Constellation

Project 8: A Collection and a Means for Display

This culminating project was a way in which I could synthesize all the connections emerging between all the facets of my life this semester. This visual display was a kinesthetic way of meditating on the interconnectedness. My relationships, home environment, interests, research papers, reading, moods, courses, and artwork all are entangled. The objects signifying each are embedded in this web.

The readings and writings for Theory and Criticism, the jottings of my Senior Show ideation, and the research papers on a filmmaker and a ceramicist comprise the 5'5" by 5'5" cube. This words-structure alludes to knowledge that has been added to my internal infrastructure. External objects and artworks are made personally intelligible to me by this structure.

Displaying the interiority of my mind is fore-fronted by a reversal in which the ideas that remain unseen are in closest proximity to the audience. While the objects suspended inside still command attention before the words, their dependence on their framework is obvious.

The objects include: crosswords, sketches, coffee bags, a Wii remotes, ceramic eggs, a used plastic bottles, chopsticks, books, a wire whisk, and more. So varied and yet remarkably cohesive.

The points for fastening connections on the cube are determined by the words that inform a sequence of connections. Each object is strung to another for another specific reason. Sometimes the reason is content-based and other times aesthetic. The connections would need conjecture for anyone not privy to my explanations. This is where the performance at the critique was the only format by which I could complete the expression. But the process of creating my constellation was a format beneficial for me for myself. Self-expression is for others and for ourselves.

The reason for my personal benefit is based in harmonizing two modes of expression–– writing and making–– that are both valuable to me and yet often frustratingly separate. The intertwining of the two in this three-dimensional mind map is very satisfying, holistic in its inclusion of all parts of my life and the cooperation of internal and external environments. 

Project 7: (Film 2)

This open-ended film project only mandated the use of two or more perspectives. The freedom was initially and persistently intimidating, but I think it allowed a certain ownership of content.

For me, it is important that I process my own life through specific arrangements of details that recollect and reinterpret what clutters my psyche. Identity and our active role in shaping and presenting it, the strange space between internal world and external world, the mirrors of many kinds that reflect back to us who we are and are not... al these themes are interesting to me.

Stylistically, I notice that I tend towards a collage-effect. I like an eclectic assortment of visuals and audio because I think it lends more ambiguity and therefore is more moldable to subjective interpretation. I am steering my viewers but letting them sort and make sense of rather disparate elements.

I have my own contextual framework and they have theirs. I like to capitalize on that and let the art object serve as an instrument for introspection.

One note further, the critique time is a veritable collage itself. It is incredible to see the variety of films created by peers. By comparison, I help better identify my own practice. My friends' films too serve as a mirror for myself.

https://drive.google.com/a/westmont.edu/file/d/0B6uGslPSdl3cRDRjWVVEajNzOFE/view?usp=sharing

Project 6: (Film 1): the 5 x 5

Embarking on our film unit, we got our feet wet with the 5x5 clip. With each of the 5 clips aiming at 5 second durations, the structure was set. So, one factor was comfortably set aside, allowing us to focus on content and editing.

My film was an exploration of daily living. With my friend and housemate Caroline, we meshed commonplace activities–– watching our go-to show, New Girl, and eating dinner–– in hopes of sparking a dialogue. 

Titled "Communion" this clip highlights the pseudo-community we long for during mealtimes and satiate vicariously through fictional friend groups.

In frantic succession within the 5 second constraints, the clips hoped to create a playful yet poignant space.

https://www.youtube.com/watch?v=VdxHlANxk08

Project 5: Generosity 

The impetus for this project was our reflection on "Love Languages": Task, Treasure, Time, Touch, Talk.  

The questions prompted: How is giving love a performance? Do we effectively make use of our love-language predilections? What giving-capacity might we want to grow into?

The requirement: act generously in a way that can be performed using an object(s).

My love language is quality Time. Hands-down. Coming in second, Touch (but mostly in terms of how I receive love). Examples circulated in my head of how I give these–– Time especially –– in daily life. Reciprocating back massages while watching a show with my sister, long car drives where one person has my un-diverted attention. I was having a hard time syncing my life with object-oriented performance.

The idea evolved into HOW I give. Giving is spontaneous and reflective. Giving is a response to someone's need. I plan to have time with someone when I observe the need to be with them, something that person displays prompts me to that conclusion. Or someone requires my time and I reorganize to accommodate. And this extends past Time. I don't premeditate giving of any sort. It feels most authentic to me when I offer of myself to meet another's need.

So, my giving is based on chance. It is giving up control.

Realizing that, the object clicked into place: a Fortune-Teller! As an instrument of chance and choice, it steers a playful-interaction between two people. I would make these in abundance when they trended in 5th grade! In the spirit of style, they all boasted unique designs. I would make one once more.

As my Generosity Object, it incorporated the Love Languages of Touch, Talk, and Treasure. In the critique, it mediated the interactions between each person. To some extent, this mode of chance-giving requires preparation. I came prepared with Hershey Kisses to offer if "Give a treat" was my prompt and I brought a notebook of collected quotes if "Give a thought" was selected. I'd like to approach life armed for generosity more often. Come prepared, but be flexible. 

The performative script follows:

Me: * Silently present the fortune-teller with numbers displayed *

Participant: *Number chosen*

Me: * Object opened and closed accordingly, revealing icons: hand, gift, speech bubble, and question mark *

"What do you need?"

Participant: * Selects icon *

Me: * Reveal flap to generosity-prompt *

Read aloud.

Perform.

My aim was to playfully illustrate the reciprocity and flexibility of common generosity.