REVIEW: [The Graphic Art of Harry Potter] @ House of MinaLima, London

The Graphic Art of Harry Potter
3 June 2016 - 4 February 2017
House of MinaLima, 26 Greek Street, Soho, London, W1D 5DE

Last week I had some time to have a look at the pop-up exhibition in Soho, that features a wide range of props and original illustrations for the Harry Potter film series. Graphic designers Miraphora Mina and Eduardo Lima (whose names sound uncannily like they belong in said films) are the brains behind the wonderfully detailed and extensive works of art that are the printed medium in these films. From posters, newspapers, books, packaging and plenty more, this is a feast of the eyes for any Harry Potter fan. In fact, even if you aren't a Harry Potter fan, it would be difficult not to be impressed and delighted by the sheer amount of imagination and creativity that have gone into these props. Even more so when you remember that most of these props will have only been featured on screen for a few seconds, maybe less or not at all. It's an immersive sense of dedication that the two clearly project in these elaborate examples.

The exhibition isn't huge but there's something very charming about how modest the size of the venue is, crammed full to the brim with Harry Potter nostalgia and feels even more like an adventure into some place hidden and special. In a way the whole ambience of the pop-up is made to feel like a shop you may encounter on Diagon Alley in the wizarding world.

REVIEW: Tate Modern Extension (Switch House), London

I finally had some time this week to go and explore the new extension to the Tate Modern which opened a couple of weeks ago. The extension (dubbed 'Switch House') provides another ten floors worth of gallery space to the landmark contemporary gallery.

I have to say on approach, the new extension looks spectacular. It blends in surprisingly well with the existing venue but looks iconic and unique in its own right. It certainly will provide architecture and photography lovers with resourceful new inspiration.

I entered through the new extension and found myself pretty lost to begin with. I was a little disorientated as to where the new building started and where the old site met. But after a little consolidation and aimless wandering (mainly back and forth through the shiny new gift shop) I decided to explore my way up the Switch House one floor at a time.

If you're seeking actual artwork, there are three floors worth of new and old material. I have to admit, gallery-wise, the extension feels much smaller on the inside than it first appears on the outside once you've orientated yourself. As a frequent Tate visitor, I noticed that a notable portion of the artwork in the new galleries was work I'd seen from other branches of the Tate or from previous exhibitions. Despite this, the Switch House galleries are light, open and very inviting and host a different feel to the existing Tate galleries.

After exploring the art galleries, I was recommended to visit the top floor viewing level. This is probably one of the main attractions to the venue other than seeing the art, as a huge proportion of visitors were waiting to take lifts up to the tenth floor. Unfortunately the lifts are all rather small and don't seem to adequately accommodate the demand of visitors going up to the viewing level, leaving many like me braving ourselves to scale the ten flights of stairs instead (although granted, I had already conquered four out of the ten floors at this point). What I found curious on my way up was that the other six floors of the building were still very much empty. So keep this in mind if you're planning to visit. My guess is that the building is still very much a work in progress and they wanted to open as soon as possible. As I mentioned earlier, there were three floors of artwork and the ground floor hosts the gift shop and cafe.

So once I'd huffed and puffed my way up the tenth floor, the view up top is definitely worth the hike. The views across London are fantastic, and you're able to look straight across the Thames. It's also pleasantly not as crowded as you'd expect it to be judging by the amount of people taking lifts up.

All in all I am very excited at the prospect of this new extension and I think it will offer a huge potential of new opportunities. In it's current state, the building is certainly not yet finished or full to capacity but it's definitely worth a visit.

REVIEW: [ELCAF] East London Comic & Arts Festival @ Round Chapel, London

5th East London Comics & Arts Festival
10 - 12 June 2016
Round Chapel, London

Last weekend I went to an illustration and comics led arts festival. This event was set in Hackney, East London where a selection of independent designers and artists would be selling and promoting their work.

Unlike some of the other illustration fairs I've seen over the last year, this festival had a very intimate and low key feeling about it which I loved. It felt very easy to approach the people who had made the work and there was a real sense of community at the venue. Even though this festival was on a much smaller scale than others I've seen, it felt just as varied and popular.

One of my favourite parts of this fair was seeing the artists drawing on site. Some of them were there to sign their comic books with personalised illustrations, others were creating bespoke drawings for sale which was lovely to see.

I saw such a huge range of styles and merchandise on sale, it was difficult to choose what to come home with. Books, zines, prints, drawings, comics, cards, postcards, badges, ceramics - you name it, it was there! Armed with the long list of exhibitors, I will no doubt be trawling through them and checking out their work online for further purchases. I came home with two wonderful prints and a small drawing which was made at the fair, and the prices were super reasonable. Festivals and fairs like this are fantastic options if you're looking for amazing artwork and prints on a budget. And plus you feel good too in supporting all the emerging talent with their wonderful creations.

Isabel Greenberg (above) was very popular with visitors at the fair, signing her book 'The Encyclopedia of Early Earth' with charming personalised illustrations. Ben Newman (below) was also present, signing his children's book 'Professor Astro Cat's Atomic Adventure' which features some very colourful space-cats.

REVIEW: [Mona Hatoum/Performing for the Camera] @ Tate Modern

Mona Hatoum (4 May - 21 August 2016)
Performing for the Camera (18 February - 12 June 2016)
Tate Modern, London

I popped down to Tate Modern recently for the Mona Hatoum exhibition and whilst I was there, I also had a look around the photography and performance exhibition 'Performing for the Camera'.

Mona Hatoum has been one of my favourite artists since I first started taking art seriously at A Level. Her work commands your attention and at times has a very confrontational presence; it's unsettling, it's visceral and yet poetic too. I have seen a select few pieces of her work over the years, but I was really looking forward to seeing a whole exhibit devoted to her practice.

One of my personal highlights was the installation "Light Sentence" (as in prison sentences), as often Hatoum's work displays political and social undertones. In between a barricade of small cages stacked on top one another, a single light bulb swings in the centre. The projected light from the bulb creates an encompassing surrounding shadow cast around the entire room, transforming it into a 'prison-like' chamber. I think what really worked so well about this piece was the subtle movement of the shadows panning across the walls. The light bulb not only swings like a pendulum, but also moves slowly up and down and the consequent movement of the shadows on the wall makes you feel like you are moving - or swaying. It creates a sense of unsteadiness. The other obvious association I immediately made was feeling like I was in an interrogation room. We've all seen scenes like this in film, where a character wakes up in a dark room, a sinister bulb swings erratically and reveals the character's predicament under confinement or capture. There was something dreamy or illusive about the shadows creating an isolated cell, in comparison to the actual physical barricade in the middle of the room. It felt like being in the point of view of someone slightly hazy.

Another piece I really enjoyed for it's simplicity is '+ and -' (1994/2004). A circular container of sand has a rotating beam that simultaneously smooths and rakes the sand. This is described as a constant process of making and unmaking, a balance of two processes doing and undoing at the same time. I just found this to be really poetic but articulated in such a simple way.



As I mentioned I was at Tate Modern for the Mona Hatoum exhibition, but then I noticed the photography exhibition on and decided to take a look. I really enjoyed this exhibition too. It deconstructs performative acts for photography and allows us to see some of the outtakes or additional shots leading up an iconic image.

"Serious performance art, portraiture, or simply posing for a photograph? What does it mean to perform for the camera? The exhibition explores two forms, looking at how performance artists use photography and how photography in itself is a performance."

This exhibition featured some obvious names in the realm of performance and photography including Charles Ray, Yves Klein, Martin Parr, Erwin Wurm and Ai Wei Wei just to name a few. I really enjoyed this exhibition. I think that it offered a different perception of the artists involved - especially the process and technique to which they choose to use photography to capture an image or an artwork. Especially now where photography is such an accessible and convenient channel of documentation and creativity - it lends itself to some great possibilities.

PRACTICE: Spring is in Bloom

I've been trying to practice my drawing a lot more recently. So I've been doing some simple line drawings to practice getting form, shape and proportion right. I also do love using colour in my paintings, which is unusual because I hardly use colour in my installation work. I find using watercolours is a very easy way of utilising colour vividly, but I'm hoping to get a good set of inks to play with instead.

I really like traditional Chinese painting and I'm hoping that one day I'll be able to give it a go. But until then, I'm emanating the style a little with some brightly coloured peonies. Pretty much all I use when I draw is a good old Sharpie pen, and I've always enjoyed drawing with pen more than pencil.

REVIEW: [Pick Me Up] Graphic Arts Festival @ Somerset House

Pick Me Up Graphics Arts Festival
Embankment Galleries, Somerset House
21 April - 2 May 2016

Somerset House hosted the annual graphic arts festival 'Pick Me Up' which is currently in its seventh year running. It's a fantastic opportunity to showcase emerging and established artists, studios and collectives. Last year was the first time I came along to this festival, and I absolutely adored the experience. The Embankment galleries became a web of live workshops and stalls, selling anything from prints, zines, clothing and more. As well as that, you get to see the designers in action and watch the creative process, and possibly get something custom made. Because of how much I enjoyed myself last year, I had high hopes for the festival this time round.

The festival begins with a curated exhibit featuring a selection of upcoming artists, A couple of my favourites included Alice Bowsher with her simple but strong black ink drawings, and Aart-Jan Venema's colourful and detailed compositions. Alice Bowsher happened to be the illustrator in residence for the day, and was selling her paintings for £15 a piece.

INDUSTRY: An Overview of the MA Art & Science Course, Central Saint Martins

MA Art & Science
Central Saint Martins, University of the Arts London
Duration: 2 Years
http://www.artsciencecsm.com/

So when people ask me what I most recently studied, and I answer with "art and science", they either look understandably baffled, or vaguely impressed. The question I always get asked the most is: what's this course about? What exactly is "art and science"?

I enrolled on the art and science course in the 3rd year of it's fruition. The course had been developed within the MA fine art department by course leader Nathan Cohen. As a relatively new course, I think it's safe to say that the answer to the question was simply us. The students. The course at this point, didn't really have an identity as such. That identity was still very much open for interpretation and because of that, the course was great in some ways but lacking in others.

PRACTICE: Drawing from Nature

I've always been inspired by nature and it's beautiful forms. I collect all matter of seeds, dried flowers, pebbles, mineral rocks and other natural ephemera for inspiration. I have recently developed a huge love of succulents and cacti. A friend of mine also collected them, and often described them as "sculptural" because of their countless interesting shapes and textures. Now that I have started a collection of my own, I really understand what she meant. I am enamoured by how many varieties there are, and how they can influence my drawings.

Since being at art school, I became out of touch with drawing and painting regularly. I drew analytical diagrams and plans for my installation work as a logistical way of thinking and problem solving. Therefore I didn't realise how much I missed it. What I've noticed at art school is that simple skills such as drawing are not really taught anymore or encouraged. Which I understand because there are so many other contemporary methods of creating now. But I feel every creative individual can feel a sense of satisfaction in going back to the simple act of drawing. I really missed the tactility of putting pencil/pen to paper , and the immediacy of seeing something evolve. If there's anything I would like to do more of, it's draw.

INDUSTRY: [The Lab Project Residency] @ Kingsgate Workshops, London

The Lab Project, curated by Test Bed

Supported by Kingsgate Workshops & Camden Arts Centre

25 July - 20 August 2015

Artists: Vivienne Du, Rose Pickles and Yen-Ting Cho

http://thelabproject.tumblr.com/

https://www.facebook.com/thelabproject15

A couple months ago, I was invited to take part in a residency revolving around the themes of Multisensory Perception & Synesthesia. The residency promoted an experimental ethos that would allow the artists to come to a final conclusion through a series of experimental stimuli.

For my first ever residency, it went really well. It was certainly challenging at times, as putting up an exhibition will never appear to go smoothly, but I always learn a lot from every one I do. The team who curated the show from Camden Arts Centre too were fantastic, I felt really supported every step of the way, and they were very enthusiastic about my ideas.

REVIEW: [Richard Serra] @ Gagosian Gallery, London

Richard Serra
Gagosian Gallery, Britannia Street, London
11 October 2014 - 4 March 2015

The Gagosian Gallery, London recently exhibited a few select works by the renowned sculptor Richard Serra, perhaps most recognisable for his large scale steel installations. This exhibition was no different as the gallery featured the following works 'Backdoor Pipeline', 'Ramble', 'Dead Load' and 'London Cross'.

As is often the case with Serra's work, the sheer scale and mass of his sculptures dominate the space as you pass through it. The presence of these enormous forms have a breathtaking exchange that is only experienced face to face. It is only with such an interaction that you truly acknowledge and embody the physical grounding of the material and scale that Serra tends to work in.

Ramble (2014) by Richard Serra. Photograph by Mike Bruce

Ramble (2014) consists of a room filled with rows of oblong shaped forms that vary in size but are generally large enough to match the average height of a visitor or tower a few inches above. This immediately creates an interesting synergy between the viewer and Serra's forms, as we are made to create an instant relationship between us and this series of sculpture. The layout of these objects feels maze-like and one is compelled to meander their way through the plane of steel blocks. The distance between the blocks in some places is just wide enough to accommodate, once again emphasising the scale of the work in direct relation to the viewer. As well as appreciating the scale of each of these forms, I often felt a desire to touch them and truly appreciate their materiality and surface. There is obviously a fascination Serra has with steel and his repeated use of this material focuses the viewer's attention on just how this material functions and presents itself.

REVIEW: [Thinking with the Body] by Wayne McGregor @ The Wellcome Collection

Thinking with the Body by Wayne McGregor
The Wellcome Collection
19 September - 27 October 2013

This is my recent review I wrote for the online publishing site: http://intuition-online.co.uk/article.php?id=3416

A study of mind, movement and dance, 'Thinking with the body' was the most recent exhibition presented by the Wellcome Collection in the increasing emergence of collaborative art and science practice. In recent years, artists have become ever more interdisciplinary and multi-faceted practitioners in their own right; engaging with an array of experts, scientists and consultants alike to fuel the research invested in their artworks. In this exhibition Wayne McGregor investigates aspects of perception, sensation and physical movement in relation to cognitive and social sciences, demonstrated through the art of dance itself.

The exhibition certainly addressed some really intriguing ideas around the body as a tool and vessel of physical expression. Using dance as a case study, this spontaneous and inexplicable expressive form of behaviour allows the dancer to use their body as their chosen medium. In fact using the body as an artistic medium is not purely restricted to just dancers, performance artists have been doing the same thing for years. Whilst watching the interchange between both the dancers and choreographers, you feel very much like a voyeur; looking in on a unique form of language by those who possess an obvious enriched understanding and utility of the body as an instrument. It goes beyond ordinary gesture, its flexible, sometimes exaggerated, sometimes amazingly subtle, as if they own a completely different embedded vocabulary of movements they are able to appropriate at will. Just like any other type of artist, dancing explores the endless possibilities of the chosen medium and in this respect, the limits to which the body can be used to express both emotion and narrative. Dance is certainly not just a visually spectacular practice but an innate form of expression drawn from the emotive core. As with many art forms; what appears on the surface  is only half the story, the rather more interesting art lies in the cognitive and psychological intentions driving the resulting physical catharsis.

INDUSTRY: Art Internships

Since starting my fine art degree, I have been on three different art internships. All of these internships have varied from each other, not only in the tasks and roles I have been involved in but also in the nature of the actual organisations themselves.

The Cutting Room, Nottingham Playhouse, Nottingham

(3+ months)

The Cutting Room comprises two graduates from the NTU fine art degree course: Jennifer Ross and Clare Harris. One of the best ways of seeking out opportunities is to utilise the contacts and networks that already exist on your course and at your university. As recent graduates still based in Nottingham, they were offering internships to students particularly on our course. Not only did I benefit from being an intern in a working art organisation but I also gained valuable advice and mentorship from people who had already done what I had.

I did a huge variety of jobs whilst I was there but some of the highlights were looking through exhibition submissions and choosing artists for forthcoming exhibitions, filming and recording interviews for a private view showreel and designing the marketing material that eventually went to print.

The Way Forward (2012) Exhibition Flyer, designed by Vivienne Du

http://internship-thecuttingroom.blogspot.co.uk/

REVIEW: [Dalston House] by Leandro Erlich @ Barbican Centre, London

Dalston House by Leandro Erlich
Barbican Centre
26 June - 4 August 2013

I've always been a fan of interactive and participatory artworks, and London's latest instalment Dalston House was just the type of work I love going to see. Having read about Leandro Erlich's work before, I was intrigued to experience his manipulation of visual and spatial dimensions in the flesh.

What struck me immediately was its nonchalant and honest simplicity. The first thing you see is the huge and imposing mirror, and in effect that is all there is to this illusion: the mirror. However I found myself drawn to the metal scaffolding holding the mirror up. Erlich has purposely allowed the viewer to be able to see the exposed mechanism behind the illusion. Nothing is concealed, there are no smoke and mirrors to the work's production. Every person participating in this work knows more or less how it works, how the illusion transpires ─and still...the magic and curiosity is still very much there. If anything, the pleasure received from the work is even more so somehow when you realise how straightforward it is in its construction.

People are always fascinated by their reflections. Even now when you see someone walk down the street and they catch their reflection in a mirror unexpectedly, they look intrigued or surprised as if seeing themselves for the first time. Seeing one's self allows an unusual, out of body semblance; an awareness of one's body and its ordinary constructs and restrictions in real time and space. Dalston House enables the impossible ─but not in actual physicality, just in the reflected image. Yet this is enough to reverse our rational understanding of our bodies and its capabilities. Participants became acrobats, superheroes, people with gravity defying abilities and contortions. Ironically enough, most viewers were adamantly trying to recreate a realistic portrayal of gravity, dangling upside down for example was popular, or sitting a window ledge from a seeming twenty or so feet off the ground. People were trying to create fantastical scenarios but within the realms of believable physics, as if this makes the illusion even more seductively deceptive. Creating a sub-real reality from the unreal. You get how it works, you see how it works, but you still find yourself staring at your own reflection thinking "I'm dangling upside down from a window ledge." You may know you're lying on the ground but this feels irrelevant when your body becomes the best full scale puppet you've ever had to play with.

PRACTICE: Tactile in Texture

How do you define space?

Often I find this relentlessly perplexing. Space, to me is free, moving and fluctuating around us, it never holds any true form or dimension. I often experiment with the way in which space can be 'divided', how in which our perception of space can be manipulated through creating 'walls' within space.

What is a 'wall' and how can this represent solidness and physicality?

Because of this, I find myself drawn to materials that exist in a uncertain medium between opaqueness and transparency. There is always ambiguity, and I feel that my work should be an enquiry, a tool in which to allow people to question space in the same way. These tactile, moving, sensuous materials often allow me to play with this idea of the divide, of the barrier. Nothing is definite, nothing if finite or as simple as what you physically see. Is there such a thing as a barrier when space is constantly flowing around us. Is this actually a case of a somewhat mental barrier instead?

Reverse of Volume (2012) by Yasuaki Onishi

The Garden Document (2010) by Edith Maybin

Hero (2002) directed by Zhang YiMou

REFERENCE: A Brush with Space

Gregor Schneider

Walking in Contrapposto (1968) by Bruce Nauman

Walking in Contrapposto (1968) by Bruce Nauman

PRACTICE: A Study of Corridors

Anyone who knows me, will know that I am fascinated by corridors, both from an architectural perspective and from a psychological perspective (which is why I often find my favourite examples of corridor shots from film).

Corridors act as a transitional bridge between spaces, their function is to take us from one destination to the next. Very rarely does is a corridor constructed to be a destination in itself. This is why the corridor has often proved to be such a dynamic setting in film. It preludes to a sense of expectation, of something beyond and unknown. I like exploring the idea of the corridor as being the illusion of infinity, of a route that extends so far, we can no longer see its end.

Various Screenshots taken from Film

REVIEW: [Blackout] WEYA @ Nottingham Contemporary, Nottingham

As part of the World Event Young Artists Festival in Nottingham, the majority of art venues and galleries were getting involved in this huge event, with exclusive performances and showcases from a wide variety of artists. Nottingham Contemporary hosted the sensory experience of Blackout, described as "a rare opportunity to explore the potential of our minds. With sensory limitations placed on the artists and audience, cutting edge musicians play anonymously and are never revealed in the pitch black...leaving the crowd to personally explore the sensory interplay between their imagination and the music."

This sounded like a fantastic method of heightening senses, and producing an unusual platform to experience music and visual art. As with any type of artwork of this kind, there is always a trepidation in not knowing what to expect. The programme stated that the artist playing would also remain unknown and therefore there was no way of knowing what to prepare for, what may lie beyond the darkness.

When it came to actually entering the darkened space, ushered in one by one, the intensity of the dark is quite intimidating. I don't think anyone nearly expects darkness that is so pitch black that you literally cannot see your hand in front of your face. I realised that as soon as I entered the room and couldn't see, I was reaching out in front of me for someone, anyone. I felt comforted when I could feel my fingers brush across a complete stranger's back. There's an odd sense of reassurance. The expanse of black seemed so vast, and yet you feel trapped in a bubble, unable to reach anyone else, even though you can hear people around you. I think the most unnerving sensation throughout all of this is the sense of displacement. You cannot locate yourself in relation to anyone else or the space. You have no idea exactly how many people are sharing the space with you, and how close or far away they all are. It is rather disorientating. After a short period, as more and more viewers were entering, you could hear people sitting down, and I felt uneasy about what the appropriate behaviour was in this circumstance. I didn't know whether I was expected to sit, stand, walk, regardless that at this point I was much more comfortable standing still. I found that when I actually decided to sit down,  I felt a sense of relief. The ground seemed to give me a better sense of where I was, where I could sit and slowly move my arms around me. My biggest concern was whether people would bump or step into you unexpectedly, but surprisingly that didn't happen. Perhaps everyone was staying still.

REFERENCE: Traps and Manoeuvres

Often in my influences, film plays a big part in inspiring me in the use of space to create mood and express narrative. In the realm of film, anything is possible in terms of set design.

In this scene from Resident Evil (2002) not only does the space captivate me, but the way in which the characters move within the space. What really strikes me about this scene is how bright it is. Clean, light, nothing to hide. What often tends to happen in film, is that there is a common association between small spaces with tension and this often means dark, uncomfortable, and shadowed sets -making us fear what we can't see. In this instance, the corridor is anything but, it's stark. And it works in the film's favour. The starkness and sterile nature of the scene will make everything  that happens within it more pronounced. In most films, it's what we can't see, what we make for ourselves that is more terrifying. In a daring juxtaposition, it is challenging us to face what the scene is about to present with a candid reality. What is more terrifying is that they want us to see.

 

Resident Evil (2002) directed by Paul W.S. Anderson

One of the other great qualities about this scene is how it dictates the movement of the charcters trapped within it. As these lasers begin to cross through the length of the corridor, the characters have no choice but to evade as best they can to survive. It breaks the already small space into even smaller ones, adding to the claustrophobia and lack of escape that dooms the characters.

It just goes to show that there aren't any rules when using spaces to create a particular atmosphere, it is how you utilise what goes beyond just the space with imagination that make these scenes iconic.

REVIEW: [EXXOPOLIS] by Architects of Air @ Lakeside Arts Centre, Nottingham

EXXOPOLIS by Architects of Air
Lakeside Arts Centre, Nottingham

In early June, the Lakeside Arts Centre in Nottingham hosted a lunimarium installation featuring latticework, and luminescent seams which create colours of light against iridescent hues to create an sensory immersive experience.

"A lunamarium is a sculpture people enter to be moved to a sense of wonder at the beauty of light and colour..."

Seeing EXXOPOLIS from the outside reminded me of a children's bouncing castle, the inflated plastic and children-friendly 'bounciness'. The true extraordinary spectrum of colour was concealed by an exterior of grey so it was hard to say what lay beyond. All visitors are asked to take their shoes off beforehand, and I wasn't surprised to see that most of the visitors were families with young children.

The images of EXXOPOLIS do not do the actual experience justice. The saturation of colour from space to space is so vivid and almost blinding in some cases, that it is only after your intital encounter with it that you become comfortable with the colours around you. The space is like a cave, divided by large coves that are led by a series of smaller tunnels and passageways that interlink every space together. Each space contains a colour, from green to red to blues. What surprised me was the intensity of the colour in each space, especially where one moves from one space to the next, the difference in hue is quite hard to negotiate in sight. Due to the nature of the material and the way EXXOPOLIS is made, it gives you a seamless impression, an enveloping series of colour and light that seems to invade from all sides. In some cases you need a few moments to adjust to the intensity before you are able to marvel and wonder at the otherworldiness of your environment.

"It is a paradox that that such a stimulating environment can simultaneously be so calming. Many people find the lunimaria a place for rest or meditation."

REFERENCE: Confinement in Film

Confinement, enclosure and claustrophobia are all extremely common forms of fear and paranoia that most people can unanimously relate to in some way. The use of confined spaces in film is possibly the most frequently utilised method of creating fear, tension and anxiety. It is because many of us can relate to this predicament that they have such an effect on us, it starts very early on in childhood. Our exploration of spaces and the world only leads to more, we are unsure where these spaces and pathways take us. At the basis of all these emotions is our sense of curiosity and fear of the unknown and surprise. These all work together to emphasise the most basic of spatial phobias.

Alice in Wonderland (1999) directed by Nick Willing

Alice in Wonderland directed by Jan Svankmajor

Kill Bill Volume. 2 (2004) directed by Quentin Tarantino