The concept of this piece is influenced by the therapeutic experience between counsellor and client.
Initially, in a way that I encourage my clients to work, the piece starts from my own unconscious, with no agenda, no plans, just exploring the shapes and colours in which I feel at the time needs to be expressed.

My work, in art and therapy, has always been influenced by the concepts and colours of cubism, particularly Picasso. They revolutionised the concept that we never see the world from one fixed viewpoint and there is an ever changing light and colour. Unless in a Brave New World sterile environment, colours and shapes change continually, even minutely through changing weather and lighting, through wind moving an object slightly, through the slight swaying we may make as we stand and watch, even how our emotional state may fluctuate and change in a second. Viewing an image of the world in itself can create different emotional and physical sensation that changes the view we have of said image.

Particularly in Picasso’s work to see a person for all of them is not to see just one angle, but to see them in 3 dimension. Therefore, whilst encouraging a spatial 3 dimension in my work, it challenges the idea of following the rules of lighting. My images do not conform to one source of light, therefore encouraging the viewer to respond by shifting their own mental position in the painting.
 
The second reason for not maintaining a fixed light source is for the purpose of creating a responsive interaction with the viewer. The concept of the 4 blocks is that the viewer may play with their own responses and take control on the final image that they need to be created. There are numerous variations on how the squares can be positioned and in each variation there is some sense that the images still flow between each other. By applying a fixed light source, turning a square at a right angle would then shift the source in relation to the other squares causing an inconsistent inconsistency. Therefore, the overall image starts with the inconsistency of lighting source throughout, creating a  need in the viewer to keep shifting and stabilising themselves into one area and then shifting their whole visual perspective by then viewing the  section next to it that contradicts the light source. In reflection of the therapeutic experience this illustrates how subtly and rapidly we can view and experience things so rapidly differently, having to sit with the juxtapositions within us that creates an internal conflict.
The aim is for the viewer and the client to work with these conflicts, discomforts and inconsistencies and for them to seek their own final image, or sense of being that, whilst on one level appears to flow freely may still go off in different directions, take conflicting, changing and confusing paths that never truly settle into a fixed image, reflecting the ongoing changing internal self. We can only hope to seek the most comfortable image of our internal world whilst be accepting of this continual movement and change.
 
Reflecting on the final piece and how my unconscious influenced it’s direction and concept I recognise my own personal process  and enlightenment in the last year of seeing hope that we are not stuck in one viewpoint, narrative, or construct forever. The viewer, the client, and myself always has the liberty to change the final image until it again works best for the individual, or indeed challenges them to go to a place of discomfort in which they want to overcome. By there not being a ‘right’ final image that truly works in harmony reflects that as humans we are always experiencing the world where we then learn, change, and grow, always attempting to striving for self-actualisation that for very few is never fully achievable. Even Huxley acknowledged that however stable and controlled an environment, humans have such sophisticated intelligence of emotion that no amount of cloneing can create complete and certain stability.