation in contents of work, changing and submerging as use of quality of paints.

Three Pears (After Ben Nicholson) Oil on stretched linen | Laura Hudson | 2009

Figure | Jan, 2012 Charcoal and pencil on paper

Figure | Jan, 2012 Charcoal and pencil on paper

Figure | Jan, 2012 Charcoal and pencil on paper

Figure | Jan, 2012 Charcoal and pencil on paper

Figure | Jan, 2012 Charcoal and pencil on paper

Figure | Jan, 2012 Charcoal and pencil on paper

Composition | Jan, 2012 Charcoal and pencil on paper Composition | Jan, 2012 Charcoal and pencil on paper

Figure | Jan, 2012 Charcoal and pencil on paper

Figure | Jan, 2012 Charcoal and pencil on paper

Colors composite [warm] | Jan, 2012 Digital media

Left paints | Jan, 2012 Digital media Colors composite [ Cold ] | Jan, 2012 Digital media

After a short break, I came back with a chart of colors that seemed considerable and usefully in term of conveyer as conception along the side as I work. Experiment is what I mentioned frequently, experimenting took parts in my works a lot, even sometime an experimental itself is not involved with work. by the way, I see this as a breakthrough method while I could not bring something new or in case of getting stuck. I definitely feel somehow work changes because my point of view is changed. I dont see I losing of confident in work but I see myself knocking on some new door and trying to lose something and getting something even it result might become bad, indeed, I hope work should change and it certified that art is alive, living and developing as its grown. as well as I do.

Untitled (Violet, Black, Orange, Yellow on White and Red), 1949 Mark Rothko (1903-1970)

Before I saw a photograph of Rotkho standing in front of his painting even its a black and white photograph, I could see something fresh, Rotkho was looking good with his painting behind, values and densities of paints given some depths of image before I saw this, I never get an understanding on how Rotkho worked and what he did see. and then image of his painting and in front with his image himself, I immediately felt horizontally image imagined I should be something landscape-like. somehow composition he used also rich of contents spacing and color became more importance than realistic painting shown [somehow hidden in image, not intentionally leaving color works as color]. Color also can say words, within abstraction forms, these can be perceived some massages readily.

If we see image apart, painting alone is already finished as communication media, containing messages within it but when we take another look at image of Rotkho, himself. it seemed usual and common portrait of a man. but combinative between objects fulfil each other quite well. Lastly, I could not stop myself thinking about photography studio which I mention it as a shop, usually sees on the street. his painting somehow fit to be a background for a portrait photograph.

Suzanne Sewing - Study of a Nude, Paul Gauguin, 1880, oil on canvas Ny Carlsberg Glyptotek, Copenhagen, Denmark

Decomposition | Jan, 2012 ink on paper

figure | Jan, 2012 crayon, charcoal and pencil on paper figure | Jan, 2012 ink and pencil on paper

timing and composition | Aug, 2011 crayon, charcoal and pencil on paper

Sketching self-portrait | Aug, 2011 crayon, charcoal and pencil on paper

figure | Dec, 2011 ink on paper

Self-Expression | Aug, 2011 crayon, charcoal and pencil on paper

Sequence of a walking female | Aug, 2011 crayon, charcoal and pencil on paper

Drawing of a woman | Oct, 2011 crayon, charcoal and pencil on paper

legs | Feb, 2011 pencil on paper

figure | Dec , 2011 pencil on paper

figure | Feb , 2011 pencil on paper

figure | Feb , 2011 pencil on paper figure | Feb , 2011 crayon, charcoal and pencil on paper

figure | Sep , 2011 Oil on Canvas figure | Sep , 2011 Oil on Canvas

figure | Sep , 2011 Oil on Canvas figure | Sep , 2011 Oil on Canvas

figure | Sep , 2011 Oil on Canvas First interest on quality and timing | Sep , 2011 Oil on Canvas

figure | Sep , 2011 Oil on Canvas figure | Sep , 2011 Oil on Canvas

figures | Sep , 2011 Oil on Canvas

Untitled no.1 | Sep , 2011 Oil on Canvas | private collection.

An intimate space breaking out | Sep , 2011 | Oil on Canvas

Experimental 1 | Sep , 2011 Photograph Experimental 2 | Sep , 2011 photograph

Representative of self I use my portrait to taking the part of, Personally, I am always asking myself how bad do I. From an education and/or experiences I have, I profoundly state that, whenever this temporary and materialistic world have a good then comes the bad. we ruled things parallelly, in a good always encounter with a bad. and in this case if I meant to be a bad it ought to have a good in me. Realistically, people wants to be good, in contrary I do not. We have a live, we are fresh and commonly we must die. An only chance we have is the present with a lot of probabilities. Confining under circumstances might been being a breakthrough. Gathering informations planning for getting out. need a reasonable time. Wrenching out to somewhere I am not be able to presuming that right now.

Self-Reality | Oct , 2011 Oil on Canvas | Private collection

A man hit me with noise in my right ear, I looked askance and asked him why he done that to me, He looked at me with his doubtfulness eyes, saying What?, I could not be believing that myself, he acted as nothing was happened, I promise I heard his voice loud in my ears constantly, after a while I realized that his voice does not in my ear but dig down deeply inside my consciousness. I was barely identifying things, whether it in my head or crashing on surface of consciousness inside anyway.

The only left incessantly is a feeling. Ironically or rejoicing is persisting to become an experienced. Although, Sometime experiences are confining into a conventional ideal society. Ten years or a hundred years cultural aint no difference, Everything are bound to exist because of timing and probabilities depends on decisions that one might choose.

Three figures : a study of figure and timing | Nov , 2011 Oil on Canvas

In a bright light day, I face a painting of three figures with an intentionally to constructing a scene of a female moving in a sequence of time. Consequently, I have started the painting two weeks ago. At first I did not thought of a sequence and did not do a plan to paint over the first layer. Sometime I do not like my painting i did [mostly means of progressing, not finished one.], using timing to affecting the work had never exist in my head, but in this case I found out that after a confusing moment about periods of time I could not be able to develop works more on them. leaving something behind as journal that I can see what I had done and what it affected to the next painting, and starting the same processes of preparation the frame and canvases. and by time have changed I came back, considering the previous in comparison with the new I developed. and finally became two piece of works, then separately work on each. In comparison I can see good and bad of both of them. I justify that time can moves you from something to something else and by the ending of a constantly workflow always bring a conclusion of progression, crystallize from parallel working. changing, instability and non-self expand into concept of work progressively. If model moves, I would not care of changes. because not just model who moves also I do move and intentionally do that as well.

[Left] Prtrait 1 [ before] | Apr , 2012 | Oil on Canvas [Right] Portrait 1 [ after ] | Apr, 2012 | Oil on Canvas

Prtrait 2 [ before] | Apr , 2012 Oil on Canvas Portrait 2 [ after ] | Apr, 2012 Oil on Canvas

Untitled figure {progress} | Apr , 2012 Oil on Canvas

Female | Mar , 2012 Oil on Canvas

Untitled No.5 [progression] | Apr , 2012 Oil on Canvas

In all games of sport nothing but rules. Some of them fighting in the field, all eyes looking at the subject. Whoever have it must be clearly desired. the only thing, never get out.

Musculature, tendons, sensory system and subconscious mind impelling to fight. Games, the simulations of real life, struggle along, endeavoring, impostor, last dispersing, all things impermanent.

Found these by probability on research, images of a rugby game showing in action by Filippo Venruri.

Mixing up | digital retouched | 2012 {1} Zak Prekop | Untitled (Black with Green/Blue), 2012, oil on canvas, 84 x 57 Courtesy of the artist and Harris Lieberman, New York. {2} Red apple | oil on canvas | unknown artist

There are something can be defined exactly what it is, felling is an objectification. These sense something to me, there are two contradictions between black and white. form and shape look expeditious and lacerated between plain colors. putting an apple in it meaningfully, there is no where I wouldnt think about consuming and digesting, living needs eating.

The Listening Room I (La Chambre dcoute) |oil on canvas 55 x 45 cm | Ren Magritte Menil Collection, Houston, Texas, USA

A human is representing a living, cruelty is a life, we can see it multiple views, firstly constriction and depression or secondly to understand it wisely. reality of life is not a one-side stand. Probably, sequences of life will negating something I use to believe. Life is instability.

Three Studies for a Crucifixion, March 1962. Oil with sand on canvas, three panels, 78 x 57 inches (198.1 x 144.8 cm) each. Solomon R. Guggenheim Museum, New York 64.1700. 2012 The Estate of Francis Bacon. All rights reserved./ARS, New York/DACS, London Two Figures 1953 Oil on Canvas - 152.5 x 116.5cm - 60 x 45 inches (approx) Francis Bacon

Woman, I | 1950-52. Oil on canvas, 6 3 7/8 x 58 (192.7 x 147.3 cm) | Willem de Kooning Purchase. 2012 The Willem de Kooning Foundation / Artists Rights Society (ARS), New York

Blue and White (Standing Woman) |1960 | Willem de Kooning Blue ink on torn and assembled drawings mounted on canvas 14 x 8 inches (35.5 x 21.5 cm)

Confidence comes after hard experiments.

{Previous page left} A sequence of three with a figure staring outside | oil on canvas (0.75m x 0.98m), progressing | April , 2012

{Previous page right} A figure | oil on canvas (0.9m x 1.45m), progressing | April , 2012

{Left} Fresh | oil on canvas (0.8m x 1m), progressing | April , 2012

Preparation stage of my methodology is to start with unprimed canvas, sizing it by using composition sketches as models, considering what subject will be focus of image. Bigger canvas preparation means to specifically approaches based on the conception I have for each frame. especially, considerable as installation work. The impaction of work to viewer does not just size of it, also implying on times I sketch and do experimental painting, Rendering it through developments practically then discovering a crystallized piece.

I was awakened by realization of the past and recognition to the present, changing is reality, each phenomenon has consequences, revolving again and again in a circle. Believing is not making any fresh. Breaking out of routines is harder than staying in controlled, considering not changing while

understood worth nothing only educates. Thinking is a matter about living, Experiences are undermined. Getting out from intimatespace is only an answer. Whatever I thought ought to be done. Considering about how far I can go.

{above} Figures | oil on canvas (1.5m x 1.5m), progressing | April , 2012 {right} Figure | acrylics on canvas (0.8m x 1m), progressing | April , 2012

{below} Confining | oil on canvas (1m x 1.5m), progressing | April , 2012 {right} Figures | oil on canvas (1m x 1.5m), progressing | April , 2012

My workspace is not well arranging, messes around, by probability, a newspaper have some dried paints on it and sometime a printed of my research get dirt by that as well. It seem not well prepared, but within sense I thought about what is happened by chance spectacularly can be developed into an intended marks making according to happening of chances. I unleashed them, putting interests as whole. overviewing help linking me up with subjects and medium, researches and quick sketches improve density of content. flowing from one to another. when I turn all paintings faced me. I surprisingly see relativities of works each by each, So, in this term I be able to comparing works and developing them parallely as a whole.

Fresh of me and past of mine.

King Mongkuts University of Technology Thonburi School of Architecture and design - Communication design Program A communication design final project : An Experimental of a Sequence. of Nataphat Archavarungson year 2011

copyright 2012 Nataphat Archavrungson Jaharchavarungson@gmail.com

Reference & Research

World History of Art |
Hugh Honour
Paperback: 996 pages | Publisher: Laurence King; 7th Revised edition edition (August 10, 2009) Language: English ISBN-10: 1856695840 | ISBN-13: 978-1856695848

Reference & Research

Francis Bacon - Documentary
Film Documentary
Francis Bacon is the essential British painter of the twentieth century. From the end of the Second World War until his death in 1992, he created an extraordinary body of intense and uncompromising figure paintings and portraits. Drawing on diverse influences including Picasso, Velasquez's portrait of Pope Innocent X, the photographs of Eadweard Muybridge and Sergei Eisenstein's film Battleship Potemkin, Bacon undertook a pitiless analysis in paint of himself and his friends, of the human body, and of our place in a godless universe. This film explores many of his key canvases which have been newly filmed in HDTV. The works are complemented solely with Bacon's own words, recorded by Derek Jacobi. The artist's biography is outlined, but the focus is on his ideas: his thoughts about his work, his reflections about how and why he paints. The result is a rigorous and revealing portrait of one of the few artists who has truly changed the way we see and understand ourselves.

Art History, Volume 2 (4th Edition) |

Marilyn Stokstad , Michael W. Cothren
Paperback: 696 pages | Publisher: Prentice Hall; 4 edition (July 9, 2010) Language: English ISBN-10: 0205744214 | ISBN-13: 978-0205744213

Modern Art: A Very Short Introduction |

David Cottington
Paperback: 168 pages | Publisher: OUP Oxford (24 Feb 2005) Language English ISBN-10: 0192803646 | ISBN-13: 978-0192803641

Jackson Pollock - Documentary

Film Documentary - Biography channel documentary

Jackson Pollock was an American painter and a leading artists of Abstract Expressionism. He is famous for his technique of dripping and pouring paint on his canvases. He was married to artists Lee Krasner and known for his extreme alcoholism. After his death in a car accident, several large retrospective exhibits were made of his work, including at MoMA in New York City and The Tate in London.

Van Gogh: Master Draughtsman |

Sjraar Van Heugten
Hardcover: 192 pages| Publisher: Harry N. Abrams; First Edition edition (September 1, 2005) Language: English ISBN-10: 0810958481 | ISBN-13: 978-0810958487

Modern Art Documentary ~ A Complete Guide

Film Documentary ....Film by Herbert Kline.... (1977)
Impressionism, Expressionism, Fauvism, Cubism, Futurism, Dada, Surrealism, Pop Art, Conceptualism - Present time

Annie Leibovitz at Work |

Annie Leibovitz
Hardcover: 240 pages | Publisher: Random House; First Edition edition (November 18, 2008) Language: English ISBN-10: 0375505105 | ISBN-13: 978-0375505102

Salvador Dali Arena 1986 - Original Documentary

Film Documentary
Documentary showcasing the life and works of surrealist artist Salvador Dali. Director: Adam Low Original Air Date: 21 November 1986

Classical life drawing studio : lessons & teachings in the art of figure drawing |
James Lancel McElhinney , Instructors of the Arts Students League of New York , Will Barnet
Hardcover: 224 pages | Publisher: Sterling (August 3, 2010) Language: English ISBN-10: 1402762291 | ISBN-13: 978-1402762291

Lust for Life (1956)

Biographical film about the life of the Dutch painter Vincent van Gogh

Love Is the Devil: Study for a Portrait of Francis Bacon (1998 )

A biography of Irish painter Francis Bacon

Human Anatomy: Depicting the Body from the Renaissance to Today |

Benjamin A. Rifkin , Judy Folkenberg , National Library of Medicine
Hardcover: 352 pages | Publisher: Thames & Hudson Ltd (January 2006) Language: English ISBN-10: 050051299X | ISBN-13: 978-0500512999

Essays In Existentialism |
Jean-Paul Sartre
Publication Date: June 1, 2000 | ISBN-10: 0806501626 | ISBN-13: 978-0806501628 Examination of human consciousness; philosophy, metaphysics, semantics, existentialism. --This text refers to the Kindle Edition edition.