“The construct of mathematics anxiety has been an important topic of study, and has received increasing attention in recent years. As a student, I always struggled with maths and it was the most dreaded subject of my school life. Among the very many numbing pressures of the education system of my country, the hardest hitting one was the fear I had developed of mathematics. Even the mere thought of attending math class each day in school made me anxious to a point where I lost complete understanding of the subject itself.
“Therefore, my particular project focuses on what research has revealed about mathematics anxiety and what still remains to be learned. I try to discuss what mathematics anxiety is; how distinct it is from other forms of anxiety; and how it relates to attitudes to mathematics. I present the relationships between mathematics anxiety and mathematics performance. I try to describe ways in which mathematics anxiety is measured. I discuss some possible factors in mathematics anxiety, including genetics, gender, age, and culture. As a graphic designer, I try to decipher these questions through typography and graphics.
“For my installation, my creation of the house of cards is a direct example of my thoughts on mathematical anxiety. I wish to accommodate the viewer in my work. In this piece I wish that the space of the piece become a wholly immersive environment in which the space exists for the viewer to activate as as an engaged and absorbed participant.
“Installations should be geared to first-hand real experiences by the view and not simply illustrate the situation. I have created this by having my art of dysfunctional type printed onto hard boards, and having them placed like a house of cards. The structure is a conglomeration of myself on personal experiences with maths reconstructed to make the viewer feel what I felt, in which the viewer could walk in, sit down maybe, and understand the fragile nature of the structure. According to me, the structure addresses itself directly to the viewer, whose experience is not that of a detached onlooker, but I’m hoping it is indeed the actual focus of the work itself. I am trying to create a state of mind more than anything, in which the viewer is essentially in the first person view, almost like a daydream.”