A STUDY OF AN INTROVERT MIND AND ITS APPLICATION
IN SURREAL PHOTOGRAPHY
BELYNDA PAUL (46400)
Bachelor of Applied Arts with Honors (Fine Arts)
2017
A ST UDY OF AN INTROVERT M IND AND ITS APPLICATION IN SURREA L PHOTOGRAPHY
BELYNDA PAUL
This project is one of the requirements for Bachelor of Applied Arts with Honors
(F ine Arts)
Faculty of Applied and Creati ve Arts
UNIVERSITI MALA YS IA SARAW AK
2017
UNIVERSITI MALAYSIA SARAWAK
Grade: __________
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Final Year Proj ect Report D i\·1a;;t.er5 D PhD D
DE CLARATION OF ORIGINAL WORK
This declaration is made on the Thursday of June 20 n .
St udent's Declaration:
I BELYNDA PAUL (46400) from FACULTY OF APPLIED AND CREATIVE ARTS hereby decla re that the thesis entitled A STUDY OF AN INTROVERT MIND AND ITS APPLICA TlON I N SURREAL PHOTOGRAPHY is my original work. I have not copied from a ny other students' work or from any other sources except where due refere nce or acknowledge me nt is made explicitly in the text, nor has any part bee n written for me by anothe r pe rson.
23 iO· ) Or'l
BELYNDA PAUL (46400) Date Submitted
S upervisor's Declaration:
I SITI SHAHIDA BT. KAMEL hereby ce!tifies that the thesis e ntitled A STUDY OF AN INTROV ERT MIND AND ITS APPLICATION IN SURREAL PHOTOGRAPHY prepared by the above Hamed student, and was submitted to the "FACULTY' as a * partia Ufull fulfillment for the conferment of BACHELOR OF APPLIED ARTS WITH HONOURS (F INE ARTS) . and the afore me ntioned work, to the best of my knowledge. is the said stud €> nt's work.
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RECOGNITION
Project entitled A STUDY OF AN INTROVERT MIND AND ITS A PPLICATION (N SURREAL
PHOTOGRAPHY was prepared by BELYNDA PA UL and was submitted to (he Faculty of Applied and Crea ti ve AIlS as eligible for a Bachelor of Applied Ans with Honors (Fine Arts) .
Accepted for review by:
(PUAN SlTI SH~BT. KAMEL)
Date:
13 . 10 · ) Ol'l
VALIDATION
£t is recognized that I, BELYNDA PA UL accompanied with the thesis entitl ed A STU DY OF AN INTROVERT MIND AND ITS APPLICATION IN SURREAL PHOTOGRAPHY as part of the requirements for a Bachelor of Applied and Creative Arts in Fine Arts Program received.
Veri fied by:
(pUAN S~KAMEL)
Superviso r
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APPRECIATION
I would like to give my sincere thanks and gratitud e to those who had helped me
throughout the making of this thesis and final year project period. First and foremost, I would like
to thank my beloved family fo r their support, prayers, and also their help in supporting me
through financial. Their SUppOJ1 and mo tivation has given me the strength to complete this
project.
I would also like to thank my final year project superv isor, Puan Siti Shahida binti Kamel
for sharing her knowledge, understanding, and experience in helping me to write thi s thesis. I
would also like to thank all the lectmers in this Fine Art progranune; Associate Professor Dr Wan
Jamarul Wan Abdullah Thani, Associa te Professor Zulkalna in b in Zainal Abidin, Mr. Anuar bin
Ayob, Dr. Yakup Rafee, Mr. Awangko' Hamdan , Mr.Mohd Zamhari bin Abol Hassan, Mr.
Hakimi bin Halim, Miss As lina Mohd laina l, and many more.
All of help and SUppOlt given to me is very much apprecia ted even though I could not
repay them aIL My prayers and thanks for those who had help me, may all of you succeed in the
future .
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ABSTRACT
This research aim to foc us on the application of mixed art such as Surreali sm and
photography in representing the mind and the characteristic of an introvert . In this study, the
exploration into the meaning of introvert and its character were identified . Three of the
characteristic acknowledged as introvert are Solitude, Inner Me, and The Listener. Furthermore,
the use of Adobe Photoshop CS6 software was used for photo-manipulation to create sWTea l
photography . The finding of this research is appli ed in the fina l artwork, entitled "Doorway to
Introvert".
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ABSTRAK
Kaj ian ini menfokuskan terhadap penggunaan seni campuran seperti Surrealism dan
fo tografi dalam mewakili minda dan perwatakan seorang Introvert. Melalui kajian 1Il!,
penerokaan ke dalam pengertian Introvert dan perwatakalUlya telah dikena l pas ti. Tiga daripada
ciri-ciri perwatakan Introvert adalah Solitude, Inner Me, dan Th e Listener. Tambahan pu la,
penggunaan peranti Adobe Pholoshop CS6 telah digunakan untuk foto-manipulasi untuk
menghasilkan surreal photography. Hasil dapa tan yang dipero lehi diaplikasikan di dalam karya
yang bertajuk "Doorway to Introvert " .
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CONTENTS
Chapter 1: Introduction
10 Introduction
1 Background research 2
1.1.1 History of photography 3
1.1.2 SWTealism 4
1.1.3 Surrealism in photography 5-6
1.2 Research problem 6
1.3 Research question 7
1.4 Objective 7
1 .5 Research statemen ts 7
1.6 Hypothesis 8
1.7 Research interest 8
1. 8 Research scope 8
1.9 Conclusion 9
Chapter 2: Literature r eview
2.0 Introduction 10
2. 1 SWTealism as a concept and an art fonn 11- 12
2. 1.1 Automatism 12-13
2.1.2 Veristic surrealism 14
2.1 .3 Surrea l Photography 15-16
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2.2 Introvert 16-17
2.2. I Myth of introvert 17-18
2.3 Reference artist 18
2.3.1 Man Ray 19-20
2.3.2 Maurice Tabard 20-21
2.3.3 Erik Johansson 21 -23
2.3.4 Christopher McKenney 24-25
2.4 Installation idea 25 -30
2.5 Conclusion 30
Chapter 3: Research methodology
3.0 Introduction 31
3.1 Research design 32
3.2 Primary method 32
3.2.1 Observa tion 32-33
3.2.2 Experimentation 34
3.3 Secondary method 35
3.3. 1 Reading materi als 35
3.3.2 Internet 35
3.4 Conclusion 36
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Chapter 4: Research findings
4.0 Introduction 37
4. I Artwork process 38
4. I. I Pre-production 38-41
4. 1.2 Production shoo ting 41 -46
4.1.3 Post production 47
4.2 Artwork 47
4.2.1 Solitude 47-51
4.2.2 Inner me 51-53
4.2.3 The listener 54-56
4.2.4 Final artwork 56-58
4.3 Conclusion 59
Chapter 5: Conclusions
5.0 Conclusion 60-61
Reference 62-64
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LIST OF IMAGES
LIST PAGE
IMAGE 1 : Man Ray, Maquise Casib (1922) 6
IMAGE 2 : Salvador Dali, The Pers istence of Time (1 93 1) 12
IMAGE 3 : Joan Miro; Swallow, Love (1934) 13
IMAGE 4 : Joan Miro, the Birth of the World (1 925) 13
IMAGES : Man Ray, Rayog raphs (1926) 19
IMAGE 6 : Man Ray, Dora Maar (1936) 20
IMAGE 7 : Man Ray, j(j tty Jumps 20
IMAGES : Maurice Tabard, Room with Eye ( 1930) 21
IMAGE 9 : Maurice Tabard, Compos ition (1930) 21
IMAGE 10 : 10hansson E., The Architec t (2015) 22
IMAGE 11 : Johansson E. , Deep Cuts (2009) 22
IMAGE 12 : Johansson E., Nightma re Perspective (20 10) 23
IMAGE 13 : 10hansson E., Diamond in the Rough (20 13) 23
IMAGE 14 : Johansson E., Jmpact (20 16) 23
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IMAGE 15
IMAGE 16
IMAGE 17
IMAGE 18
IMAGE 19
IMAGE 20
IMAGE 21
IMAGE 22
IMAGE 23
IMAGE 24
IMAGE 25
IMAGE 26
IMAGE 27
IMAGE 28
IMA GE 29
IMAGE 30
IMAGE 31
: McKeJUley, Man and burn ing couch 24
: McKenney,Ghos tly portraits 25
: Johansson E., Cut Out (20 14) 27
: Waroquier J., The Weigh t of Time 27
: Paxton V., Miniature #2 28
: Sommeling A. , W ind 28
: Musselwhite H., Hansel and Gretel 28
: Musselwhi te H., Butterfly 29
: Musselwhite H., Owl 29
: Ki phuth A. , Tiny landscapes and creature in wooden boxes (20 15) 29
: Kiphuth A., Quiet (2015) 30
: Kiphuth A, The Meeting (2015) 30
: Close-up picture of an ear (The Listener) 42
: A person sitting on the floor (The Listener) 42
: A portrai t use in Inner Me 42
: A person sitti ng on a chair fo r Solitude 43
: Wooden floor 44
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IMAGE 32 : The Milky Way 44
IMAGE 33 : Astronaut 45
IMAGE 34 : Galaxy J 45
IMAGE 35 : City of New York 45
IMAGE 36 : A Desert Planet 46
IMAGE 37 : Galaxy 2 46
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LIST OF FIGURES
LIST PAGE
FIGURE 1 : Sketch of a person floats with balloon 38
FIGURE 2 : Sketch of a person in room (brain) 39
FIGURE 3 : Sketch of a person levitates in a room 39
FIGURE 4 : Sketch of the installation idea 39
FIGURES : Sketch of a girl and a book 40
FIGURE 6 : Sketch of an ear in a room (The Listener) 40
FIGURE 7 : Sketch of a girl pOI1rait (Inner Me) 40
FIGURES : Sketch ofa girl sitting on a planet (So lirude) 41
FIGURE 9 Solirude process 0 I 48
FIGURE 10 Soli rude process 02 48
FIGURE 11 Soli rude process 03 48
FIGURE 12 Solitude process 04 49
FIGURE 13 Solirude process 05 49
FIGURE 14 Soli rud e process 06 49
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FIGURE 15
FIGURE 16
FIGURE 17
FIGURE 18
FIGURE 19
FIGURE 20
FIGURE 21
FIGURE 22
FIGURE 23
FIGURE 24
FIGURE 25
FIGURE 26
FIGURE 27
FIGURE 28
FIGURE 29
FIGURE 30
FIGURE 31
Soli tude process 07 49
So litude process 08 50
Solitude process 09 50
Solitude process 10 50
Solitude process I I 50
Soli tude process 12 50
Solitude process 13 51
: Imler Me process 0 I 51
: Inner Me process 02 51
: Inner Me process 03 52
: Inner Me process 04 52
: Inner Me process 05 52-53
: Inner Me process 06 53
: Inner Me process 07 53
: Imler Me process 08 53
: The Listener process 01 54
: The Listener process 02 54
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FIGURE 32
FIGURE 33
FIGURE 34
FIGURE 35
FIGURE 36
FIGURE3?
FIGURE 38
FIGURE 39
FIGURE 40
F IGURE 41
F IGURE 42
: The Listener process 0 I 54
: The Listener process 02 55
: The Listener process 03 55
: The Listener process 04 55
: The Listener process 05 55
: The Listener process 06 56
: The Listener process 07 56
: Solitude fmal 57
: Inner me final 57
: The listener 58
: Final artwork 58
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CHAPTER 1
INTRODUCTION
1.0 Introduction
This study is to explore the application o f surreal photography to express the mind
of an introveI1. The fOCll S of this study is to understand more about Surrea lism in
representing the subconscious mind and its evo lution from painting to photography.
Based on these findings, an artwork is produce based on the understandiug of introvert
and surreal photography.
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1.1 Background Research
The combination of Surrealism and photography not only captures and create a
new form of att but it also conveys a deeper meaning about the unconsc ious mind of the
photographer or the artist. The understanding of how the unconsc ious mind works is to
understand the psychoanalyti c di stinction between secondary and primary process of
thinking. Secondary process is more toward reason, practicality, rat ionality, and logic .
This is th e mechanism of th e conscious mind . This process is taught while growing up in
the traditional forms of education along with the adaptation to the social worl d.
Meanwhile, focusing more on primary process thinking is when one is still inborn,
idiosyncratic, and more primal mode of experiencing the world , mostly ca tegori zed to the
unconscious as they grow into civilized adult beings. These processes continue to surface
in dreams. Freud (1900) considered this process as the ' royal road' to the unconscious
mind. The characteristic are primitive, entails emotions, defies reality, illogical , and reli es
on unusual associations between ideas and images, and it focuses on the experience of the
se lf or one's internal (Suler, 20 13).
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1.1.1 History of Photography
The history of photograph can be traced back to the early 18'h century, where the
invention of Obscura camera. Back in th e centwy, photography was made only for the
professionals and the rich but after George Eas tman started a company ca lled Kodak in the
1880s, photography was able to be used by public . Over time, this technology has also
evolved into somethi ng better and more advanced. With these advancements, the camera is
not only used to capture still images or videos but it can be used to crea te an artwork.
Photography can help to capture images that will retain memories that have built over the
years and through them the entire event and memories made can be remembered to every
single moment (Masoner, 20 16). Photography is the medium to represent an idea or a
concept. In art, detai l work and precision of a photograph can give the exact meaning that
the artist wa nts to present. Photography is thought to be the highest form of art because the
photographer needed to be a highly observant and an expeJ1ise in using photograph to
convey messages (Newha ll, 1988).
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1.1.2 Surrealism
Surrealism is the art of uniting the conscious and the lillconscious realms of experience
surreality, which the world of dream and fantasy would combine with the everyday nOlmal
world into an absolute reality. Sigmund Freud, the father of psychoanalysis wrote an articl e
called "The Interpretation of Dreams" in 1900 stated the theory on dreams and the
subconscious mind. His writing has a huge influence on Andre Breton, one of the leading
theorists of the Surrealism movement and the author of "Manifesto of Surrealism" in 1924.
Bretou (1924) stated that Surrealism is a representation of a complex reality of dream state
and the thought of one propose to express the subconscious mind. The Surrealist concept of
art is that the altwork is not basically perfect and self-contained work, but it is more to the
procedure and the ideas of creating the artwork itself (Leroy, 2006).
Pou lter (20 17) describe that Breton was the leader of the artistic movement attempted to
increase the mind 's potential by integrating th e separate states of dream and reality. The
surrealist aud his companiou are referring to Freud's work that wrote about free association,
dream ana lysis, and the unconscious so that they could discover new ways to liberate the
minds thoughts. They emphasized Surrealism is when the mind cou ld combine both rea l and
sun·eal inside a same frame, the elements not normall y found together to produce irrational
and amazing effects. Poulter also wrote that Breton includes the idea of the juxtapositions of
two or more or less distant realities in his manifesto. The more the relations between the
two juxtaposed realities is distant and true, the stronger the image will be and greater its
emotional po wer and poetic reality.
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1.1.3 Surrealism in Photography
One of the maj or revolutionary changes in the photography evo luti on was of the
introduction of Surrea lism in photography. At the early ages of photography, it was not
accepted as a form of art but reviewed as a copying effort. But Surreali sm in th e other hand
is the introduction of the "more than real" images to the art fonns .
Lombergar (2007) described that when Surrealism was introduced to photography, the art
criti cs never could imagine such a possibility. However, Man Ray, fa ther of surreal
photography, was able to change the belief with his artwork called Marquise Casili, 1922
(Image I), as it featured multiple eyes for the photography. Thus, it has proven that th ere
are chances for the possibility of surrealistic works.
Lombergar (2007) also stated that surrea list photographer in their early years mainly
perfo nned using different techniques to create the surreal effect. Examples are the use of
differential techniques of light and lenses, photomontage, multiple exposures, photogram,
and many more. It is interesting that Surrealism in photography has progressed so much
from its primitive stages. With new technology, the new generation photographers are
exposed with inunense opportunity to pOl1ray surreal photography even better.
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Image I : Man Ray, Maquise Casiti (1922). It tea lured multiple eyes for th e photography
and unintenti onal blur creale the suneal effect.
1.2 Research Problem
Prodger (2012) questions whether photography can be considered as an art. In the past
few decades, the idea of art photography is steadily been accepted to the ali society. The
problem for this resea rch is that most of the human population still sees photography as the
medium for self-entertairunent , to capture and record moments but not for the artistic
reason. Only tew express their arti stic values in photo graphy . Besides that, thi s study
focuses 0 11 the book writt en hy Cain (2012) about the myth of introvert that has been
circulating in th e society. The research tries to convey a message to th e audience not to
completely believe the myth of introverts. By this, the problems occ ur on the researcher
about how can surreal photography express the mind of introvert and debunking the myth
surrounding it. Thus, this research is expected to help for answering this research problems
and hypothesis.
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