Combining autobiography and theoretical analysis, the author examines her experience as a second-generation artist. She argues that the viewer's response to the work is as significant as the artist's intention. Furthermore, it is in the making, not the initial choice of subject, that the artist's unconscious can be most clearly seen.
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Every reasonable effort has been made to ensure that permission has been obtained for items included in DRO. If you believe that your rights have been infringed by this repository, please contact drosupport@deakin.edu.au.