The  bus begins to move...finally and I'm presented with large formatted lettering;  "Jessica Ennis Sports Hall" printed on the side of the newest college building. They stare as we pull away,  the word's stay as a prevalent reminder of the 2012 'legacy' even after I'm free from their glare, I can't shake or forget, all I can do is reminisce and reconcile to a time where everything, other the success of '|Great Britain,' was forgotten.  A golden period where troubles related to our shock of success, surpassed expectations, dramatised in our prolonged television viewing;  a true  Shakespearean comedy of irony and tragedy.         

I'm sat pondering these indoctrinating thoughts, wondering why? And for what purpose?

I leave these thought's behind as I bring Notes From The Underground out from my bag,  and continue to read Dostoevsky's existentialism. A collection of word's, which for the first section, signify his individualistic endeavour, that of which every artist understands....objectivity. Yet, the very nature of  existentialism is subjective; to be socialised, is to be conditioned to culture through primary and secondary socialisation. With this in mind; Dostoevsky is also pondering the thought's of countless other's. This can go  a long way to explain Notes From The Underground's hook, its ease of read and effect.

Realising that this existentialistic narration, is in fact grounded in the recesses of the reader's mind, brought my attention back to 'legacy,' how this word entering main stream culture has in fact shaped my own understanding.

I turn to page 101, The Underground man is telling a prostitute what happens when her looks go, what happens when no one will pay her, when she is worthless. My own cultural conditioning bears great significance to this number; 101.  Orwell's 1984 is the source, room 101 is the reference,

 "The thing that is in room 101 is the worst thing in the world."

An idea that the worst type of torture is torture of  your own consciousness and unconsciousness, our underlying fears separate from everyone other that our selves. I leave the bus and my journey home comes to an end; my fixation with symbolism and  existentialism continues even after I have entered my front door.

I walk into my house and eye's concentrate on a singular object; a piece of  advertising which speaks far greater than the first materialistic perspective of French Connection. A deeper cultural significance found in it's juxtaposition of sexuality, contrasting that of the ideology of modern day Russia. My mind journeys back to the previous read of the Classic philosophy of Dostoevsky, and I wonder how Putin in our seemingly modern age can contrast our culture so greatly, how after 149 years after it's publication, Notes From The Underground is still relevant in a timeless society.

I decide to create art work, encapsulating and representing my own  existentialistic take, on the culture which I was made aware of on my journey home.  While reading this your reaction is probably one of negativity derived from my own nonsensical approach, creating a very subjective take and an idea which I contradictorily named objective.

Ultimately,  if you understand the symbolism associated with my own ideology, then our shared culture indicates a subjective piece of art.