This thesis explores the idea of a liminal space, as being dreamlike, suspended in time and physically unlocatable. It questions and exploits the boundary between abstraction and figuration in painting. This investigation has been considered from a subjective viewpoint allowing a distancing of space to illuminate new perceptions and experiences through the language of painting. The project has sought to explore the relationship between the natural world and seeing, to deepen and emphasize the other worldliness of an in-between space. This third space has been evoked by a process of abstracting pictorial content, juxtaposition of elements, colour and composition. The thesis is constituted of practice-based 80%, accompanied by an exegesis 20%.

This thesis explores the idea of a liminal space, as being dreamlike, suspended in time and physically unlocatable. It questions and exploits the boundary between abstraction and figuration in painting. This investigation has been considered from a subjective viewpoint allowing a distancing of space to illuminate new perceptions and experiences through the language of painting. The project has sought to explore the relationship between the natural world and seeing, to deepen and emphasize the other worldliness of an in-between space. This third space has been evoked by a process of abstracting pictorial content, juxtaposition of elements, colour and composition. The thesis is constituted of practice-based 80%, accompanied by an exegesis 20%.

Social media analysis, in feminist critical military studies, is a highly underrepresented field. Although, the world is evolving faster than ever and, within the digitalised world, different methods of representation are used to (re-)produce ideologies, signify meanings, and interpellate individuals accordingly. Militaries are making use of social media accounts as representational tools to justify their informal and formal structures. Nonetheless, these organisations are challenged to become more inclusive, more democratic, and more diverse. The Bundeswehr (German Armed Forces) is considered a highly heteronormative, masculine connotated, white organisation and is in the midst of transformation, too. On social media, the Bundeswehr tends to represent itself as a more inclusive, tolerant, and diverse organisation. Nonetheless, the public eyes are watching and valuing the reaction of this highly symbolic organisation when their heteronormative settings are under pressure. Opinions are shared, communities are formed, voices are being raised and simultaneously silenced. Thus, questions emerge, such as how are glimpses of inclusivity regarding gender norms and gender relations (re-)presented on the Bundeswehr’s Facebook account? How does the public engage with the posts? Who is included? Who remains hidden? Therefore, I have developed a case study in which I shall employ a mix of the methods and apply an intersectional lens to analyse glimpses of inclusivity on the Bundeswehr’s Facebook account. I argue glimpses of inclusivity have to be analysed from two perspectives. The Bundeswehr’s perspective needs to be analysed in relation to how they represent glimpses of inclusivity and how they negotiate possible tensions of inclusivity. At the same time, engagements with the posts by users in relation to glimpses of inclusivity and tensions of inclusivity are crucial to analyse, too.