Project 01: My Line Is Emo

Emotion_Print Emotion_Print


Line 01 – [ANGER] Irritation


Line 02 – [ANGER] Rage


Line 03 – [ANGER] Torment


Line 04 – [FEAR] Anxiety


Line 05 – [FEAR] Horror


Line 06 – [FEAR] Hysteria


Line 07 – [FEAR] Tension


Line 08 – [JOY] Bliss


Line 09 – [JOY] Exhilaration


Line 10 – [JOY] Relief


Line 11 – [LOVE] Compassion


Line 12 – [LOVE] Desire


Line 13 – [LOVE] Lust


Line 14 – [SADNESS] Despair


Line 15 – [SADNESS] Regret


Line 16 – [SADNESS] Shame


Line 17 – [SADNESS] Suffering


Line 18 – [SURPRISE] Amaze


Line 19 – [SURPRISE] Jolt


Line 20 – [SURPRISE] Rude-Awakening

Artists Research

Ed Moses

Ed Moses_01

Ed Moses focuses on the profound possibilities and challenges of abstract paintings. His personality makes him choose the unknown over the known, thus his works are experimental. Most of his works are repetitive, all-over patterns of non-cursive and vertical strokes.

Resin PaintingsPaper Pieces were structures of diagonal parallel lines that zigzagged from left to right. Achieving a balance between Order and Contingency encouraged Moses to explore further. Some of his works he claim to be Cubist paintings, using numerous layers of crisscrossing, coloured diagonal bands into an all-over pattern, asserting 2D & 3D space. In an interview, he says that Luck and Chance are in his works. “Sometimes I feel just absolutely glowing because something come out the way it did.” To him, he feels that Life & Art are all the same.

Playing with Chaos

  • Combined various styles, methods and techniques
  • Spray gun
  • Insoluble mixtures of oil, paint, acrylic and shellac

Rafe Bone, 1958, Oil on Canvas

Untitled-C, 1958, Oil and Enamel on sized paper

Broken Wedge, 1973, Rhoplex and Pigment on laminated tissue

NY Trac, 1974, Acrylic and tissue on nylon

Two Cubist Paintings, 1978, Acrylic on drywall

OH-BU, 1982, Acrylic on raw wood

  • Breaking the structure (“The challenge is to be in that kind of momentum, in tune, and to bypass control”)
  • Learning by repetitions
  • When he paints, no plans, no strategy. Just notion.

Snail Struct & Antman, 1987, Acrylic and Oil on canvas

Densely Arked & Untitled, 2004, Acrylic on canvas

Loite & Franko-L, 2007, Acrylic on canvas

Chico Esquela, 2009, Acrylic on canvas

IMG_013_01 IMG_015_01 IMG_016_01 IMG_019_01

Using expressive lines and tones to create space.

Agnes Martin

Agnes Martin_01

She has six decades of painting and drawing experience, which can be seen in her endless varieties and subtle artworks. Her works are systematic; Grids, Symmetry and Stripes are elements are shown in her works. Her famous pieces are early 1970s self-imposed template of vertical or horizontal stripes & reduced colour palette, she is modest in form & subtle in colour though with ‘an immense presence’ and ‘powerful energy that almost takes physical hold of the viewer’.

She is a minimalist and privileged 1) Experience over interpretation, 2) Feeling over understanding, and 3) Inspiration over planning. She edits out paintings that doesn’t meet her standard of perfection and her working style changes over time. Her works include expression of essential emotions (preferred by the older generation) and Methods of repetition, geometric format and reduced means (preferred by the younger generation). Agnes initially started out with early portraits, still life-s and landscapes (early modernist painting) then progressed to abstract works influenced by cubism, surrealism and early abstract expressionism and finally to geometric compositions (pencilled grids on large square, seemingly blank canvases).

Her 1963 paintings emphasise on the material presence of the object, while comprehension of the process; Making something grand and beautiful from small, simple repetitive gestures evokes more ambitious, expressive content. As can be seen in her works: 1) Grids are never absolutely square, they are rectangles, 2) A little bit off share destroys the power of the square, and 3) Imperfections in her line shows Flawed by the human hand.


Referenced artist: Jackson Pollock. Using Drip and Splash style, avoiding any clear space and patterns. The line is created disregarding the size of the canvas.


Referenced artist: Andy Warhol. Using Decalcomania, creating a piece with symmetry and different tonal values. Subtly showing a contrast of Similarity and Differences.


Referenced artist: Steven Spazuk. Using Fumage, creating an abstract piece of soot-based work with gradients of fluid strokes. The concentrated burnt marks depict the intensity of emotion throughout the canvas.


Ed Moses – ND237.M776E21

Agnes Martin – N6537.M38A272, ND237.M24625A272

Jackson Pollock –

Andy Warhol –

Steven Spazuk –


Early Explorations + Mark Making Tools

IMG_4238 IMG_4239 IMG_4240

These are the initial sketches that I have come up with to explore with different mediums for expressing emotions.

The mark making tools that I used are as follows:


1. Pandan leaves


2. Aluminium Foil


3. Garlic Mesh

IMG_4232IMG_42304. Different types of brushes


The bottom left section is made with Tool 3, using the garlic mesh. The rest of the 3 prints are made from Tool 1, using different parts of the pandan plant.


This mono print is made from Tool 4, using different brushes with Chinese ink. 


The above mono print is made with Tool 1 and 2.


The above mono print is made with Tool 1, 2 and 3.


The above mono print is made from Tool 2, strings and masking tape.


The above two mono prints are made with Tool 1, 2, 3 and strings. The garlic mesh showed results of an interesting pattern by itself. The prints made with garlic mesh and aluminium foil looks geometric while prints made with pandan leaves and the strings looks inorganic; this balances the whole composition.

The second mono print is made with the leftover ink from the rubber piece after the first piece, showing greater contrast. The negative shapes allow the viewer to identify the difference between the textures of objects.