Studio Journal
A collection of creative work, critical reflections, brief research, and notes from my practice as a Studio Art student and writer.
Here, I document the ideas, experiments, and questions that shape my work— from studio projects and art-historical research to poetry, fiction, design, and the creative process behind them.
-
A gathering place for observations, experiments, and ideas across my creative practice. Here, studio notes sit alongside sketches, works in progress, creative writing, and explorations in art history. Some entries document the process of making; others examine the work of artists, uncover overlooked details, or follow an idea into unfamiliar territory. Together, they offer a glimpse into how I observe, question, research, and create—and how one form of curiosity can lead to another.
-
An exploration of art through observation, interpretation, and inquiry. Each entry takes a closer look at an artwork's composition, visual elements, and underlying meanings, considering how color, light, gesture, and perspective shape the viewer's experience. By looking beyond first impressions, this series explores the stories artworks tell, the questions they raise, and the histories that deepen our understanding of them.
-
A collection of words, stories, and ideas in progress. From poetry and short fiction to reflective writing and literary experiments, The Writer’s Desk explores the ways language can preserve memories, express emotions, and give shape to the imagined. It is a space for following a thought, discovering a story, and allowing words to become something more.
Art History Research #01: The Conception of Perception…
The Construction of Perception: From Romantic Sublimity to Impressionist Immediacy
A comparative study of J. M. W. Turner's The Slave Ship (1840) and Claude Monet's Impression, Sunrise (1872), examining how color, light, and atmosphere shape the viewer's perception. Through formal analysis and historical context, this research explores the relationship between Romantic sublimity and Impressionist immediacy, considering how paintings transform visual experience into something felt as much as seen.
