BCA Supervisor





Project A migrants journey

Avisual explanation of emotional and psychological aspects ofmigrantion


A migrants journey is a visualexplanation that navigates the complex array of experiencesassociated to migration. This project will consider the author’spictorial journey through sensation and extremely emotional responseto different aspects in life. This life presents good times and badones at the same time. The only differentiator is the perception andapproach to such issues. As a migrant, the likelihood of losingconfidence and moral drive in life is very high. Nevertheless, thelove for visual arts has turned out those dark moments intoopportunity. Painting will be embraced for the expressive capacity tocapture mood, emotion and tone.

This project will be critical increating a time-capsule of migrants, portraying how migrants looklike in some moments of their life. Also, this project will functionas an event where people gets flattered to know what happens insituations when one is alone, feeling humiliated, yet can dosomething worthwhile. This is always intriguing. I managed to createthree individual projects already, hence well prepared to organizeand negotiate in any event or show.


The current project will usephotoshop etching plates, paint, woodcuts, impasto for texture, glueand a mixed range of blending colours. The backgorund will be paintedto rehash the plates and photoshop on top so as to give the paintinga new dimension and give a second line of work. This implies that theproject will be more than just the normal photoshop.

Historically, painting has beenknown to span across all cultures and represents a continuous andperiodically disrupted cultures fron antiquity. This presents anongoing channel of creativity. Recent surge if interest in thenonphotorealistic rendering characterises the fascination withdistinctive artistic styles.

Printmakingentails making artwork by printing, mostly on a paper (Leavy 2012, p.6). The process entails creation of prints with an element oforiginality, instead of reproducing the photographic painting. Withexception of monotying, the printing process produces several copies,normally referred to as print. Each print that is produced isconsidered as original rather than a ‘copy’. This results sinceeach print is unique because of the variables that are intrinsic tothe process of printmaking. Also, the print imagery cannot beconsidered as a reproduction of another work, rather, the image isconsidered special designed from scratch to be done in a specificprintmaking technique.

A print can be known byimpression. Printmaking is preferred because of the ability to conveymultiple impressions as well as the unique qualities rendered by eachof the print making process.


Migration is amongst the maintopics that have been of great interest to me. I can easily identifywith all migrants in their guest to settle in new places and theagony of living ones own people. It is undoubtedly right that somethings never leave while some vanish. Despite the hardships involved,I can confidently say that my position as a migrant has played amajor role to the lover of prints I am today.

The process of making art can beconsidered as a continuous process of learning experience (Leavy2012, p. 7). My journer asa painter and printmaker has always been fascinating, especiallybecause of the ise of combined techniques and mediums. Theopportunity allows an opportunity to transcend and even reverse theconventions of the visual languages. In the world of today, artistsgreatly desire to embrace new technologies in combination with themore traditional art methods.

Thecurrent works can be compared with the works of Jacob Lawrence whoused colored tempera paint in depicting the era of immigration whenfamilies slept in trains with luggage and some died during theimmigration process. Similalry, this project will demostrate theplight of migrants using paintings, mainly to depict my story as anmigrant and the importance of art work in presenting the challengesexperienced (Jacob 1969,p. 245).

Thephoto etching techniques proposed in this project bear a directinfluence from the works of Wilhelm Leibl when he photo etched twopeasants. Thisaffirms the my use of etching as opposed to engraving. For instance,unlike engraving where lines may swell and taper, the etched linenormally have uniform width, achieved by increasing the number oflines (Koehler 1880, p.477).

There has been new techniquesthat keep evolving time and again. Traditionally, my main dutyinvolved printing on films as well as making multiple exposures indarkrooms through sandwtching of the negatives in slide holders. Mydiscovery of photoshop significantly influenced my choice of colors.

In the world of today, creationof images depicts the possibility of creating them in an indefiniteway, which is the ultimate freedom. Nevertheless, there is great needto use our hands and eyes wit different surfaces, tools and scales.Our abilities are limitless.

Amongthe main interesting things about the project is the unstatedpurposes of the images. The unspoken objective of this project willbe the focus on invisibility of race and class in Australia.

Since I am an observationalprintmaker, the print work in this project will bear a great likenessto what I am depicting. In this way, the racial inclinations andlanguage barriers can gradually dawn on people, even as they enjoyaesthetic values of my work.


  1. Photo shop etching plates

  2. Woodcuts

  3. Paint

  4. Glue

  5. Impasto for texture

  6. Various Colours


The first step will involvepainting the background so that to rehash the plates and the top ofthe photo shop. This will ensure that the painting is given a wholenew dimension and to give it a second line of work.




Approval of questionnaire

First one week

Preparation of materials

The second week

Preparation of design

Third week

Meeting with the supervisors

End of third week

Actual work

Eight weeks


One week after the finishing the actual work

Critiques and making any modifications

This will take place during the same week with the presentation

Final presentation

Will take 1 day as scheduled by the panellists

Submission of Final Report

After approval by the panellists.


Koehler, S. R. (1880). WilhelmLeibl. The American ArtReview 1 (11), pp.477.

Jacob, L. (1969). The BlackArtist in America: A Symposium. TheMetropolitan Museum of Art Bulletin27 (5), pp. 245.

Leavy, P. (2012). Introduction toVisual Arts Research Special Issue on A/r/tography. VisualArts Research 38 (2),pp. 6-10.