[LAUIL601] Visiting Lecturer: Catrin Morgan

• Mathematical, architectural, illustration. MA and PhD.
• Constraint. How became important to my work.
• Book with murder studies. Non-fiction. Passport with murder stories hidden within passport. Butterfly identification sheet and ordnance survey.
• Met with the French thinkers who thought mathematically
• Life users manual
• Using maths to underpin illustration. Enjoys diagrammatic illustration, scientific structures and systems.
• Integrating the systems of the French thinkers and expanding system of maths and systems to generate creativity. 
• In Our Times podcasts to look at an idea and brief introduction
• Prime numbers. Started to produce imagery, create artworks to generate with prime numbers. Aerial view of the kitchen diagram. One, five, 11, 17. Prime number of elements in the composition.
• A prime number is something that is divisible by one and itself. 2 x 3 are the building blocks of making six which isn't a prime number two and three are. This fascinated me!
• Prime numbers can be found in nature. Primary Cicada emerges every seven years to avoid their predators.
• Anti-symmetry. Wonky, growing composition.
• Primes can keep going on forever, as can I work. It can go on beyond my lifetime.
• Ilipeaun texts. 
• Floor plans @ Bletchley Park. Listening to morse code. Modern computing is inspired by what happened at Bletchley.
• I've worked with a programmer to generate artwork of the floorplans into a book. Constraints into an algorithm.
• Experiential growth.
• Recombination numbers go back very fast. Systems in generating work. Morse code experiments.
• Style – exercises in style. Book. Re-writes it as a sonnet. Haiku. 
• Authenticity in documenting artwork. Truthfulness. Rewrote our conversation using different constraints. Entirely fictionalised version of the conversation.
• The second version used fictional characters as if they were real people. Outtakes are versions. Fill in the holes from memory.
• The final version was the truth.
• Creating a typeface. Based on memories. Disintegrating. This went from legible, somewhat legible to not legible fonts at all.
• Making exercises in style. Stylistic choice changing context and content.
• Final project – less obvious constraints. Cassiopeia. Collective of artists. Collection of crowd funded events and printed matter. Publications.
• How to design printed matter? I was stumped. I looked to the National Gallery at Saint Jerome.
• Support structures. Architecture in spaces of care. Books can be spaces of care.
• Isomorphic project using 45° angle to be painted in paired black renderings. 3-D prints.
• Exhibition furniture. Generating designs. Built them for exhibitions. Structures create book face structures. We have different outputs but with coherency.
• I now live and work in New York as I loved it.
• I made a dummy book to submit to the women's studio workshop. Ceramics book arts. Apply for residency. The dummies changed and developed. 12 weeks to produce 50 bucks. Book aunts residency. Intense but amazing.
• Final book I made. Archival. Production is constraint. Ran into many problems in production. And bound. Elements of central room. In a striation functioning as critical thinking. Deconstructions and reconstructions syndrome and diagrams of spaces. Screenprinted.
• Dust and bodies in space. Inversions and negative space. Images and words combined. Recreate and re-combined.
• Collaborated. Collaboration.
• Populated with humans. Saint Jerome in an office space with deranged thoughts. Print run of 100 (even though 50 were needed) because there will be mistakes.
• I want my mathematics. Truly a constraint when recreating copies due to human error.
• Book as an object as well as a container for information.. I'll print some mistakes. Remade these error images. All have errors in the heart.
• Jerome study. Every time the exchanged, a new dialogue box appeared in the work.
• A book that wraps around itself. W book – two pamphlets with inside and outside spaces.
• Inside and outside spaces – living in a caravan inspired this. Nature of making intrusions. Jerome caravan mash-ups.
• More recent work on constraints.
• The end of the Ilipeau (french thinkers). Talks about how male and white they are, objectifying women. Lack of female members.
• Being a woman is in and of its self a constraint
• The fight that some people have to show their work.
• Women constraining that eating and using diets – very mathematical.
• Rule making has been part of my practice. My anxiety to cope. Positive and negative aspects.
• More broadly I'm interested in the constraints that we choose and the constraints that are already set for us.
• Women constraining himself through calorie counting. Doesn't interest the Ilipieau is it seen as a woman's thing.
• Art Poetry – creative writing graphic design Mashup. Constraints within that.
• Long projects. Generates its own momentum. Presidencies. Publications. Things I found 20 years ago now, are things that are still important to me today.
• I like to use constraints in my work through tools using different software is and different papers.
• Art therapy classes at the school. Exercises.
• Open mode drawing as structure. 
• I can foster these exercises too!

Reflection of today's visiting lecturer: 

I really enjoyed listening to Catrin talk today and really found her very inspiring. She has a very strong work ethic, with a very academic and mathematical angle underpinning her practice. While our systems and methods of generating work are different, I identify with her need to keep going with a long time spanning project overarching her practice as I have found that the more I investigate art therapy, the more I want to find out and keep at it - long after this module is done.

She mentioned something very interesting about there being art therapy classes at the school she works at and I would like to send her some questions via email about this to find out if art therapy has helped her own self and her own practice, and to find out what the art therapy classes entail. This could be very useful for my research!

[LAUIL601] Visiting Lecturer: Anthony Ellis

Visiting Lecturer: Anthony Ellis

• This lecture is an essay that wasn't published on street literature.
• A Victorian term – fly postering, shop signage. Anything on the streets. Interested me and wanted to develop it.

First Section

• manifesto from 1957 or 1960 from Marxist thinkers. Thinking of the future and how people will have nothing to do but be an artist.
• Le society du spectacle - How representation of commodity had taken over. Money is one of the biggest forms of mass media. The Queen and other historical figures. Money controlling us.
• You can drift through city. Modernist. You can wonder. Photographing shop signs. Walked along way. Got up at dawn and got the tube to travel every road of London. You can go anywhere at 5:30 am and no one will bother you.
• Methodologies. Research method. Cultural geography. Standing while talking. Putting up structures and networking. People. No distractions.

Second chapter

• video clip. Secret life of Walter Mitty. Short story. He is an editor of a publisher. He isn't happy with his life and something setting him off to fantasise. They conform to the literary. Commander, soldier, doctor, pirate.
• Particular scene that stood out to me. He is driving through the city and sees a billboard. He then has a fantasy about saving a ship and being the hero.
• 1880s Punch magazine. Able to find it in university. Linguistic artwork. Imagination weaving its way through the city through advertising. Language and the city street. Talks about how arbitrary the delightful sociality. The London Street 1835. Painting but he hardly did anything else so it's hard to find.
• Kid stealing a handkerchief, but there is a wall of posters. Colliding language. Chaos. Reminded me of the web.
• Photo of a road in Liverpool. All the roots are named after literary greats from Britain. Shakespeare, Kelly, Elliott. Streets, closes, courts.
• Opening scene to a movie. Announcer reading out song requests, then cuts to the person who requested it. Shows the difference in scale. Contrasts in lives. Seeing the streets and people through mediation. 
• Radio rentals van. Billy having fantasies about cinematic genre.

Third Chapter

• Literariness and the city in a direct way. Last year went to Liverpool and took photos. General structure remains. Swelling here, shrinking there.
• Photos of shop signs matched with literary quotes. Starbucks shop – Starbuck quote. Naked lunch shop – Naked Lunch quote. Hope & Anchor shop – hope quote.

Chapter Four

• Appendix to project / or latest stop along the way. Reading. Literariness in the city. Idea of reading in Reading. Reading train station.
• Viking term distorted through time period.
• Went down in the summer to document "general views." could be stock footage. 
• Weird vibe to Reading. Reading Central library. Word play. Ridiculous.
• Kate Middleton's favourite pub is in Reading. The Reading Lion. New station in Reading. Street names. Photographing street signs of how reading is suspended.
• End of the essay. Essay based around Walter Mitty.
• The literary coming towards Mitty through the advertisement. Enter the advertisement. Delusional world around the self. Fools' paradise of capitalism. Mind triggered by signs.
• Instagram - Ayre Press
• Beat Poetry
• Synthesising
•  Do you start with theory or practice? I start with theory. Literary theorists. Structuralism and post structuralism. I've also enjoyed going for a walk and documenting too. Both a mix. Different formats.
• Always enjoyed reading but also being practical and getting out a Camera. Enjoy structuralism books and literary theory is that inspire me. "This is not a pipe."
• Hans Arp, Kurt Schwitters part of the Dada Zurich group.
• Ian Sinclair and psycho geography to navigate city.
• London orbital Road M25
• Understanding city through rhythm.

Reflections on Visiting Lecturer:

While I'm not a fan of literary theory or psycho geography in the same way that Anthony Ellis is, his sheer enthusiasm and meticulousness for these subjects cannot be denied and he expertly synthesised multiple facets together across various mediums that initially didn't relate. He proficiently stringed multiple correlating mediums together in a compelling way which has inspired me greatly to do the same with my own research.

[LAUIL601] Primary Research: Creative Conversations with Consumer Comms Webinar - What If We Made Art Just For Us?

• Showcase ideas. Creative chitchat.
• Frasier from together agency
• Freya from consumer comms
• We can work with them at any time
• Will be three speakers tonight the first is Marcus from Sheffield
• He's done clothing collabs T-shirts prints merch
• Some of the things he has worked on both the clients and himself
• Wants to create an aesthetic and visual language he is interested in.Visual style makes him enjoy it doesn't see it as a job if he enjoys it.
• He is interested in graffiti and street arts. It's accessible. Doesn't need anyone to take you anywhere. Don't need much equipment.Become part of a scene and community.
• Overtime become more focused on character based form and work
• Things developed and patterns started to emerge in the work
• He started to make rules for himself and constraints what can he do and not? Black lines simple clear applying graffiti and architectural knowledge
• You have to be more creative when there are constraints
• I was recently commissioned and painted over an original commission of mine I had already done before, which was crazy! The human form series, part of the human body, taking reference from something else. The black lines were abstract and could be a saw or a shoulder.
• In lockdown and lost a number of commissions so started to just post online. I could then get something out of it by putting it on a T-shirt prints and engaging online.
• I do digital work as well. Play your way campaign
• Through working in art I have met people from different classes and countries. I am from a working class background.
• I've done work on social media and on Instagram that were sent to influencrs and I've done illustration on rackets that were donated
• Back to Human Form, I started to put patterns on people in lockdown as a way to experiment . I reached out to a photographer who was from LA using a model from America's next top model which made the front cover of a Canadian magazine.
• You can definitely make a living and a career from art and from doing what you enjoy if you have that style and that drive. You just need to put yourself out there online

 • Second speaker of the night Harry, artist, performer, theatre. He opens up with you need help!

• Writes comedy theatre. Leeds International festival.
• Ended up on sky one doing a pub quiz for Russell Howard and his mum
• Went to uni to train as a dancer. That ship sailed and he didn't enjoy it. For the last 15 years he's been working for agencies and been made redundant last year as the business went under.
• Five years previous working on my site hustle. Had so much lined up. Fringe Festival but nothing came to fruition
• How are you doing this for? When making art, are you doing this for brainy? Beyond the client, beyond money?
• I had a meltdown because I was doing things I thought I should be doing. I chased money, job titles and I got them. But I was undernourished. I was doing it for my dad. Being successful for his memory. What I wanted to do was entirely different. I had internalised this story. Have some criticism about what you're doing and who you're doing it for
• All you have is time. Trying to find the energy and time is exhausting. Having an agency background is fast paced. Doing workshops, rehearsing for shows it's unsustainable. Art is for me and I had to address this
• I went part time and the other time is now for creating. Time is now mine. Your life is your own. Figure out how you do this
• Pleasure yourself. Make stuff you love. That you want to see, to be a part of. Think about you and what you love
• There is a real authenticity to making work that you love and people feed off it
• Making stuff for ourselves is important. Don't let people tell you how to skin a cat
• Going to dance school took the joy out of creating for me. Just like there's more than one way to skin a cat, there's more than one way to be an artist. You don't have to go to school to be an artist. There is real freedom in that. It's hard work but there's a real joy in doing it. You don't have to go to RADA or the RCA
• Be patient with yourself. I'm not young. I'm impatient and want things to happen straight away. Things take time and come to you when you deserve them. Only in the past six weeks did something make sense to me that I've been working on for the past four years. Patience is a virtue.
• Nobody cares. No one cares about your failures like you do. Everyone is dealing with their own shit
• Just make stuff. Experiment, piss about. Have fun. It's a very liberating thing. 
• Same with collaboration. One person I approached someone I admire I realised I put this person in an action on of being very untouchable he is just a normal person and I made it into something it wasn't. 
• Just beat it. There's a bit of a stigma about being an artist. Just stepping into the room is very powerful on the risk and the benefits we are just artists. It doesn't matter about the materials you use just be artists and creatively express yourself and be free.

Third speaker: Eve Warren - Leeds-Based Designer 

• Venn Diagram: self expression overlapping with paid work
• Mum is a ceramicist, dad is a graphic designer
• Crazy and passionate person from a young age
• Mike Perry is a huge inspiration
• Went to LCA. Robot food, commercially branded agency, encouraged to be expressive. Talented team of people
• Outside of work, I really make work for myself. I'm always making work for someone else.
• Everyone is expected to have a brand, a YouTube, we are bombarded with polished imagery
• We always want to share to Instagram
• We don't need to live and breathe what we do
• It's important to have side projects for example mine is a local women's football club I'm interested in left-wing politics and designed some shirts that went down well for both
• I designed football scarves with political imagery
• Strive to have a side project outside of what you do
• I love branding and packaging
• Art direction, packaging for merchandise
• Having a site project help me a lot even though it's not what I do mainly
• The further scheme helped me through lockdown. Quickfire projects. And I was people to play. Kitschy illustration. I have since designed a pizza box in Oakwood
• You don't know what work and opportunities can come off what you do
• Sign up for mailing list

Reflection:

I really enjoyed this Webinar with Consumer Comms and have followed them on both Instagram and Facebook incase they do anything else. The subject of creating art for ourselves greatly interests me is that is essentially what my practice revolves around (relating to my 601 project of creating art to benefit my mental health) and, indeed,  all of our practices should revolve around this. We should be creating what we want. We shouldn't be creating art for someone else and that is my main takeaway from this webinar as we will become unfulfilled, stressed and greatly unhappy leading to mental health problems. 

[LAUIL601] Project Proposal and Tutorial with Amy

• Art Therapy: How being creative can be beneficial to your mental health

• I'm still in the early stages of identifying an argument or question and one will become apparent the more that I research

• I have identified a few methodologies of research to start from

• I have started a few practical responses

• Amy agrees that I can begin researching and writing as soon as possible to get the project off the ground

[LAUIL601] Visiting Lecturer: Peony Gent

• Document how you're feeling in the situations you're in. Make poems.
• My Illustrations can be described as sketchy, loose quality. Authentic.
• I am currently in residency at the house of illustration
• I describe myself as an illustrator, artist, poet living in London
• I have a varied practice
• I always felt embarrassed that I never focused on one thing but now it works in my favour
• I focus on human nature and mundane moments
• Your work doesn't have to be in one medium to be cohesive
• I am the current illustrator in residence at the house of illustration
• I studied at Edinburgh arts and I'm at the RCA for an MA
• Observation and the art of looking
• Sketchbooks, no pressure place, trying out different things. People in the street. Experiment with colour in sketchbook
• I enjoy writing in my sketchbook and poetry
• You don't have to go somewhere to bring place to observational drawings. Court drawings. Every day situations. Life drawings. Ignore style and ignore staticnesss.
• Not caring about my style let me create something organic
• I set rules for myself
• Comics as catharsis
• My first comic was called Earth about a family friends who had passed away.
• I felt like I had something to say. Proud to share with others.
• I made lots of my own self published books. I've made 20 now.
• I made a comic last year about someone else who had passed away comprised of a much looser drawings
• It always starts with the writing. I have a basic plan. Draw over and again. The energy is in the lines
•  I scan the iterations and photoshop the best ones
• Anders Nilsen, Existential Dreads. That process of battling and figuring things out. Conversations with himself and his mental health
• A bad tutorial at the RCA prompted me to make a comic
• "Poetry transforms what can be seen or sensed into what can not be forgotten"
• The act of writing or drawing. Transforming art and poetry
• Taking the drawing, delicacy of line
• I like to record notes on my phone
• Combining text and image. Words reflect the images
• Changing the form of a book
• Having something that transforms into something else
• Risograph process. Each pack is unique
• Setsuka - duo make interesting books that are experimental
• Aidan Koch. Vague narrative in her work. Can feel an emotion is happening in the abstracted drawing

The author as a - reporter, record keeper, storyteller, voyeur 

• Telling the truth. It is the responsibility of reflection. Being aware of how other people are depicted.
• Impactful conversation. Emotional conversation
• I remember a conversation with a gentleman on a bench in London and I write down everything. I made it into a book. I didn't add anything and only used his words
• "To be truthful you don't need to be realistic" - Simon Moreton 
• Inspiring me to draw rather than pack it in. I still have things to say.
• I wanted to make work that can exist in the new world 
• Installations but putting into a space instead
• Report and make work as much as you want, everything you do comes from you. As you change why shouldn't the work change?
• Memory. Thinking through the act of making
• Accessibility in illustration. "Taking me home"
• House of illustration. 6 months working, 6 months exhibiting 
• Set a very vague brief about what I saw around king's cross 
• I started recording and taking photos, collecting objects, encapsulation of a place 
• Created drawings where I just enjoyed drawing
• Don't set yourself for failure
• Led myself around by chance
• Poetry poster series
• Bits of writing repurposed
• Reader can project what they want
• Am I still the author by repurposing? A facilitator?
• I like creating art out of what I find and what people say
• Unfinished comic. Continuing to make. Documentation of conversation. Man playing piano in London he travels from Nottingham.
• Questions
• when I stopped caring is when I became more confident and self assured
• Illustration of writing are both equally important to me. One should do something different from the other and tell something different otherwise it's just decorative.
• I like the sense of  immediacy in illustration and getting it done as a documentation 
• My early work was clean, my newest stuff is textured. Lots of smudges. Like a Xerox machine
• Sense of the hand being present.
• Emotion and memories – how to work through? Is it difficult and affecting? Make half of it and then do the rest when I've had distance. It can be harmful or hard to go through. I put it away.
• Feel it even if it's not in a clear way. Subject image is interpreted in different ways.

[LAUIL601] Visiting Lecturer: Beck Carlton

• Creates work of a biographical nature. Authorial. Comics with a gay blue bear based on life experience
• Originally wanted to be a vet but didn\"t like the idea, now an Illustrator
• Starts by writing little poems and ideas and then illustrates them daily. Gets in the habit of making work each day. Makes it a daily process
• Originally thought that style was so important but it changes so often. The consistency is in the writing
• Like strange characters and exploring avenues through words
• Advanced that into comics
• Four panels was originally perfect for the "old "Instagram layout where everything was readable and not pixelated
• The idea sparked from commuting from Manchester to Leeds and back
• Created some many little comics
• Enjoyed storytelling and likes the idea for an online audience, but how much engagement would it get?
• Experimenting with overnight of photographs. Surreal feeling through textures
• Played with more than 10 slides and was allowed to do so with the new version of Instagram
• Illustrated experience with tinder dates
• Brought outside the panel to narrates and illustrates
• The reader can dictate the pace through the swipe feature
• Got into the Moomins in university. Very human issues but you don\"t need to self insert yourself.
• Self insert of experience with friends. Cathartic and can then archive it
• Square format, post online, don\"t need to think about it again
• Changing and evolving characters, experimenting with materials characteristics/personality traits/parental figures
• Drink that boy every day A year. All this content. Born out of the idea and comics started to saturate Instagram
• Bird boy was then retired. Gone now
• Started to see more stuff off-line. Moving away from Instagram. Inspiration came from films, music, fine art, compositions, Picasso reinterpreting ideas, generating but not always having the same outcome. Image making, 100 people will draw different things
• Repetition by Picasso
• Concept of failures are good things. Failed it book
• Vandalised trees
• I put all of my thoughts into the notes app. Morning thoughts, 1am ideas. Keeping occupied. Creative sentences
• I take photos on my phone and collect strange things
• I remember situations and caption them on private Instagram
• I went back online, and brought bird buyback far on and off things
• I go to a lot of gigs around Leeds, meeting a new circle of friends from the DIY punk scene and experience a lot of different people
• Short and sweet comics
• I might make blobby  genderless characters
• Making work just for me, post it, doesn\"t matter if it got engagement or not, just post it and archive it
• I moved onto digital illustration on the iPads. I don\"t have to worry about carrying materials anymore
• Still keeping it in black-and-white. Exploring characters more and interactive World building. Learning curve. Character design
• More self-aware with comics. Relatable New characters
• Seasons and clothes changing
• Came up with a new idea of having some colour and fill up the screen with illustrations and longer narratives
• No longer short days continuing through time
• I started to make Mirch off the back of this. Commercialising it. I change the style to the products. Prints. Clean. Mix it up a bit. What would people want to buy? Anything that gets me money
• I quit my job and now freelance
• Experiment with style, black-and-white scene, picturesque scenes, double page spreads, I can feel the movements and playing with that
• Back to 4 panels as it\"s easy to do. More stimulating and challenging
• During lockdown it\"s very hard to keep yourself motivated
• Doing the same things every day and hoping it gets better
• Very self-aware but with bear boy
• Making filters and gifts with bear boy. I googled how to do it and it bumped up interaction with people and an audience
• Making merch and pins
• Building up a brand and people want to support that
• Quick way to make money. Mercht. Make a design, don\"t put any money in but get an output. Ko-fi, like patreon making quick doodles from donations
• Bigger stuff is happening but I can\"t talk about it yet
• Instagram has been great for recognition and networking
• You don\"t have to be available all the time. Experiment in your downtime
• My style changes every month! It doesn\"t have to be linear. Experiment. Still play around after university. Keep at it, have a good time and enjoy yourself. That\"s the main thing. There\"s no point in anything if you don\"t enjoy it too.
• Question: do you have a process of designing the characters and scenarios? Drawing random shapes, drawing from life, messing around.
• Just make content and you\"ll get more comfortable. Will drop your practice a lot.Ideas generating. Muscle memory for your brain.
• Question: How do you keep motivated? Can you get burnout from doing the same thing all the time. Do different things. Go for walks, listen to music. Get a fresh view points in regards to life and illustration. Illustration as a practice can be very isolating. It can be very daunting to feel like you need to do what everyone else is doing. Hang out with friends, go to galleries, take breaks. It depends how much you want to push yourself. Be authorial and be authentic.

[LAUIL601] Beginnings of Research: Terms and Definitions

Abstract: relating to or denoting art that does not attempt to represent external reality, but rather seeks to achieve its effect using shapes, colours, and textures. Non-representational.

Abstract Expressionism: a development of abstract art which originated in New York in the 1940s and 1950s and aimed at subjective emotional expression. It is often characterised by gestural brush-strokes or mark-making, and the impression of spontaneity. Leading figures were Jackson Pollock and Willem de Kooning. In many paintings under the movement of Abstract Expressionism an expression of reality is expressed in a non-representational statement with line, colour and size as well as the aggressive mingling of colours, shapes and forms that creates a painting of pure thought and emotion. There were two types of Abstract Expressionists: Action Painting as exemplified by Jackson Pollock, and Colorfield Painting represented by Mark Rothko.

Alexithymia: Alexithymia is a personality trait characterized by the subclinical inability to identify and describe emotions experienced by one's self or others. The core characteristic of alexithymia is marked dysfunction in emotional awareness, social attachment, and interpersonal relation.

Art Brut: Art brut is a French term that translates as 'raw art', invented by the French artist Jean Dubuffet to describe art such as graffiti or naïve art which is made outside the academic tradition of fine art.

Art Therapy: Art therapy is a distinct discipline that incorporates creative methods of expression through visual art media. Art therapy, as a creative arts therapy profession, originated in the fields of art and psychotherapy and may vary in definition. There are three main ways that art therapy is employed: analytic art therapy, art psychotherapy, and the lens of art as therapy.

Art therapy is a form of psychotherapy that uses art media as its primary mode of expression and communication. Within this context, art is not used as diagnostic tool but as a medium to address emotional issues which may be confusing and distressing.

• Analytic art therapy focuses on the client, the therapist, and the ideas that are transferred between the both of them through art.
• psychotherapy. This approach focuses more on the psychotherapist and their analysis of their clients artwork verbally.
• Some art therapists practicing art as therapy believe that analyzing the client’s artwork verbally is not essential, therefore they stress the creation process of the art instead.

Art therapy can be used to help people improve cognitive and sensory motor function, self-esteem, self awareness, emotional resilience. It may also aide in resolving conflicts and reduce distress.

Cognitive/cognition: the mental action or process of acquiring knowledge and understanding through thought, experience, and the senses.

Eating Disorder: Eating disorders are type of serious mental health conditions including anorexia, bulimia and binge eating disorder, characterized by severe disturbances in eating behaviors and related thoughts and emotions. Symptoms of an eating disorder include worrying about your weight, eating too little or making yourself sick after eating. Treatment for an eating disorder depends on the type of condition you have. It usually involves talking therapy. An eating disorder is a serious mental illness, characterised by eating, exercise and body weight or shape becoming an unhealthy preoccupation of someone's life.

Expressionism: a style of painting, music, or drama in which the artist or writer seeks to express the inner world of emotion rather than external reality.

Intuitive: using or based on what one feels to be true even without conscious reasoning; instinctive. having the ability to know or understand things without any proof or evidence : having or characterized by intuition. : based on or agreeing with what is known or understood without any proof or evidence : known or understood by intuition. : agreeing with what seems naturally right.

Mental Health: a person’s condition with regard to their psychological and emotional well-being. Mental health, defined by the World Health Organization, is "a state of well-being in which the individual realizes his or her own abilities, can cope with the normal stresses of life, can work productively and fruitfully, and is able to make a contribution to his or her community".

Outsider Art: Outsider art is art by self-taught or naïve art makers. Typically, those labeled as outsider artists have little or no contact with the mainstream art world or art institutions. In many cases, their work is discovered only after their deaths. Outsider art is used to describe art that has a naïve quality, often produced by people who have not trained as artists or worked within the conventional structures of art production

Therapy: the treatment of disease or disorders, as by some remedial, rehabilitating, or curative process: speech therapy. a curative power or quality. psychotherapy. any act, hobby, task, program, etc., that relieves tension. 

Different types of therapy:

• Psychodynamic.
• Behavioral.
• CBT.
• Humanistic.
• Choosing.

Trauma: a deeply distressing or disturbing experience. Trauma can happen after you experience an event or events that hurt you physically or emotionally. Trauma can have lasting effects on your mental, physical, and emotional health. 1. Experiencing abuse or other trauma puts people at risk of developing mental health conditions, such as: Anxiety disorders.

Sources:

https://www.baat.org/About-Art-Therapy

https://thepsychologygroup.com/alexithymia/

https://en.m.wikipedia.org/wiki/Art_therapy

https://www.tate.org.uk/art/art-terms/a/art-brut

https://www.tate.org.uk/art/art-terms/o/outsider-art

https://www.tate.org.uk/art/art-terms/a/abstract-expressionism

https://abstractexpressionismishidden.weebly.com/characteristics.html

https://www.verywellmind.com/what-is-art-therapy-2795755

http://www.arttherapyblog.com/what-is-art-therapy/

https://www.mind.org.uk/information-support/drugs-and-treatments/arts-and-creative-therapies/about-arts-and-creative-therapies/