Dragonfly



Dragonfly - DNA

Europe Sketches: 1


Chapter I: Introduction
Figure 1.1. San Girogio Maggiore Church - Lamp Detail Source: Europe Sketches

I
ow to best explain, to the imagined audience, why this creative project came, about which the question is, I may never be able to answer or explain fully. There is the theory be it non-academic that the true creative is truly inspired by the muse. Strangely, in my case, I acquired my fountainhead of creativity purely by accident at an event at the University of Technology Sydney several years ago. There is the first example of the visual of the San Giorgio Maggiore Church - Lamp Detail, crafted within the hues of salmon-pink watercolours and black ink from one of the pages of Europe Sketches: please refer to Figure 1.1., above. This is the sketch I intend to use for the cover page and the watermark for the poem quite perfect be it ever so creepy. To begin with, I never expected to to be able to draft chapters of text and imagery even in my wildest expectations, as the postgraduate, of this research masters in creative writing which are always fraught with misgivings about what to write about. The subject ENGL6913: Critical Contexts to Creative Writing was paramount to the creation of my assessment Europe Sketches: The Ghosts of Venice at the University of Sydney. I was given complete freedom of expression by my lecturer Dr. Fiona McFarlane with my choice of research namely Keith Hansen and his art diary of sketches and European portfolio of artwork inspired by his Venetian experience in 1975. Although his poetic prose has been re-interpreted by yours truly into this Gothic-like poem to mirror the ghostly vibes of my creative project: please refer to Figure 1.2., below. In my email to Keith the contents are thus: You have been taught by the master Brett Whiteley and you have to embrace the legacy of knowing that you can extend his infinity by improving on his craft of genius. I wish to write various interpretations of your craft so let us start with your art diary  of 1975.
Figure 1.2. The Lonely Bride of Winter - revised Source: Europe Sketches 

A lecturer from the University of Technology Sydney gave me some advice which I have taken to heart such as always including the glossary as some words in my narrative may be unfamiliar to the imagined audience. There is also the need to include the bibliography to encourage further reading and understanding of how I interpreted the resources of research. Remember this exercise is only for the one game enough to embrace the uncanny themes and the sense that the text is not only haunted but incomplete with too many questions yet to be answered.