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These techniques search the thoughts and concepts of living and battling depression.This page demonstrates that there is hope for people with depression; they just need to work for it and find a way to break through the barriers.
At the beginning she awakes to find blackened leaves falling from her bedroom ceiling, threatening to quietly overwhelm her.
She wanders down a street, overshadowed by a huge fish that floats above her.
It is common that ‘messages in a bottle’ are lost and never found.
Responders assume that she feels her thoughts and ideas are trapped inside and will not ever be discovered.
began an experimental narrative more than anything else: the idea of a book without a story.
I've always loved Chris Van Allsburg's classic picture book ‘The Mysteries of Harris Burdick’ (1984) which is a great example of word-picture enigmas, exhibiting partial fragments of unknown stories and leaving the reader to use their imagination.This was a fascinating project, and a welcome opportunity to work in collaboration with artists from very different disciplines, and see how they went about interpreting the book, and in turn how audiences responded to this.The ideas of the original book are very broad and I think point more to a method of expression – of ‘emotional worlds’ - rather than any very specific content, so it not only endures variable interpretations, it almost demands them.Originally I was planning to paint pictures about a range of emotions; fear, joy, sadness, amazement and so on.But the more I worked on this, the more I found the negative emotions - particularly feelings of loneliness and depression - were just much more interesting from both a personal and artistic point of view.The extended visual metaphor of the girl sitting in the bottle conveys the idea of her feelings trapped inside.The protagonist is shown sitting in the bottle which connects to the idea of a ‘message in a bottle’.Not that I’m an unhappy person, it’s just that these ideas seem to be utlimately more thought-provoking.Readers have occasionally asked me why my imagery is often 'dark', and I think it’s because of this.I'm more attracted to those things that aren't quite right, like the social and environmental injustice in The Rabbits, or the social apathy of The Lost Thing, or even ideas about self-destruction in The Viewer.I find such things artistically engaging, perhaps because they are unresolved, like a puzzle.