Building on my recent research into structural and spatial thinking, freestanding structures, and anamorphic imagery, I have started to recognise how these ideas connect back to my ongoing investigations into facial blindness and fragmented portraiture. Rather than treating the drawing as a flat image, I am beginning to understand it as something spatial and unstable — something that can be physically disrupted, repositioned, and re-seen depending on where the viewer stands.

Anamorphic art disrupts the stability of vision. Rather than presenting a fixed image to be viewed front-on, anamorphic works rely on distortion, perspective, and movement. The image only resolves from a particular viewpoint, meaning the viewer's body becomes essential to the work itself. In contemporary art, this relationship between image, space, and bodily movement creates compelling possibilities when combined with freestanding structure. Rather than remaining confined wo

Pillars and freestanding structures occupy a unique position within contemporary art because they exist somewhere between sculpture, architecture, and display system. Unlike traditional sculptural forms that are often treated as self-contained objects, pillars frequently operate as supports for images, text, objects, or spatial experiences. They do not simply occupy space; they organise and divide it. Historically, pillars and columns have symbolised permanence, authority, an

Contemporary art has increasingly moved beyond the traditional relationship between artwork and wall. Rather than existing as isolated images to be viewed frontally, many contemporary works now operate spatially, asking the viewer to physically move through, around, or alongside them. This shift has altered not only how artworks are displayed but also how meaning can be produced. Structural and spatial approaches to art place emphasis on the relationship between object, body,

Reading Aims and Methods of Note-Taking , by Turkan Mehraj Ismailli, has prompted me to rethink what note-taking might mean within my artistic practice. Rather than understanding notes simply as preparatory material for an artwork, I am beginning to consider note-taking itself as a form of making—a live, cognitive, and material process that could be the artwork. The text frames note-taking as an active intellectual and embodied activity rather than a passive recording of info