Overall Focus and Aims

Key Context

Cross-Cultural Integration

Nicknames(created by the author of OER) for the emotions (Lele, Yanyan, Gaga, Sangsang, Dudu) are based on their Chinese pronunciations. This approach acknowledges the significance of cultural diversity and language in shaping emotional expression.

Artist and Artwork Examples

 

1. Yayoi Kusama’s Infinity Mirrors: Encourages introspection and emotional immersion through repetitive patterns, akin to reflective drawing practices.

Long Description

Yayoi Kusama, Infinity Mirrored Room – Filled with the Brilliance of Life 2011/2017 Tate Presented by the artist, Ota Fine Arts and Victoria Miro 2015, accessioned 2019 © YAYOI KUSAMA

 

2. Miranda July’s Interactive Art: Explores vulnerability and human connection, aligning with the toolkit’s emphasis on personal expression (Czudaj 2016).

Long Description

Fondazione Prada presents Miranda July: New Society, the first solo museum exhibition of Miranda July’s work from March 7 to October 14, 2024 (press preview on March 6, 2024) at the Osservatorio, located at Galleria Vittorio Emanuele II in Milan.

Curated by Mia Locks, Miranda July: New Society spans three decades, from the early 1990s until today, including short film, performance, and installation works by American artist, filmmaker and writer Miranda July. The exhibition debuts a new work called F.A.M.I.L.Y. (Falling Apart Meanwhile I Love You), a multi-channel video installation featuring July’s yearlong collaboration with seven other performers via Instagram. The exhibition uses F.A.M.I.L.Y. as a jumping off point to consider related ideas from July’s other performative and collaborative works.

F.A.M.I.L.Y. (Falling Apart Meanwhile I Love You)

 

3. Mark Rothko’s Abstract Works: Uses color and form to evoke emotional depth, demonstrating how visual abstraction can capture complex feelings.

Long Description

Now applied in thin washes (often composed of both oil and egg-based media), Rothko’s color achieved a new luminosity. The artist’s technique appears simple, but on close examination is richly varied in its range of effects. At times, paint can be seen running upward across the surface; this is because Rothko often inverted a picture while working on it, sometimes changing the final orientation at a late stage.

No. 2 (No. 7 and No. 2) Mark Rothko Date: c.1951, 25 Aug, 2012 by yigruzeltil

 

1. Encourage Abstract Expression: Abstract, non-literal drawings allow for more flexibility in capturing the depth and uniqueness of emotions.

2. Release Judgments: Remind participants that the goal isn’t to create “perfect” art but to access and explore their feelings visually.

3. Value the Process Over the Outcome: According to expressive art therapy techniques, focusing on creative flow rather than the final product enhances emotional exploration (Malchiodi 2007, 57-59).

Malchiodi, Cathy A. The Art Therapy Sourcebook. New York: McGraw-Hill, 2007.

OER Structure

Step 1: Flexible Emotional Selection (5 mins)

Objective: Give participants the freedom to choose emotions they connect with most, making the process more personal and engaging.

Process:

Briefly describe each emotion and connect it with a simple prompt for reflection:

• Joy (Lele): Think of a moment of happiness and let that feeling fill your mind.

• Disgust (Yanyan): Recall a moment of aversion or discomfort.

• Embarrassment (Gaga): Recall a moment when you felt self-conscious.

• Sadness (Sangsang): Reflect on a time that brought a sense of longing or loss.

• Envy (Dudu): Think of a moment when you felt a desire for something you didn’t have.

The nicknames (Lele, Yanyan, Gaga, Sangsang, Dudu) were created by the author based on the Chinese pronunciation of the corresponding emotions:

Joy (快乐 – Lele)

Disgust (厌恶 – Yanyan)

Embarrassment (尴尬 – Gaga)

Sadness (伤伤 – Sangsang)

Envy (嫉妒 – Dudu)

These nicknames add a personal and cultural touch to the activity.

Rationale: This guided reflection primes participants to connect with a core emotion and activates their emotional memory, making each drawing more personally meaningful. This aligns with the James-Lange Theory’s emphasis on emotional responses as interpretations of physical experiences (James 1884, 193-196).

James, William. “What Is an Emotion?” 1884. In Readings in the History of Psychology, edited by W. Dennis, 290–303. New York: Appleton-Century-Crofts, 1948. https://doi.org/10.1037/11304-033.

Objective: Translate each selected emotion into a line drawing, capturing the spontaneous flow of feelings.

If choosing just one, encourage them to focus on its variations (e.g., joy from success vs. joy from connection).

Instructions for Each Emotion:

1. Choose Medium: Use paper and pencil, colored markers, or a drawing app like Procreate or Notes for flexibility.
2. Start Drawing
3. Lines and Shapes: Without lifting the pen, use lines, shapes, or textures that reflect each feeling.
4. Textures and Pressure: Adjust the thickness, saturation, or color of lines to convey intensity. For example, thick or dark lines can indicate strong feelings, while lighter strokes may suggest gentleness or subtlety.
5. Avoid Overthinking: Let the emotion guide your hand, drawing instinctively without stopping.

Example Tips for Each Emotion(It is not recommended to follow instructions):

• Joy: Circular or spiral lines, bright colors, flowing movements.

• Disgust: Sharp, angular lines, crosshatching, dark colors.

• Embarrassment: Wavy, uncertain lines, softer shades.

• Sadness: Long, downward strokes or faint lines, blue or cool colors.

• Envy: Jagged, competitive shapes, dark greens or intense colors.