This thesis focuses on the fabricated image and the public representation of King Bhumibol - the current King of Thailand in two contemporary documentary films "My King" in 2012 and "Bhumibol - The People's King" in 2013. The primary purpose of this study is to examine how the fabricated image of the current King of Thailand has been constructed through the utilization of contemporary documentary films. The study argued that Bhumibol has borrowed the fabricated image and public representation from the European context, i.e. the fabricated public representation of Louis XIV. Indeed, the study has been inspired by the work of Peter Burke in 1992 entitled "The Fabrication of Louis XIV". The aforementioned work of Burke, articles on the analysis of documentary films, literatures about the importance of images in Thai society were considered altogether in the empirical part of this study. The study pinpointed eleven specific attributes of the public representation of Bhumibol from the two documentary films. The characteristics consisted of "August", "Father of the People", "Generous", "Godlike", "Glorious", "Hero of the Nation", "Invincible", "Laborious", "Modernized", "Pious", and "Wise". On the basis of the results of this research, it can be concluded that the public representation of Bhumibol does...

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The exhibition Is There No One in the World Who Can Fly? consists of three connected bodies of works. Life On Earth is a series of photo-performances exhibited on digital screens. Some of the images are still others are animated; they all propose that the body is a transmitter that breaths in content and breaths it out as a visual shape in the form of extensions, armatures or expulsions. Mammal is a large-scale video projection of a multi-breasted female figure projected on a free-standing wall. The breasts are animated and stretch out to explore and search the surrounding space. Worknest is a series of videos about the act of working which are projected onto the floor and appear as a community of guarded openings into tunnels beneath the ground.

The exhibition Is There No One in the World Who Can Fly? consists of three connected bodies of works. Life On Earth is a series of photo-performances exhibited on digital screens. Some of the images are still others are animated; they all propose that the body is a transmitter that breaths in content and breaths it out as a visual shape in the form of extensions, armatures or expulsions. Mammal is a large-scale video projection of a multi-breasted female figure projected on a free-standing wall. The breasts are animated and stretch out to explore and search the surrounding space. Worknest is a series of videos about the act of working which are projected onto the floor and appear as a community of guarded openings into tunnels beneath the ground.

The countryside has been long forgotten while technology is changing at a rapid pace, something we’re not stopping to consider. In this thesis I aim to catalogue the current state of the countryside and it’s near future. Something that’s right in front of us but that we currently lack the resources to realise. The research work will be delivered in the form of speculative architecture and storytelling. It is presented as a book, with each chapter focusing on a different aspect of this new countryside and its potential. This research provides a platform for us to begin to think about these new scenarios and future prospects in order to design sensitively.  A majority of the work is delivered through montages. The compositions utilise already existing elements in society and combine them to produce new spaces that tells us something. I chose to use montages as I felt like they were a successful way to summarise the research of a broad subject field.

The purpose of this thesis is to describe and analyse the visual expressions of Street Art that occurs in the public space, and by doing so, to study this specifi c practice, and also elucidate the relation between public space as a democratic idea, a place for freedom of speech and as a planned, aesthetically shaped place. The intention is to throw light upon a central part of many young peoples lives in a didactic aspect. In this thesis I discuss Street Art as an informal image making in public space that young people use as tools to make meaning, but also as a form of resistance. The methodologies used in the study are ethnography and visual ethnography, where observational studies of Street Art as practice, interviews and interpretation of photographs (my own, and my informants) are performed and analysed. Theoretically, the study has a didactic and semiotic approach but I also rely on Cultural Studies as a research fi eld in order to be able to pick up different kinds of theories. From three platforms; public space and public place and places for Street Art, aesthetic learning processes within this specifi c practice, and fi nally the expanded fi eld of Art and the similarities and differences between formal Art and Street Art I have outlined four themes; ephemerality, the criteria for Street Art practice, how the work is being done, as a collective and individual practice, the struggle of space in public space, and fi nally high and low in Art and culture. By describing and analysing this informal image making light is thrown upon the aesthetic learning process that occurs, the didactic aspect of this practice and the communication that the images articulate. As a result, the study shows that Street Art, in spite of its illegal mark, points out that it is an aesthetic production and a creative practice that consists of resistance, meaning making, achieving knowledge through practice, and above all a way to use the city, to become a part of the city. The thesis contributes with the suggestion that this informal aesthetic learning process is a way to form identity, make meaning, take part of public space, and through symbolic resistance demand ones rights of expression.

This project is an exploration, through art making processes, of a relationship between the interpretation of symbols and the interpretation of everyday life experiences, with a view to evolving a metaphorical visual language that might translate these experiences. Individuation is a process within Jungian psychology that relates the interpretation of symbols to the interpretation of life experiences and places their common meanings within a definitive framework of individual human development. The archetypal pattern that this framework outlines is the development of a healthy relationship between an individual’s consciousness and the unconscious. The word metaphor originates from Greek metapherein – “to carry over, transfer; meta` beyond, over + fe`rein to bring, bear. It is the transference of the relation between one set of objects to another set for the purpose of brief explanation… the statement “that man is a fox,” is a metaphor” (Webster’s Revised Unabridged Dictionary, 2008) Due to its particular relationship to time, space, memory and light photography has proven to be an ideal way to engage, record, and present this exploration. Our personal photographs operate as visual metaphors for our personal experience, we transfer the experience into the photograph, we consider the photograph is that moment in time, that place, that experience, rather than being like that experience. The interpretation of personal photographs is entirely individual and emotional. When photographs are placed into the public arena their emotional value changes, their interpretation, purpose, and authenticity can become questionable. In this project the experience and the photographs are placed within the context of individuation, which is a model that guides the interpretation of the photographs and include the individual and emotional values as a necessary part of that interpretation. In this project the symbols and visual metaphors interpreted in the photographs operate as a narrative of the personal experience of the archetypal journey of individuation.

This project is an exploration, through art making processes, of a relationship between the interpretation of symbols and the interpretation of everyday life experiences, with a view to evolving a metaphorical visual language that might translate these experiences. Individuation is a process within Jungian psychology that relates the interpretation of symbols to the interpretation of life experiences and places their common meanings within a definitive framework of individual human development. The archetypal pattern that this framework outlines is the development of a healthy relationship between an individual’s consciousness and the unconscious. The word metaphor originates from Greek metapherein – “to carry over, transfer; meta` beyond, over + fe`rein to bring, bear. It is the transference of the relation between one set of objects to another set for the purpose of brief explanation… the statement “that man is a fox,” is a metaphor” (Webster’s Revised Unabridged Dictionary, 2008) Due to its particular relationship to time, space, memory and light photography has proven to be an ideal way to engage, record, and present this exploration. Our personal photographs operate as visual metaphors for our personal experience, we transfer the experience into the photograph, we consider the photograph is that moment in time, that place, that experience, rather than being like that experience. The interpretation of personal photographs is entirely individual and emotional. When photographs are placed into the public arena their emotional value changes, their interpretation, purpose, and authenticity can become questionable. In this project the experience and the photographs are placed within the context of individuation, which is a model that guides the interpretation of the photographs and include the individual and emotional values as a necessary part of that interpretation. In this project the symbols and visual metaphors interpreted in the photographs operate as a narrative of the personal experience of the archetypal journey of individuation.

This thesis explores the influence of French royal image-making on English monarchies at the turn of the eighteenth century. It investigates the relevance of Louis XIV (r. 1643-1715) to English royal iconography during the reigns of William III (r. 1689-1702) and Queen Anne (r. 1702-1714) across a wide range of source material - from panegyric and portraiture, to medals, sculpture, and architecture. In doing so, it foregrounds the intricate interplay between political communication and different forms of artistic imagination in the early modern period. The thesis conceptualises the relation between post-revolutionary English monarchical image-making and its French counterpart as one of contest with and emancipation from French influence. The specific political circumstances add a particular poignancy to the investigation of this narrative, as the almost continual crises which the English monarchy suffered at the time stand in sharp contrast with the (dynastic) stability of the French monarchy and its highly influential court culture. Despite these elements of rupture and contrast, however, the story of seventeenth-century English monarchical image-making is one of continuity in respect of its gradual disengagement from the French model. In contrast to his immediate predecessors, I contend, William's image-making presents him as Louis's competitor, rather than his imitator. In the course of William's reign, Louis's monarchical model thus turns from model to foil. This development evolves further in Queen Anne's reign, culminating in Louis's mort avant la lettre, as Anne's image-making dispenses with the Ludovican model both as model and as foil. English post-revolutionary image-making, I argue, not only mirrored, but actively contributed to the decline of the Ludovican model, whilst maintaining the figure of the monarch as central to public political discourse. Through the lens of monarchical image-making, therefore, this thesis offers a critical outlook onto late seventeenth-century Anglo-French political and artistic relations.