This paper is a practical outcome of a multidisciplinary research project conducted by the authors on the contemporary and modern practices of the Improvisation in Arts. All the authors are research-oriented practitioners in the fields of visual arts, performance arts, multimedia, Information and communication technologies as well as vocational training. Furthermore, the drawings, paintings, and sketches are all made by the correspondent author Assistant Professor Dr. Mohammed Baker Mohammed Al-Abbas as part of his research-oriented artistic practice through the hybrid painting techniques. Abstract The present studio-based paper aims to explore the creative reflections of the aesthetics of otherness within the practical phases of the painting production. This paper represents an experimental endeavor to create a two-dimensional artwork, which is a hybrid painting technique on canvas with mixed media and acrylic paints. Within such a specific practice-based context, each phase of this practical approach outlines a critical significance from the first phase of creating that painting to the completing phase. The practical methodology is the tool that converts the researcher's/artist's vision into creative academic production. The process of creating the painting on the canvas is the methodology; such manner turns to be a primary reference for the present exploration. There is a significant paradigm in this approach, which focuses on the artwork as a morphological creature being created by the researcher/artist rather than a consequent result that only exists as a finished/complete/polished outcome. The outcome of this research is the record of the artwork production itself. This record presents visual references of the artwork progress as well as a textual reflective narrative to describe this process with written words. This research-oriented artistic attempt introduces the artists and researchers in the domains of the Fine Arts to integrate the process of art-making into the methodologies of academic research. It is an academic text, reflective text as well as sequential images recording the artwork making. This studio-based experimentation is significant because it examines the aesthetics of the otherness into the expressive figurative abstraction in painting. Furthermore, the impact of such a studio-based approach manifests on advancing applications of the artistic oriented research in the field of Fine Arts globally on curatorial and academic levels. Keywords: Contemporary Art Practice, Studio-Based Methodology, Practice-Based Research, Hybrid Painting Techniques, Multimedia, Mixed media, Photography DOI: 10.7176/JEP/11-10-08 Publication date: April 30^th 2020

The purpose of this practice-based paper is to investigate the artistic reflections and self-aesthetics into the process of artwork making. Every stage of this process represents a particular significance from the initial stage to the finishing stage. Furthermore, this exploration aims to develop the employment of practical research in the field of Visual Arts on personal, communal and institutional levels. In this exploration, the methodology is the vehicle that transforms the research into reality. Making the artwork itself is the methodology, and this process is the primary reference of the present research. Therefore, the author presents the synthesis of the artwork making rather than the analysis of its aftermath, the focus in this context is the construction of the artwork. This is the result of this research, the artwork itself. Regarding the employability aspects of this approach, it involves the practitioners and researchers in the fields of the visual arts toward further realizations of the actual creative process. This employability takes place into the signs of progress on different levels through academic and artistic practices in schools, universities as well as higher learning and teaching institutions. The present practical paper is significant because it investigates reflections of the cultural identity as well as the narratives of personal memory into academic research. In the multicultural present temporality, research-oriented artists highlight the diversity of their societies and represent significantly personal aesthetics as themes in their artworks. This approach would elevate the mutual understanding among people from different aesthetical backgrounds; people's trends enhance multicultural perceptions, harmony, and coexistence. In addition, artists in this regard illustrate such an approach in their visual art when they compose practice and research with the symbolic content, which reflects social motives. Artists practice such art to critique the violent content in communication media and educate people that media may fake reality to create more audience and viewers. This study focused on the significance of subjective representations in contemporary arts, and the impact of such representations on the mutual understanding among people of multicultural societies. Keywords: Contemporary Art Practice, Studio-Based Methodology, Practice-Based Research, Hybrid Painting Techniques, Multimedia, Mixed media, Photography. DOI: 10.7176/JEP/11-12-18 Publication date: April 30^th 2020

The purpose of this conceptual paper is to critique the phenomenon of representing the Orient in western modern painting. In this context, the author negotiates the iconographies of the Orient and its conceptual constructions from critical perspectives. Painting the Orient, as an artistic practice in the modern era, is a consequent result of the cultural impacts that occurred between the west and the east when the modern painters traveled across the seas to North African and Arab landscapes to explore new warm colors within the oriental panoramas. Such cross-cultural experimentation evoked novel representations in the Art of Modern Painting, where the oriental fashions, scenes as well as urban and rural backdrops manifested in the modern movements of western art. Therefore, the orient appeared in the western painting as a new visual discovery in the pictorial composition through its vibrant colors and wide-open landscapes. The simple compositions of such painting practices manifested new waves of abstract art in the painting experimentations and delivered new realms of painting expressions. Furthermore, this paper presents an argumentation between scholars on the subject such as Clarke and Said, not to evoke any political, cultural or social bias toward any western or eastern ideology, but to present the notion of academia in contextualized manners toward the criticism of the creative practices of the art of modern painting. Keywords: The Art of Painting, Modern Art, the Orient, the Development of Modern Painting Movements. DOI: 10.7176/JEP/11-7-11 Publication date:March 31^st 2020