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

I keep thinking back to the critique and the possibilities raised for future development. "The critique raised several possibilities for future development. Expanding the scale of the work, both physically and vertically, could intensify the bodily relationship between viewer and installation. There was also discussion around developing the architectural qualities further, potentially through the use of false walls or more immersive spatial structures. These suggestions reinf

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,