I have also analysed a range of different artistic or philosophical texts to deepen my understanding of the key idea of memory and other relevant themes.

Theories of nature and relations, abstraction in comics, memory, psychedelia and intuition, have all influenced my choice of pastel colours, shapes, mediums, subjective viewpoint and title, to illustrate the ‘inaccurate’ nature of memory - which functions as a catalyst for my creativity. The resulting works may result in various perceptions for observers - something I embrace.

The validity of human memories can be questioned, due to their ever-shifting representations: how we forget, misremember and alter what we recall, consciously or unconsciously. Viewers respond to the same artwork dissimilarly because of their unique memories and viewpoints. Still, they can also share similar ideas through the judicious choice of colours, textures or symbols which may provoke specific emotional reactions. Most importantly, I intended to propose that art and memory can be interrelated. Art often relies on the artist’s imagination and thoughts, and these do not exist without his/her past experience and an ability to recall.

Both my artistic experimentation and essay address this issue and it is evident that each individual’s memory is valid to him/herself. Psychologist Daniel Schacter’s theories of memory, and Chilean artist Robert Matta’s method of automatic drawing to reach alternative states of his mind, have led me to this conclusion. Therefore, my surreal storyboards and sketches in the studio were my process of producing outcomes that metamorphose depending on how one perceives them.

In my coloured publication, time flows linearly, and my memory fades or transforms with each moment. The white ink drawings on black paper are the spontaneous creation of my mind, invented out of my stored memories like a cosmic event. I believe it possible that you can share this too.