Inspiration: a functional approach to creative practice.

4. Lists (icons, diagrams, graphs, figures)

List of icons used within the body text:

   = ‘see appendix’.

= ‘a DVD disc of the film is enclosed with the [printed] thesis’.

  = ‘the person was interviewed for this research [you can find the interview in the appendix]’.

List of diagrams:

Diagram 1: Illustration of de Bono’s Traditional thinking and Parallel thinking.

List of graphs:

Graph 1: ‘Action Graph’ – main artworks and other activities undertaken for this research.
Graph 2: Listening vs urge to create.
Graph 3: Abstract shapes vs colours.
Graph 4: Appreciation vs silence.

List of figures:

Figure 1: El Greco, The Opening of the Fifth Seal (1608–1614, oil, 225 × 193 cm.) New York, Metropolitan Museum.

Figure 2: J. M. W. Turner, Rain, Steam and Speed – The Great Western Railway (1844, oil on canvas.) London, National Gallery.

Figure 3: Piet Mondrian, The Grey Tree (1911, oil on canvas, 78.5 x 107.5 cm.) The Hague, Haags Gemeentemuseum.

Figure 4: Felice Varini, Between Heaven and Earth (2005, acrylic paint on buildings, street and sign post.)

Figure 5: Ad design for The Prince of Hampshire (2006).

Figure 6: Page snapshot from the official Royal Family website, www.royal.gov.uk (17 January 2008).

Figure 7: Picture of flowers taken in Portsmouth, and later used for the film Unfolding Hearts (2006), as seen in figure 6.

Figure 8: Still image from the film Unfolding Hearts (2006), based on picture seen in figure 5.

Figure 9: Gil Dekel at a poetry reading and graphic design presentation, Access Festival 2007, Southampton.

Figure 10: External influences of the artist (left), and internal influences (right).

Figure 11: William Blake, Sconfitta (1795, frontpiece illustration for Song of Los.).

Figure 12: Still image from the film Interview with authorial-Self (2007).

Figure 13: Still image from Gwen Stefani’s video clip What You Waiting For? (2004).

Figure 14: A Bauhaus style building as part of ‘White Tel-Aviv’ (1933). Architect: Yitzhak Rapaport. Image in public domain.

Figure 15: Illustration (by Gil Dekel) of Rodchenko’s 1921 Pure Red Colour, Pure Yellow Colour, and Pure Blue Colour (1921, oil on canvas, each panel, 62.5 x 52.5 cm.) Original work: Moscow, A. Rodchenko and V. Stepanova Archive.

Figure 16: Still image from the film Quantum Words (2006).

Figure 17: André Masson, Furious Suns (1925, pen and ink, 42 ×31 cm.) New York, Museum of Modern Art. © 2007 Artists Rights Society.

Figure 18: Sol LeWitt, Wall Drawing #1136 (2004, paint on wall surface, dimensions as installed.) San Francisco, Fraenkel Gallery.

Figure 19: Still image from the film Confessions of an Angel (2008).

Figure 20: The making of Explorers of the Heart in 2006/2007.

Figure 21: The making of Princess Louise (work in progress) in 2006.

Figure 22: Image from camera 1, filming the singing ‘Amen’ for film Quantum Words (2006).

Figure 23: Image from camera 2, documenting the work with camera 1, for film Quantum Words (2006).

Figure 24: Still image from the film Interdisciplinary Mud (2006).

Figure 25: Still image from the film Interdisciplinary Mud (2006).

Figure 26: Still image from the film Interdisciplinary Mud (2006).

Figure 27: Still image from the film Interdisciplinary Mud (2006).

Figure 28: Still image from the film Interdisciplinary Mud (2006).

Figure 29: Still image from the film The Prince of Hampshire (2006).

Figure 30: Production image from the film The Prince of Hampshire (2006).

Figure 31: Etching test for Prince Coin, for The Prince of Hampshire (2006).

Figure 32: Design of Prince Coin on the computer, for The Prince of Hampshire (2006).

Figure 33: Mint for making Prince Coin, for The Prince of Hampshire (2006).

Figure 34: Mint for making Prince Coin, for The Prince of Hampshire (2006) (image altered in Photoshop).

Figure 35: Wax engraving for making Prince Coin, for The Prince of Hampshire (2006).

Figure 36: Clay testing for making Prince Coin, for The Prince of Hampshire (2006).

Figure 37: Acid etching for making Prince Coin, for The Prince of Hampshire (2006).

Figure 38: Acid etching for making Prince Coin, for The Prince of Hampshire (2006).

Figure 39: Acid etching on cooper for making Prince Coin, for The Prince of Hampshire (2006).

Figure 40: Embossing on metal sheets for making Prince Coin, for The Prince of Hampshire (2006).

Figure 41: David Johnson, Trying to Imagine Not Being (2003, floodlight, post, emulsion paint, black wall painted so shadow disappeared, variable dimensions.).

Figure 42: David Johnson, Trying to Imagine Not Being (2003, floodlight, post, emulsion paint, black wall painted so shadow disappeared, variable dimensions.).

Figure 43: Still image from the film Whispers in the Dark (2006).

Figure 44: Still image from the film Whispers in the Dark (2006).

Figure 45: Still image from the film Whispers in the Dark (2006).

Figure 46: Still image from the film Whispers in the Dark (2006).

Figure 47: Still image from the film Whispers in the Dark (2006).

Figure 48: Still image from the film Whispers in the Dark (2006).

Figure 49: Bill Viola, Ocean Without a Shore (2007, video installation.)

Figure 50: Bill Viola, Ocean Without a Shore (2007, video installation.)

Figure 51: Michael Snow, Authorization (1969, black and white polaroid photographs, adhesive cloth tape, metal frame, mirror, 54.5 x 44.5 cm.) Ottawa: Canadian Museum of Contemporary Photography.

Figure 52: Kazimir Malevich, Black Square (1923, oil on Canvas.) St. Petersburg, State Russian Museum.

Figure 53: A Black Circle That is Going To Be (2008, electronic Flash animation on www.poeticmind.co.uk).

Figure 54: Felice Varini, Three Ellipses For Three Locks (2007, acrylic paint, seen from the vantage point).

Figure 55: Felice Varini, Three Ellipses For Three Locks (two images) (2007, acrylic paint, seen from outside the vantage point).

Figure 56: David Johnson, The Invention of Nothingness (2008, work in progress, floodlight on, emulsion paint.).

Figure 57: David Johnson, The Invention of Nothingness (2008, work in progress, floodlight off, emulsion paint.).

Figure 58: Katayoun Dowlatshahi, Drawing Fragments of Light I, II & III (2004, triptych, gelatine, blue & black pigment onto glass, 168 x76 cm each.).

Figure 59: Kazimir Malevich, Suprematist Composition: White on White (1918, oil on canvas, 79.4 x 79.4 cm.) New York, Museum of Modern Art. Image source: http://www.moma.org.

Figure 60: Roi Vaara, White Man (1983, street action) Helsinki, Finland. Photo: © Harri Larjosto.

Figure 61: Roi Vaara (right), Wet Paint Handshakes (2008, performance in Hayward Gallery, London, black tuxedo, white paint). Photo: © Naranja.

Figure 62: Piet Mondrian, Composition 10 (1939-1942). Private collection.

Figure 63: Still image from the film Explorers of the Heart (2007).

Figure 64: Henri Matisse, Luxe, Calme et Volupté (1904, oil.) Paris: Musée National d’Art Moderne.

Figure 65: Felice Varini, Terrace No. 2 (1988, Acrylic paint on urban landscape.) Villa Arson, Nice, France.

Figure 66: Anish Kapoor, As If To Celebrate I Discovered a Mountain Red Flowers (1981, wood, cement, polystyrene, pigment, 107 x 305 x 305 cm.)

Figure 67: Still image from the film Unfolding Hearts (2006).

Figure 68: The seven Chakras.

Figure 69: Gilbert & George, Planed (2007, electronic image). Work released to the public domain by the artists through the BBC and Guardian websites, May 2007.

Figure 70: Melanie Chan, Rose 2 (detail) (2007, watercolours on paper, 21 x 42cm.).

Figure 71: High contrast image (top) and low contrast (bottom). Image of Henri Moore’s Reclining Figure (1951).

Figure 72: The Other Side of Words (2007, print on transparent stripes).

Figure 73: The Other Side of Words (2007, print on transparent stripes).

Figure 74: Naum Gabo, Spheric Theme: Translucent Variation (c.1937, this version executed 1951, perspex, diameter 57.3 cm.) New York, Solomon R. Guggenheim Museum.

Figure 75: Katayoun Dowlatshahi, Drawing Fragments of Light I, II & III (2004, triptych, gelatine, blue & black pigment onto glass, 168 x 76 cm each.).

Figure 76: Recreation of First Public Demonstration of Auto-Destructive Art 1960, remade 2004.

Figure 77: Still image from the film Unfolding Hearts (2006).

Figure 78: Production still from the film What is Love? (2007).

Figure 79: Production still from the film What is Love? (2007).

Figure 80: Production still from the film What is Love? (2007).

Figure 81: Production still from the film What is Love? (2007).

Figure 82: Still Image from the film What is Love Toronto? (2008).

Figure 83: Still from the film What is Love? (2007).

Figure 84: Still from What is Love? (2007).

Figure 85: Still from What is Love? (2007).

Figure 86: Robert Morris, Box With The Sound of Its Own Making (1961, walnut box, speaker, tape recording of the sound of making the box.)

Figure 87: An image from Petals of Trust (2007, photography, poetry, graphic design, A3 poster).

Figure 88: Still image from A Fallen Angel (2008).

Figure 89: Still image from A Fallen Angel (2008).

Figure 90: Installation Waterised Words (2007, water, kitchen bowls, printed text, pebble.).

Figure 91: Installation Waterised Words (2007, water, kitchen bowls, printed text, pebble.).

Figure 92: Installation Waterised Words (2007, water, kitchen bowls, printed text, pebble.).

Figure 93: Installation Waterised Words (2007, water, kitchen bowls, printed text, pebble.).

Figure 94: Installation Waterised Words (2007, water, kitchen bowls, printed text, pebble.).

Figure 95: Installation Waterised Words (2007, water, kitchen bowls, printed text, pebble.).

Figure 96: Anish Kapoor, Marsyas (2002, installation.) London, Tate Modern.

Figure 97: Anish Kapoor, Marsyas (2002, installation.) London, Tate Modern.

Figure 98: Anish Kapoor, Marsyas (2002, installation.) London, Tate Modern.

Figure 99: Anish Kapoor, Marsyas (2002, installation.) London, Tate Modern.

Figure 100: Still image from the film Quantum Words (2006).

Figure 101: Still image from the film Unfolding Hearts (2006).

Figure 102: Still image from the film Unfolding Hearts (2006).

Figure 103: Image from participatory art workshop (still image from film The Collective Hearts, 2008.).

Figure 104: Image from participatory art workshop (still image from film The Collective Hearts, 2008.).

Figure 105: Image from participatory art workshop (still image from film The Collective Hearts, 2008.).

Figure 106: Image from participatory art workshop (still image from the film The Collective Hearts, 2008.).

Figure 107: Image from participatory art workshop (still image from the film The Collective Hearts (2008.).

Figure 108: Image from participatory art workshop (still image from the film The Collective Hearts, 2008.).

Figure 109: Image from participatory art workshop (still image from the film The Collective Hearts, 2008.).

Figure 110: Image from participatory art workshop (still image from film The Collective Hearts, 2008.).

Figure 111: Image from participatory art workshop (still image from film The Collective Hearts, 2008.).

Figure 112: Image from participatory art workshop (still image from film The Collective Hearts, 2008.).

Figure 113: A drawing made by a participant in participatory art workshop.

Figure 114: A drawing made by a participant in participatory art workshop.

Figure 115: A drawing made by a participant in participatory art workshop.

Figure 116: A drawing made by a participant in participatory art workshop.

Figure 117: A drawing made by a participant in participatory art workshop.

Figure 118: A drawing made by a participant in participatory art workshop.