Motif Sketches

Today I decided to develop a sensibility for some of the motifs I will be making models of by doing detailed sketches. I drew a goat because it seems to be a recurring image in paintings of a biblical nature, representing the scapegoat which is slaughtered to redeem sin. I think there can also be some ambiguity between the goat and the lamb as the lamb frequently appeared within the excerpts I took from the Book of Revelation as the being who will judge at the end of all days. I also did a study of a moth as an example of memento mori imagery (particularly as seen in Shoufay Derz's work). It symbolises death and mortality. Both these creatures I intend to make small scale models of and include in the diorama I will make as just a couple of many signifiers. 

At this stage I am less inclined to make paintings indicating temporal stages of an apocalypse and its aftermath, and more inclined to explore the ideas of Margaret Atwood in stating that there is no clear distinction between a dystopia and a utopia, there is always aspects of one within the other. Therefore it will be more interesting to bring all the motifs I have researched together into the one image to highlight the dependence of these terms on each other, but ultimately the artificiality of their construct as only existing within art and language.

Lecture Notes - Embrace the Shake, or, "I Make and Break the Rules"

*Consider new techniques - try more things
-allows deeper thinking about the rational of my work
-ideas behind work are just as important as the work itself
Psychology, philosophy, film, literature
New ways to represent research

language without actually being figurative - no drawn marks on a surface
"catching breath when things achieve nothingness"
lines and shadows in space - DRAWING in space
thread of language

Paintings of smoke - lost fluidity
how to paint smoke without actually painting? FILMS of smoke!

*Oblique Strategies - Brian Eno and Peter Schmidt*
-encourages lateral thinking
e.g. "know thy error as a hidden intention"
"The Prepared Piano" - John Cage - pleasure in making new discoveries
Try new surfaces, new mediums, incorporate sculpture
THEN set limits - only use certain colours? How to overcome these limitations?

OULIPO

A Void - novel written without the letter "e"

Singular Pleasures, Henry Matthews

Mondrian - constraints - can help spur creativity - focus on area of inspiration - only straight lines, 90 degree angles, primary colours
Focus on the CREATION - new insights can form

William Kentridge - All the most interesting work I have ever made has been against my ideas

Doris Selsedo - words from poems as a creative trigger
installations but also drawings

Mary Harlman - places restrictions on size
starts with just 1 idea which leads to other ideas through association

Florian Mayan Haschen - brings out imperfections in the photography
painting, photography, the real and representation
tool usually used for creation (computer) opens up possibilities of discovery

Ernest Hemingway - entire story in 6 words
For sale: baby shoes, never worn

Michael Johansson - 3D objects combined to make seemingly 2D works - sculptures which seem as paintings

Austin Kleon - blacks out words from text to change meaning
copyright laws give constraints for him to work within - must have completely different meaning, parody original meaning, etc.

TED Talk - Phil Hansen
-diagnosed with hand shake, uses it as source of creativity
-developed out of single minded pursuit of perfect pointillism
squiggle pictures
-had to find other ways to fragment images e.g. use feet, work on larger scale
-can be paralysed by too much choice
-We must first be limited to become limitless
"Goodbye Art"


*Today's lecture has really made me think about how I will continue to generate imagery for this semester. I am inspired by the suggestion to create self-enforced limitations on the creative process, which enforces the idea I was already considering to work with a monochromatic palette. I am also starting to think about creating accompanying imagery to my detailed paintings by generating a pixellated grayscale grid. This would involve segmenting my panel into small squares and choosing what colour each of those squares is filled with through a random number generating process. However, I would make the rule that the same colour cannot be touching itself between two squares, except on a diagonal. I am interested to first play with this on a small scale, and then do a couple of larger oil works.

Painting Development

Today I worked on doing some mock-ups for the paintings I intend to do using the text from Milton's Paradise Lost. I have taken each of the seven line excerpts and used word to make the text bold and insert a shadow behind. As I would like to paint these on square 30 x 30 panels, I needed to stretch each passage out over a few more lines to create the right shape of text, hence the seven lines have all now become fifteen. At first I was thinking of painting each of these in grisaille, but now I am considering adding colour. I would like to experiment with how this colour interacts with the text, and as I am thinking of using candy-coloured pastels, whether this undermines the darkness within the words or highlights it even more. I think it will be interesting to create paintings of text as it generates questions concerning whether they can be considered "landscapes" as whilst there is spacial depth to the work, there is no "imagery" per se. I think these will work well as accompanying works to the dioramic imagery I intend on generating, and I like that I can mix up the ordering of the excerpts to create a new linear narrative which can become like the text for a story book when installed alongside the images. This ties back to my love of storytelling and whilst I am not sure what the final aesthetic effect will be I am looking forward to experimenting with bringing all these ideas together cohesively.

Revelations: Contemporary Visions of the Apocalypse

Pia Bennett and Joshua Fitzpatrick, Mountain, 2009, oil on board, 120 x 630 cm 

Tori Benz, Apocalypse study no. 3, Apocalypse study no. 2, Apocalypse study no. 1, 2009, lead pencil on gesso on marine ply, each 30 x 20 cm

Through the library research I have conducted I was able to find a catalogue for an exhibition that occurred at the Fremantle Arts Centre in 2009-2010 entitled Revelations: contemporary visions of the apocalypse. Whilst my image generation process for this semester is very much concerned with studying historical artists and the traditions of the past with depicting apocalypses, it is still interesting for me to see how other contemporary artists are dealing with these themes today. The two works I am most interested in are Mountain by Pia Bennett and Joshua Fitzpatrick, and the Apocalypse studies by Tori Benz. I find the Bennett and Fitzpatrick work very interesting as while it may seem basic and almost design-like in nature, there are several fascinating experimental elements to it, such as the fact that one of the panels is deeper than the other and hence does not sit flush, half of one panel has not been painted in, and if the viewer steps close enough to the work it becomes clear that the oil painting is of a digital image which has been pixellated. These experimental features are all elements I am curious to pursue within my own work this semester. The exhibition catalogue states that in Mountain, "the grotesque and the sublime intermingle amidst motifs of excess, repetition and collision which characterise the apocalyptic mode" (p. 2). The work features elements of a Rorschach, yet the reflection is imperfect due to the white void and the stretching and distortion. I think this fragmenting of the landscape suggests the beginning of the end and the end of the beginning simultaneously, with apocalypse and genesis constantly looping together in a cycle. This shows the extent to which conceptual ideas can be conveyed by what seems a simple image, so in further developing my work I think I will look at incorporating variations on these elements.

The Apocalypse studies by Tori Benz are beautiful in their simplicity as small drawings in lead pencil on a cream ground, yet there are also elements of experimentation involved such as compositional variation, degrees to which sections of the drawing have been finished and the embracing of smudges that occur during the drawing process. Once again, Benz incorporates a monochromatic palette which immediately catches my eye. I think this palette is very successful in conveying a sense of the terrible and horrific, whilst also reflecting beauty in simplicity. I am also very much inspired by the scale of her work. Whilst I am impressed by the fact that Bennett and Fitzpatrick's painting spans for over 6 m, and I am trying to work on a larger scale than I usually do this semester, there is something about small works that I also find arresting. I think it is the fact that they force the viewer to step closer to the image, rather than be forced to step back to be able to see a large work as a cohesive whole. In terms of practicality, doing small scale work allows more time to be spent on finely rendering details, and I think I can see parallels between the small scale models I make which suggests I should work on some smaller pieces in the future. Whilst I would like to push myself this semester to create some larger works, I think next semester I would instead like to work with a larger quantity of little works.

(T Costantino (curator), Revelations: Contemporary Visions of the Apocalypse, Perth, Western Australia, Fremantle Arts Centre, 2010

Book of Revelation

1:14-16 "His head and his hair were white as white wool, white as snow; his eyes were like a flame of fire, his feet were like burnished bronze, refined as in a furnace, and his voice was like the sound of many waters, In his right hand he held seven stars, and from his mouth came a sharp, two-edged sword, and his face was like the sun shining with full force."

5:6-8 "Then I saw between the throne and the four living creatures and among the elders a Lamb standing as if it had been slaughtered, having seven horns and seven eyes, which are the seven spirits of God sent out into all the earth. He went and took the scroll from the right hand of the one who was seated on the throne. When he had taken the scroll, the four living creatures and the twenty-four elders fell before the Lamb, each holding a harp and golden bowls full of incense, which are the prayers of the saints."

6:1-17 "Then I saw the Lamb open one of the seven seals, and I heard one of the four living creatures call out, as with a voice of thunder, 'Come!' I looked, and there was a white horse! Its rider had a bow; a crown was given to him, and he came out conquering and to conquer.
When he opened the second seal, I heard the second living creature call out, 'Come!' And out came another horse, bright red; its rider was permitted to take peace from the earth, so that people would slaughter one another; and he was given a great sword.
When he opened the third seal, I heard the third living creature call out, 'Come!' I looked, and there was a black horse! Its rider held a pair of scales in his hand, and I heard what seemed to be a voice in the midst of the four living creatures saying, 'A quart of wheat for a day's pay, and three quarts of barley for a day's pay, but do not damage the olive oil and wine!'
When he opened the fourth seal, I heard the voice of the fourth living creature call out, 'Come!' I looked and there was a pale green horse! Its rider's name was Death, and Hades followed with him; they were given authority over a fourth of the earth, to kill with sword, famine, and pestilence, and by the wild animals of the earth.
When he opened the fifth seal, I saw under the altar the souls of those who had been slaughtered for the word of God and for the testimony they had given; they cried out with a loud voice, 'Sovereign Lord, holy and true, how long will it be before you judge and avenge our blood on the inhabitants of the earth?' They were each given a white robe and told to rest a little longer, until the number would be complete both of their fellow servants and of their brothers and sisters, who were soon to be killed as they themselves had been killed.
When he opened the sixth seal, I looked, and there came a great earthquake; the sun became black as sackcloth, the full moon became like blood, and the stars of the sky fell to the earth as the fig tree drops its winter fruit when shaken by a gale. The sky vanished like a scroll rolling itself up, and every mountain and island was removed from its place. Then the kings of the earth and the magnates and the generals and the rich and the powerful, and everyone, slave and free, hid in the caves and among the rocks of the mountains, calling to the mountains and rocks, 'Fall on us and hide us from the face of the one seated on the throne and from the wrath of the Lamb; for the great day of their wrath has come, and who is able to stand?'"

8:7-12 "The first angel blew his trumpet, and there came hail and fire, mixed with blood, and they were hurled to the earth; and a third of the earth was burned up, and a third of the trees were burned up, and all green grass was burned up.
The second angel blew his trumpet, and something like a great mountain, burning with fire, was thrown into the sea. A third of the sea became blood, a third of the living creatures in the sea died, and a third of the ships were destroyed.
The third angle blew his trumpet, and a great star fell from heaven, blazing like a torch, and it fell on a third of the rivers and on the springs of water. The name of the star is Wormwood. A third of the waters became wormwood, and many died from the water, because it was made bitter.
The fourth angel blew his trumpet, and a third of the sun was struck, and a third of the moon, and a third of the stars, so that a third of their light was darkened; a third of the day was kept from shining, and likewise the night."

9:16-19 ' The number of the troops of cavalry was two hundred million; I heard their number. And this was how I saw the horses in my vision: the riders wore breastplates the color of fire and of sapphire and of sulphur; the heads of the horses were like lions' heads, and fire and smoke and sulphur came out of their mouths. By these three plagues a third of humankind was killed, by the fire and smoke and sulfur coming out of their mouths. For the power of the horses is in their mouths and in their tails; their tails are like serpents, having heads; and with them they inflict harm."

9:2-3 "he opened the shaft of the bottomless pit, and from the shaft rose smoke like the smoke of a great furnace, and the sun and the air were darkened with the smoke from the shaft."

11:5-8 "And if anyone wants to harm them, fire pours from their mouth and consumes their foes; anyone who wants to harm them must be killed in this manner. They have authority to shit the sky, so that no rain may fall during the days of their prophesying, and they have authority over the waters to turn them into blood, and to strike the earth with every kind of plague, as often as they desire.
When they have finished their testimony, the beast that comes up from the bottomless pit will make war on them and conquer them and kill them, and their dead bodies will lie in the street of the great city that is prophetically called Sodom and Egypt, where also their Lord was crucified."

14:10-11 "they will also drink the wine of God's wrath, poured unmixed into the cup of his anger, and they will be tormented with fire and sulfur in the presence of the holy angels and in the presence of the Lamb. And the smoke of their torment goes up forever and ever."

15:12 "And I saw what appeared to be a sea of glass mixed with fire"

16:18-21 "And there came flashes of lighting, rumblings, peals of thunder, and a violent earthquake, such as had not occurred since people were upon the earth, so violent was that earthquake. The great city was split into three parts, and the cities of the nations fell. God remembered great Babylon and gave her the wine-cup of the fury of his wrath. And every island fled away, and no mountains were to be found; and huge hailstones, each weighing about a hundred pounds, dropped from heaven on people, until they cursed God for the plague of the hail, so fearful was that plague."

21:8 "But as for the cowardly, the faithless, the polluted, the murderers, the fornicators, the sorcerers, the idolaters, and all liars, their place will be in the lake that burns with fire and sulfur, which is the second death."

21:11-14 "It has the glory of God and a radiance like a very rare jewel, like jasper, clear as crystal. It has a great, high wall with twelve gates, and on the gates are inscribed the names of the twelve tribes of the Israelites; on the east three gates, and on the west three gates. And the wall of the city has twelve foundations, and on them are the twelve names of the twelve apostles of the Lamb."




As with the quotes I have taken from Milton's Paradise Lost, I also made my way through one of the inspirations of the poem, The Revelation to John, or as it is often known, The Book of Revelation from the Bible. As I knew this book has a lot of apocalyptic imagery, I similarly wanted to make a collection of these excerpts and then consider what to do with the language. It is the final book in the Bible, apparently written by "John" who was instructed by a heavenly vision to write down the content of a vision. Whilst I think these quotes are fantastic in their descriptions and motifs, I think it will be easier for me to only work directly with the Milton quotes. The sections I had to take from this biblical text are very long as a lot of repetition is employed, and whilst I could edit these down I've found the Milton excerpts work better standing alone in such a fashion. I think this is because within Milton I found more passages focused on describing the landscape whereas these passages are more descriptive of characters and actions. However, I will still find this text useful when I begin to create my dioramic imagery as these motifs are exactly what I am looking to create artificial versions of to explore the effectiveness of such visions once they are actually made manifest.

The Imagery of John Milton

As a means of developing imagery for my artwork this semester, I have been reading Paradise Lost by seventeenth century poet John Milton. The poem tells the story of the original sin committed by Adam and Eve, and further illustrates the extent of the devil's interference in the situation and his wish to instruct the absolute demise of God. Later, it discusses Adam and Eve's expulsion from the Garden of Eden. I have enjoyed reading the poem as it is rich in imagery, particularly concerning natural events that could cause widespread destruction such as erupting sulphur and flame, terrible creatures such as dragons, gargoyles and hydras, and the sufferings to be endured by man such as crippling sickness and plagues.

Within this text I have found plenty of passages that reflect apocalyptic landscapes and I think it would be interesting to work quite directly with these descriptions. I am finding by chance that each passage I am most interested in working with is 7 lines long, which when transferred onto a 30 x 30 cm panel spreads out to being 15 lines long, therefore there is consistency in form and structure between all four panels I intend to paint. I wanted to choose passages that particularly detain scenic elements, such as lighting, landforms, dwellings and natural events so as to explore the concept of the landscape in painting or the idea that text can be painted to create a landscape and how it can be used to manipulate the illusionist depth of a picture. I would like to see whether if painting a description of a landscape, and if that description is visualised with some 3D elements such as shadowing and rendering, whether or not the painting can be interpreted as a landscape. Originally, I was thinking of painting this series entirely in black and white, but now I am considering introducing some colour both to create visual interest and to perhaps undermine the darkness and solemnity of the words:


"Thou from the first
Wast present, and with mighty wings outspread
Dove-like satst brooding on the vast Abyss
And mad'st it pregnant." (92)

"The dismal Situation waste and wilde,
A Dungeon horrible, on all sides round
As one great Furnace flam'd, yet from those flames
No light, but rather darkness visible
Serv'd only to discover sights of woe,
Regions of sorrow, doleful shades, where peace
And rest can never dwell, hope never comes
That comes to all; but torture without end
Still urges, and a fiery Deluge, fed
With ever-burning Sulphur unconsum'd:
Such place Eternal Justice had prepar'd
For those rebellious, here their Prison ordain'd
In utter darkness, and thir potion set
As far remov'd from God and light of Heav'n
As from the Centre thrice to th' utmost Pole.
Oh how unlike the place from whence they fell!
There the companions of his fall, o'rewhelm'd
With Floods and Whirlwinds of tempestuous fire" (93-94)

"Seest thou yon dreary Plain, forlorn and wilde,
The seat of desolation, voyd of light,
Save what the glimmering of these livid flames
Cast pale and dreadful?..." (96-97)

"There stood a Hill not far whose griesly top
Belch'd fire and rowling smoak; the rest entire
Shon with a glossie scurff, undoubted sign
That in his womb was hid metallic Ore,
The work of Sulphur." (110)

"...a Hell should rise
With blackest Insurrection, to confound
Heav'ns purest Light" (118)

"Chain'd on the burning Lake" (119)

"What if the breath that kindl'd those grim fires
Awak'd Should blow them into sevenfold rage
And plunge us in the flames? or from above
Should intermitted vengeance arm again
His red right hand to plague us? what if all
Her stores were opn'd, and this Firmament
Of Hell should spout her Cataracts of Fire,
Impendent horrors, threatning hideous fall
One day upon our heads; while we perhaps
Designing or exhorting glorious warr.
Caught in a fierie Tempest shall be hurl'd
Each on his rock transfixt, the sport and prey
Of racking whirlwinds, or for ever sunk
Under yon boyling Ocean, wrapt in Chains;
There to converse with everlasting groans,
Unrespited, unpitied, unrepreevd,
Ages of hopeless end; this would be worse." (119)

"...There is a place
(If ancient and prophetic fame in Heav'n
Err not) another World, the happy seat
Of som new Race call'd Man, about tis time
To be created like to us, though less
In power and excellence, but favour'd more
Of him who rules above; so was his will
Pronounc'd among the Gods, and by an Oath,
That shook Heav'ns whol cimcumference, confirm'd." (124)

"Some advantagious act may be achiev'd
By sudden onset, either with Hell fire
To waste his whole Creation, or possess
All as our own, and drive as we were driven,
The punie habitants, or if not drive,
Seduce them to our Party, that thir God
May prove thir foe, and with repenting hand
Abolish his own works." (124-125)

"Beyond this flood a frozen Continent
Lies dark and wilde, beat with perpetual storms
Of Whirlwind and dire Hail, which on firm land
Thaws not, but gathers heap, and ruin seems
Of ancient pile; all else deep snow and ice,
A gulf profound as that Serbonian Bog
Betwixt Damiata and mount Casius old,
Where Armies whole have sunk: the parching Air
Burns frore, and cold performs th'effect of Fire." (131)

"Thus roving on
In confus'd march forlorn, th' adventrous Bands
With shuddring horror pale, and eyes agast
View'd first thir lamentable lot, and found
No rest: through many a dark and drearie Vaile
They pass'd and many a Region dolorous,
O're many a Frozen, many a fierie Alpe,
Rocks, Caves, Lakes, Fens, Bogs, Dens, and shades of death,
A Universe of death, which God by curse
Created evil, for evil only good,
Where all life dies, death lives, and Nature breeds,
Perverse, all monstrous, all prodigious things,
Abominable, inutterable, and worse
Then Fables yet have feign'd, or fear conceiv'd,
Gorgons and Hydra's and Chimera's dire." (131-132)

"...the Gates wide op'n stood,
That with extended wings a Bannerd Host
Under spread Ensigns marching might pass through
With Horse and Chariots rankt in loose array;
So wide they stood, and like a Furnace mouth
Cast forth redounding smoak and ruddy flame.
Before their eyes in sudden view appear
The secrets of the hoarie deep, a dark
Illimitable Ocean without bound,
Without dimension, where length, breadth, and highth,
And time and place are lost; where eldest Night
And Chaos, Ancestors of Nature, hold
Eternal Anarchie, amidst the noise
Of endless warrs, and by confusion stand,
For hot, cold, moist, and dry, four Champions fierce
Strive here for Maistrie, and to Battel bring
Thir embryon Atoms; they around the flag
Of each his faction, in thir several Clanns,
Light-arm'd or heavy, sharp, smooth, swift or slow,
Swarm populous, unnumber'd as the Sands
Of Barca or Cyrene's torrid soil,
Levied to side with warring Winds, and poise
Thir lighter wings." (139)

"Here shalt thou sit incarnate, here shalt Reign
Both God and Man, Son both of God and Man,
Anointed universal King; all Power
I give thee, reign for ever, and assume
Thy Merits; under thee as Head Supream
Thrones, Princedoms, Powers, Dominions I reduce:
All knees to thee shall bow, of them that bide
In Heaven, or Earth, or under Earth in Hell;
When thou attended gloriously from Heav'n
Shalt in the Sky appeer, and from thee send
The summoning Arch-Angels to proclaime
Thy dread Tribunal: forthwith from all Windes
The living, and forthwith the cited dead
Of all past ages to the general Doom
Shall hast'n, such a peal shall rouse thir sleep
Then all thy Saints assembl'd, thou shalt judge
Cad men and Angels, they arraignd shall sink
Beneath thy Sentence; Hell, her numbers full,
Thenceforth shall be forever shut. Meanwhile
The World shall burn, and from her ashes spring
New Heav'n and Earth, wherein the just shall dwell
And after all thir tribulations long
See golden days, fruitful of golden deeds,
With Joy and Love triumphing, and fair Truth." (153-154)

"O for that warning voice, which he who saw
Th'Apocalyps, heard cry in Heaven aloud,
Then when the Dragon, put to second rout,
Came furious down to be reveng'd on men,
Wo to the inhabitants on Earth! that now,
While time was, our first Parents had bin warnd
The coming of thir secret foe, and scap'd
Haply so scap'd his mortal snare; for now
Satan, now first inflam'd with rage, came down,
The Tempter ere th'Accuser of man-kind,
To wreck on innocent frail man his loss
Of that first Battel, and his flight to Hell" (166-167)

"...dire was the noise
Of conflict; over head the dismal hiss
Of fiery Darts in flaming volies flew,
And flying vaulted either Host with fire.
So under fierie Cope together rush'd
Both Battels maine, with ruinous assault
And inextinguishable rage; all Heav'n
Resounded, and had Earth bin then, all Earth
Had to her Center shook." (227)

"Forthwith from Councel to the work they flew,
None arguing stood, innumerable hands
Were ready, in a moment up they turnd
Wide the Celestial soile, and saw beneath
Th'originals of Nature in thir crude
Conception; Sulphurous and Nitrous Foame
They found, they mingl'd, and with suttle Art,
Concocted and adusted they reduc'd
To blackest grain, and into store conveyd:
Part hidd'n veins diggd up (nor hath this Earth
Entrails unlike) of Mineral and Stone,
Whereof to found thir Engins and thir Balls
Of missive ruin; part incentive reed
Provide, pernicious with one touch to fire." (235-236)

"Hell heard th'unsufferable noise, Hell saw
Heav'n ruining from Heav'n. and would have fled
Affrighted; but strict Fate had cast too deep
Her dark foundations, and too fast had bound.
Nine dayes they fell; confounded Chaos roard,
And felt tenfold confusion in thir fall
Through his wilde Anarchie, su huge a rout
Incumberd him with ruin: Hell at last
Yawning receavd them whole, and on them clos'd,
Hell thir fit habitation fraught with fire
Unquenchable, the house of woe and paine.
Disburd'nd Heav'n rejoic'd and soon repaird
Her mural breach, returning whence it rowld." (245-246)

"On heav'nly ground they stood, and from the shore
They view'd the vast immeasurable Abyss
Outrageous as a Sea, dark, wasteful, wilde,
Up from the bottom turn'd by furious windes
And surging waves, as Mountains to assault
Heav'ns highth, and with the Center mix the Pole." (253)

"So saying, her rash hand in evil hour
Forth reaching to the Fruit, she pluck'd, she eat:
Earth felt the wound, and Nature from her seat
Sighing through all her Works gave signs of woe,
That all was lost." (306)

"Earth trembl'd from her entrails, as again
In pangs, and Nature gave a second groan,
Skie lowr'd and muttering Thunder, som sad drops
Wept at compleating of the mortal Sin
Original" (312)

"Curs'd is the ground for thy sake, thou in sorrow
Shalt eate thereof all the days of thy Life;
Thornes also and Thistles it shall bring thee forth
Unbid, and thou shalt eate th'Herb of th'Field,
In the sweat of thy Face shalt thou eate Bread,
Till thou return unto the ground, for thou
Out of the ground was taken, know thy Birth,
For dust thou art, and shalt to dust returne." (324)

"Both Sin, and Death, and yawning Grave at last
Through Chaos hurld, obstruct the mouth of Hell
For ever, and seal up his ravenous Jawes.
Then Heav'n and Earth renewd shall be made pure
To sanctitie that shall receive no staine:
Till then the Curse pronounc't on both precedes." (336)

"What miserie th'inabstinence of Eve
Shall bring on men. Immediately a place
Before his eyes appeard, sad, noysom, dark,
A Lazar-house it seemd, wherein were laid
Numbers of all diseas'd, all maladies
Of gastly Spasm, or racking torture, qualmes
Of heart-sick Agonie, all feavorous kinds,
Convulsions, Epilepsies, fierce Catarrhs,
Intestin Stone and Ulcer, Colic pangs,
Daemoniac phrenzie, moaping Melancholie
And Moon-struck madness, pining Atrophie,
Marasmus, and wide-wasting Pestilence,
Dropsies, and Asthma's, and Joint-racking Rheums.
Dire was the tossing, deep the groans, despair
Tended the sick busiest from Couch to Couch;
And over them triumphant Death his Dart
Shook, but delaid to strike, though oft invok't
With vows, as thir chief good, and final hope." (363-364)

"But first the lawless Tyrant, who denies
To know thir God, or message to regard,
Must be compelld by Signes and Judgements dire;
To blood unshed the Rivers must be turnd,
Frogs, Lice and flies must all his Palace fill
With loath'd intrusion, and fill all the land;
His Cattel must of Rot and Murren die,
 Botches and blaines must all his flesh imboss,
And all his people; Thunder mixt with Haile,
Haile mixt with fire must rend th'Egyptian Skie
And wheel on th'Earth, devouring where it roulds;
What it devours not, Herb, or Fruit, or Graine,
A darksom Cloud of Locusts swarming down
Must eat, and on the ground leave nothing green:
Darkness must overshadow all his bounds,
Palpable darkness, and blot out three dayes;
Last with one midnight stroke all the first-born
Of Egypt must lie dead." (380-381)

UTOPIC IMAGERY:

"So on he fares, and to the border comes
Of Eden, where delicious Paradise,
Now nearer, Crowns with her enclosure green,
As with a rural mound the champain head
Of a steep wilderness, whose hairie sides
With thicket overgrown, gottesque and wildem
Access deni'd; and over head up grew
Insuperable highth of loftiest shade,
Cedar, and Pine, and Firr, and branching Palm,
A Silvan Scene, and as the ranks ascend
Shade above shade, a woodie Theatre
Of stateliest view. Yet higher then thir tops
The verduous wall of Paradise up sprung:
Which to our general Sire gave prospect large
Into his neather Empire neighbouring round.
And higher then that Wall a circling row
Of goodliest Trees loaden with fairest Fruit,
Blossoms and Fruits at once of golden hue
Appeerd, with gay enameld colours mixt:
On which the Sun more glad impress'd his bea,s
Then in fair Evening Cloud, or humid Bow,
When God hath showrd the earth; so lovely seemd
That Lantskip: And of pure now purer aire
Meets his approach, and to the hearth inspires
Vernal delight and joy, able to drrive
All sadness but despair: now gentle gales
Fanning thir odoriferous wings dispense
Native perfumes, and whisper whence they stole
Those balmie spoiles." (170-171)

"Out of the fertil ground he caus'd to grow
All Trees of noblest kind for sight, smell, taste;
And all amid them stood the Tree of Life,
High eminent, blooming Ambrosial Fruit
Of vegetable Gold; and next to Life
Our Death the Tree of Knowledge grew fast by,
Knowledge of Good bought dear by knowing ill.
Southward through Eden went a River large,
Nor chang'd his course, but through the shaggie hill
Pass'd underneath ingulft, for God had thrown
That Mountain as his Garden mould high rais'd
Upon the rapid current, which through veins
Of porous Earth with kindly thirst up drawn,
Rose a fresh Fountain, and with many a rill
Waterd the Garden; thence united fell
Down the steep glade, and met the neather Flood,
Which from his darksom passage now appeers,
And now divided into four main Streams,
Runs divers, wandring many a famous Realme
And Country whereof here needs no account,
But rather to tell how, if Art could tell,
How from that Saphire Fount the crisped brooks,
Rowling on Orient Pearl and sands of Gold,
With mazie error under pendant shades
Ran Nectar, visiting each plant, and fed
Flours worthy of Paradise which not nice Art
In Beds and curious Knots, but Nature boon
Powrd forth profuse on Hill and Dale and Plaine,
Both where the morning Sun first warmly smote
The open field, and where the unpierc't shade
Inbround the noontide Bowes: Thus was this place,
A happy rural seat of various view;
Groves whose rich Trees wept odorous Gumms and Balme,
Others whose fruit burnisht with Golden Tinde
Hung amiable, Hesperian Flavles true,
If true, here and only, and of delicious taste:
Betwixt them Lawns, or level Downs, and Flocks
Grasing the render herb, were interpos'd,
Of palmie hilloc, or the flourie lap
Of som irriguous Valley spread her store,
Flours of all hue, and without Thorn the Rose:
Another side, umbrageous Grots and Caves
Of coole recess, o're which the mantling Vine
Layes forth her purple Grape, and gently creeps
Luxuriant; mean while murmuring waters fall
Down the slipe hills, disperst, or in a Lake,
That to the fringed Bank with Myrtle crownd,
Her chrystal mirror holds, unite thir streams.
The Birds this quire apply; aires, vernal aires,
Breathing the smell of field and grove, attune
The trembling leaves, while Universal Pan
Knit with the Graces and the Hours in dance
Led on th'Eternal spring." (172-174)

Lecture Notes, Presentation

-Explanation of relevant thoughts, processes and supporting research
10 mins
-can make a powerpoint with images and supporting artefacts

*clearly identify immediately what you are investigating for your project (in about 25 words)
-have everything ready the day before
-experimental and discarded ideas

How can I convey practical development of my work?
-Images of drawings/sketches
-Images of works in progress
-Experiments, prototypes, samples
-What images will I need to photocopy?

-Other artists work
-Theorists
-Quotes
-Personal data
-Historical issues
-Contemporary values

-Identify relevance and how they are relevant

-Reference list and bibliography available for anything you cite



-Rationalise what I am doing
-Where is the invention? Why will people keep coming back to my imagery? Humour? Originality?
-Collective or personal experience?
     -how do human choices cause/change what would happen?

*black and white
*language - titles of paintings
*models = artifice