Tuesday, May 4, 2010

Visiting Artist: Anthony Goicolea

Pile, Photograph, Anthony Goicolea


Anthony Goicolea is a photographer, painter, and video installation artist. His work focuses on subjects and themes such as Romanticism, masculinity, adolescence, mythology, personal identity, ritual and obsession. Goicolea received his BA in art history and a BFA in painting at the University of Georgia and and MFA from Pratt. His work is featured in a number of prestigious museums including the MoMA and the Guggenheim.

Goicolea describes his work in the series You and What Army as being informed or inspired by works of Henry Darger. Goicolea strives for a uniformity in his work and addresses such topics boyhood maturation and demarcation; at what point does a boy transition into a man? His army of "little Anthonies" thematically references Darger's repetitious cut-outs of little girls in cinematic landscapes in a seemingly dystopian society. His image titled "Pile" shows young boys playing what appears to be childhood games. This is image is playful in this aspect, however the coldness of the children's surroundings and the wall's seemingly endless height visually reference images from the Holocaust. In a separate series called The Detention Series, Goicolea focuses on child labor and the ideas of procession, ritualism and of futile, Sisyphean tasks.

As my work deals a lot with adolescence, I am attracted to this idea in Goicolea's work about transitioning from boy to man and what demarcates that transition in a male. I use my sister as a surrogate for my own wishes because she is yet at that age where it is yet required of her to accept responsibility; it is still socially acceptable for her to act like a child. However, when considering Goicolea's argument about what event(s) demarcate a boy's transition into adulthood, Goicolea explains that a girl becomes a woman when she has her first period. In the case of my sister, I completely disagree with this point of view. A girl's first period is a physical attribute that is out of her control and is determined by an internal clock. However, I think the mind acts separately from the body; the body may be maturing, but the mind could potentially be lagging behind. If the mind is not mature could you really argue that the person (though physically changing) has matured? I think a person's maturation (boy or girl) is determined by their acceptance of responsibility and an awareness of who they are in and out of their environment. Does that make any sense? Interesting conversation, I think.



(Note: I was unable to make it to my last 2 lectures and am referencing older visiting artist lectures through podcasts. )

Thursday, April 8, 2010

Idea Blog for 04/08

4

3

2


1


Storyboards for my film in Digital Film. Given this comes out well, I'd like to ask Tom about including it in the senior show. It follows the same concept as my work in senior portfolio but has a more definitive end.

Here is the script:

1. Outdoors (field), daytime, early-mid afternoon:

Hayley (wearing a white dress and a pristine orange paper crown) is lying on her back in the grass with Charlie nestled in the crook of her arm. She is quietly looking around, running her hand over the grass. She stops what she’s doing and turns her head to the left in the direction of the woods as if she’s heard something. Quickly, she sits up and looks around. Seeing and hearing nothing, Hayley lowers her head and talks to Charlie as she pets her. She rests her head in her hand and stares off into the distance. Relaxing, Hayley lies back down on her back and rolls over to her side and closes her eyes. Charlie has wandered off. Hayley pats the grass searching for her. Noticing her absence, she pats the grass as she calls for her. Charlie does not return. Hayley opens her eyes and slightly raises her head and continues to call for her. Still no response. Hayley then rolls onto her back and calls again for Charlie. She continues to lie there and wait impatiently. Charlie does not return. Hayley sits up lazily and pulls on her boots. She stands up and looks around for her on the spot. She walks to the left out of frame.

Hayley beings walking, then skipping, and then running through the field as she calls out to Charlie.

HAYLEY:

Charlie where are you? I’ll find you, little girl.

Hayley begins stomping around like a giant. She continues to frolic through the field, seemingly forgetting about Charlie. As she comes to the threshold of the woods she pauses, brings her hands to her mouth, and calls for Charlie. Waiting for only a brief moment, she beings to walk into woods, picking up speed as she gets closer, as though to break through the threshold into another world.

2. Outdoors (woods), daytime; early-mid afternoon:

As she enters the woods she slows to a walk and calls for Charlie. Hayley continues talking herself through a story, making it up as she crosses logs, creeks and rounds large trees. After much walking and playing and talking to herself, she finds Charlie sniffing around by a creek.

HAYLEY:

There you are! I told you I’d find you, Charlie-girl.

She goes to pick up Charlie. She turns and begins to walk up path that leads out of the woods, carrying Charlie over her shoulder. She hears something and quickly snaps her head around to look behind her. She nervously beings talking to Charlie to fill the silence, eyes closed. She hears the noise again and looks up, panicky. She slowly backs up, turns around and hurries up the path. As she’s walking she hears the noise once again. She puts Charlie down and begins running out of woods. Charlie follows.

Hayley looks behind her, calling for Charlie as she emerges from the woods. Upon turning around (to face the camera) she gasps and comes to a sudden stop. She has come face-to-face with what she’s been hearing in the woods. She slowly closes her eyes as she continues to stand, frozen on the spot.

Screen fades to white.

3. Indoors (bedroom), daytime, mid-late afternoon:

Hayley (now wearing a dark-blue top) rolls over in her bed onto her side, her orange crown-now crumpled-rests on its side on the bed behind her. The audience can now hear what Hayley has been running from. Strained voices can be heard outside her door. She closes her eyes.

Screen fades to white.

4. Outdoors (field), daytime, late afternoon/evening:

Hayley walks away from camera (into the sun), holding Charlie over her shoulder. Camera continues to follow her as she walks, slowly panning up. Hayley’s crown bobs slowly as she walks before it disappears out of frame.

Screen fades to white.

THE END!!!!!!!!!!


The whole thing will be shot in one day with the help of Patrick, who has very graciously offered to drive up to Fairfax for the day on Sunday to help me out. I'd like most of it to take place in the late afternoon so that I can shoot into the sun while still getting a soft, but colorful light. The dialog in the script is rough. I would rather have her talking to herself quietly without the audience really being able to hear what she's saying, but understanding that she's talking herself through these adventures while trying to find her dog.

I'm also shooting a wedding this weekend, so I've been full of nerves this week. Wish me luck! I have a very busy weekend ahead of me!

Monday, April 5, 2010

Artist Blog for 04/05

Children of Men promotional poster, Jaap Buitendijk

Children of Men production image, Jaap Buitendijk

Gladiator, Jaap Buitendijk


Harry Potter and the Half-Blood Prince, Jaap Buitendijk


Even though shooting specifically for my portfolio has slowed, I have to restrain my temptation to rent Where the Wild Things Are for fear that having seen it; I will subconsciously alter something in my work thus far so as to mimic a shot that happened in the film. I am deathly afraid of this. I understand there’s nothing wrong with inspiration, but I don’t trust myself enough to catch unintentional copy work before someone else does. I am, however, interested in how my images may relate to film stills.

Jaap Buitendijk is a film still photographer originally from Holland. After much traveling in his early twenties (where he first picked up a camera and discovered his passion for photography) that he attended Newport School of Art where he studied documentary photography. Buitendijk explored the “apparent contradiction of using documentary skills to record an artificial reality; that of films.” He has worked on numerous big-name films such as Harry Potter and Blood Diamond, as well as smaller production films like The Constant Gardener and Girl With A Pearl Earring.

Buitendijk does a wonderful and effective job capturing the mood of his subjects and seems to do so in his own style; one alternative to how the film itself was shot for theaters. I feel his images are more personal and perhaps less mainstream and therefore can be accepted as a legitimate type of art photography. Or I could just be hoping that the products of one of my dream jobs of being a film still photographer could breach the fine art world. Nonetheless, Buitendijk strongly composes his images, communicating a clear message and garnering a direct response from the audience. I also very much admire his use of light.

While my images aren’t taken on large-production sets, I would consider them to be theatrical and could alternatively be attached to some sort of movie as film stills. Technically, I do not think they are up to par as far as composition and use of focus goes, though, I think my concept is communicated clearly and effectively.

Jaap Buitendijk website


Wednesday, March 31, 2010

Idea Blog for 04/01

Untitled, Photograph, Kerry McDonnell, 2010

Untitled II, Photograph, Kerry McDonnell, 2010


Untitled III, Photograph, Kerry McDonnell, 2010

I had another fashion shoot for Ink last week. This spread focused on clothes designed by fashion majors at VCU, which I wish I had the chance to shoot more often. I think it's wonderful that Ink has chosen to work with these designers and uses resources at VCU instead of the surrounding area. There are plenty of incredibly talented people here! Anyway, I had a lot of fun and enjoyed working with each person on set. There were about 9 of us total (including models). We took these specific shots at the farmer's market but also moved to the slip for a wardrobe change. As I've said before, it's nice to be able to get away from mostly photographing for school work; it's always very refreshing.

For some reason I thought I was supposed to have my meeting with Tom on Tuesday, so this weekend I mostly prepared my binder as well as any questions I had about panel portfolio review and what needed to happen with my work over the rest of the semester. Tomorrow we go to the exhibition space so I'm hoping we'll have time to address such questions there. Anyway, I haven't done much post-production work as I wanted to discuss a few points brought up in my midterm critique, mainly the one about elevating my work out of the "good work" category and what that might entail (the moths, I'm afraid). Part of me really wants to fight my decision not to include them, but as time passes I'm slowly starting to wonder about the possibilities the moths could open up. We'll see. I still feel very strongly about not including them, but perhaps Tom and I can reach a compromise. I'd really hate to feel like I'm being cornered into something. But that all depends on how our discussion goes.

Time is flying by and I'm really starting to anticipate everything we have to do in the next few weeks. I'm really excited to start organizing the show and my final portfolio for review...I really just want to start tying up loose ends! My meeting with Tom cannot come soon enough!

Sunday, March 28, 2010

Artist Blog for 03/29

Samuel From Behind, Photograph, Year/Size unknown, Rodney Smith

The Grass is Greener, Photograph, Year/Size unknown, Rodney Smith

Ocean, Photograph, Year/Size unknown, Rodney Smith


Haystacks, Photograph, Year/Size unknown, Rodney Smith

Rodney Smith studied photography at Yale under Walker Evans before receiving a fellowship, which allowed him to travel to Jerusalem. After publishing a book compiled of images from this journey called “The Land of Light,” Smith was asked to lecture at many prestigious universities, all of which he declined. Instead, Smith found himself “riding slow trains in India, bicycling through the Camarque, strolling the streets of Paris.” Eventually, Smith returned to Yale to earn a degree in Divinity (of all things).

“Today, Rodney is a celebrated photographer with a wonderful breadth of subject matter and feeling. He’s had dozens of shows. Won 75 awards. Is collected by Carnegies, Whitneys and Rockefellars, plus, scads of orchestra and museum patrons and a few enlightened rock stars…His work is represented in every important gallery across the globe…”

There is great mystery about Rodney Smith that one could argue he reveals-and at the same time conceals-in his photography. I enjoy following his hatted friend(s) through woods, fields, over fences and up tall trees-though-I have no idea what he’s up to and how he got there. The narrative and escapist qualities of his work along with the repetition of a man and his hat lead me to believe that this obscure figure is how Smith perceives himself. Or the man he wishes he could be.

I don’t know how I didn’t come across Smith’s work earlier. The parallels that I enjoy drawing between my work and Smith’s is that there is a considerable amount of mystery in our images that both reveal and conceal our intentions or concept not only as photographers and artists, but as who we are mentally and emotionally. Unfortunately, it would’ve been more helpful earlier in the semester to view his work, as I was heavily considering how to vary my own while using the same subject matter repeatedly. Though, fortunately, I am still inspired by his work and can apply to my own in other areas such as composition, lighting, and posing.

I have not mentioned the fashion-esque aspects of Smith’s work; at first fashion was something I was inclined to incorporate into my images, but over time that slowly started to dissolve. Having not considered it in a while, I decided that that wasn’t something I wanted to include in my images. However, I’ve now realized that it is part of my style and I do it somewhat subconsciously. Smith’s work seems much the same. Looking at his work that follows around the man with the hat next to his fashion photography, I can easily observe similarities between the two in much of the same areas as listed above. And, at points, these two bodies of work appear to slip into each other: a clever facet of Smith’s portfolio.


Rodney Smith Portfolio

Rodney Smith Bio

Artnet: Rodney Smith

Thursday, March 25, 2010

Idea Blog for 03/25

Hayley 14, Kerry McDonnell, 2010

Hayley 19, Kerry McDonnell, 2010

Hayley 20, Kerry McDonnell, 2010

Hayley 21, Kerry McDonnell, 2010

Hayley 22, Kerry McDonnell, 2010

Hayley 23, Kerry McDonnell, 2010


Hayley 24, Kerry McDonnell, 2010

Hayley 25, Kerry McDonnell, 2010

So-the very first thing I did the day I got home for spring break was take pictures of my sister! I think it was Arlie that suggested I try photographing in the rain, so that's just what I did! I do like the larger group of images taken in the creek but I'm not sure how they'll function with the rest of my portfolio because the colors and light are much more harsh, as opposed to the atmospheric, diffused light and presence of snow in the majority of my others. Actually, the reason why I included the 3rd to last image was because the white foam in the bottom right looks a lot like snow and I'm considering putting it in another image. That particular image I'm not too crazy about, generally. The first image I think will replace the other like it where she's sitting; I like the language in this one more as I think it has a more specific message.

The 2nd image was taken just before driving back to school. My sister was in the WORST mood that day, and-fortunately for me-it contributed wonderfully to the image. During my midterm critique Chris pointed out that the reason why the snow mound photo was so successful was because the snow acted as something other than itself; it became more than just a snow mound. I tried to achieve that in this image (and I think I did so effectively) with the tree branch and the way the light functions. I guess I kind of see the branch as this claw (masked by the beauty of the sunlight) that is reaching out to steal her away back home. I'm also concerned this photo may be too different from my other images and not fit into my final portfolio.

Anyway, my main concerns at this point are post-production and organization. I have a couple questions that I want to discuss with Tom about what can be-or needs to be- included in our final portfolio as well as artist statements, as I have two different ones for fall and spring. Also, I'm unsure about combining last semester's work with this semester's into one portfolio for panel review.

Anderson Entries




Untitled, Digital print of film photograph, 20x30", Kerry McDonnell, 2009

Images entered to the Anderson (as a diptych) are cross-processed images from last year.

Thursday, March 11, 2010

Visiting Artist, Kerry McDonnell, 03/11

Mandala of the B-Bodhisattva II, hand-carved colored rubber tiles, 16x16', Sanford Biggers, 2000


Sanford Biggers is a sculpture and installation artist currently residing in New York. His work encompasses African spiritualism, Buddhist rituals and urban culture. Through his work, Biggers investigates predominantly cultural/race relations and history. “His works suggest that we transcend divisive social realities through the interconnectedness inherent in our shared affinity for the symbolic and the spiritual.”

I thought his first piece (Mandala of the B-Bodhisattva II) was the most accessible. It incorporates all of the major elements his work is influenced by. The piece is a 16x16 foot hand-carved linoleum mat meant to represent a Mandala. The mat was originally used for a dance competition and was later shown (scuff-marks and all) in several museums where time was allotted for people to dance on it. Biggers made an interesting point that, while the pattern of the mat is referencing a Mandala (used in Buddhist rituals/meditation), the dancers approached the mat as though it were actually a religious or sacred space. Another piece called Constellation was interesting, but required quite a bit of explanation. For this work, Biggers created “star maps” that are actually maps of the Underground Railroad in several large cities; the stars reference the major safe-houses along the way, becoming brighter with each place’s significance.

I have to say I was a little bit lost whilst listening to Biggers’ lecture. He seemed to jump around quite a bit and I found it conceptually difficult to follow. After having gone to the lecture and before reading further about Biggers’ work, I was frankly not entirely sure what to think of it all. I understood the references to urban culture and his Buddhist influence, but I suppose I wasn’t sure what I was supposed to be taking away from his lecture; I suppose his work’s purpose was lost in communication.


Sanford Biggers Website

Sanford Biggers: Office for the Arts at Harvard

Sunday, March 7, 2010

Artist Blog for 03/08

Lower East Side, oil on canvas, 70x74 inches, Inka Essenhigh, 2009

Green Goddess II, oil on canvas, 72x60 inches, Inka Essenhigh, 2009

Molly Waiting in Field, oil on canvas, 72x64 inches, Inka Essenhigh, 2009


Minor Sea Gods of Maine, oil on canvas, 74x68 inches, Ink Essenhigh, 2009

Inka Essenhigh is a painter based in NY. She studied at the Columbus College of Art and Design in Ohio and the School of Visual Arts in New York. Her work has been shown around the world including the Royal Academy in London, the San Francisco Museum of Modern Art, and MOMA New York.

Essenhigh pulls inspiration from oriental art, 19th century caricatures and contemporary comics, among many others. Patricia Ellis describes Essenhigh’s paintings as “both exotic and operatic: envisioning futuristic mythologies frozen in dynamic moments of suspended animation.” What is most interesting about Essenhigh’s work is that it fluctuates between abstraction and representation. The glossy finishes of her more recent paintings create a sense of “hyper-artificiality.” They reference the perfection of 3D animation and virtual reality. Ellis goes on to say: “Inka Essenhigh's paintings overtly celebrate their superficiality, embracing humour, violence and chaos, within their vapid, magnetic allure. Inka Essenhigh conceives her paintings as being quintessentially American; a brand of futurism that's instantly attractive and sublimely infinite.”

Essenhigh’s paintings are immediately attractive. Her use of color and the fluidity of her subject matter is instantly gratifying in that it’s easy on the eyes. I am effortlessly lost in her work, contemplating the multiple possibilities of what direction her tableaux’s will take. Her work seems to reference an invented mythology or legend. However, specific event(s) her work is referencing seems not to matter; her invented mythology seems more of a back-story, letting the beauty of her style speak for itself. I envy Essenhigh’s style and envy her ability to draw attention to her work through her aesthetic. I strive to achieve that in my own work and can appreciate and pull inspiration from Essenhigh’s capability to do so.


Inka Essenhigh Website

Art.com Patricia Ellis excerpt

Wednesday, March 3, 2010

Idea Blog for 03/04

I kind of wanted to wait to do this blog post so I could review the recording of my midterm critique and comment on it, but I suppose I can do that on my own time afterwards, anyway. I don’t really have all that much to say at this point. I suppose I could recap all the supporting research I’ve done, just to have it all in one place. Yeah, I think I’ll do just that.

The crown traditionally represents power, legitimacy, immortality, righteousness, victory, triumph, resurrection, honor, and perfection. It can also be used with irony; worn by jesters, fools and pretenders.

The color orange (in the context of family crests) represents ambition.

Neurosis: Neurosis is the way of avoiding non-being by avoiding being ~Paul Tillich. With the threat of non-being, the Neurotic is often creative in his attempts to deal with it by creating an “imaginary world” for himself.

Neurosis represents a variety of mental disorders in which emotional distress or unconscious conflict is expressed through various physical physiological and mental disturbances, which may include physical symptoms like hysteria. The definitive symptom being anxieties. Neurotic tendencies are common and may manifest themselves as depression, acute or chronic anxiety, obsessive-compulsive tendencies, phobias and even personality disorders such as borderline personality disorder or obsessive-compulsive personality disorder (OCPD).

Simply defined, Neurosis is a “poor ability” to adapt to one’s environment and an inability to change one’s life patterns.

Struggle is what keeps a child from feeling his hopelessness. It lies in overwork, in slaving for high grades, in being the performer. Struggle is the Neurotic’s hope of being loved. Instead of being himself, he struggles to become another version of himself. Sooner or later the child comes to believe that this version is the real him. The ‘act’ is no longer voluntary and conscious; it is automatic and unconscious. It is neurotic. ~Dr. Arthur Janov, Neurosis

Symptoms of OCPD are anxieties, obsession of cleanliness and organization, perfectionism, rigid moral or ethical values and disinhibition (A term in psychology used to describe a lack of restraint manifested in several ways, including disregard for social conventions, impulsivity, and poor risk assessment. Disinhibition affects motor, instinctual, emotional, cognitive and perceptual aspects.)

Now, to explain all this: My dad suffers from OCPD and I’m convinced (though haven’t been diagnosed, and for that matter I don’t think I need to be—I see enough of myself in him to just know) that I suffer from it as well. The crown is the perfect metaphor for the versions of herself my sister is assuming, not to mention that it sits on the head, thus acknowledging the mental disorder (OCPD) and their connection to perfection or perfectionism. The symbolism of the color orange also relates to form(s) of neurosis or the Neurotic in that it stands for an ambition to become something greater: a bigger, better self. Consequently, the person taking on these other selves is so they can escape the life they belong to realistically; reconstructing things they’ve been denied as who they really are as how they wish they could-or should-be. In my attempts to escape the issues at home, (I) Hayley has physically and mentally removed herself from her home and family. In a sense, she is allowing herself to exist in her own mind.

I think that covers everything! I hope that all makes sense.

Sunday, February 28, 2010

Artist Blog for 03/01

Untitled (verso), 19x48 inches, Watercolor and pencil on paper, Henry Darger

Untitled (They are taken to camp on a long wagon-like truck), 19x48 inches, Watercolor and pencil on paper, Henry Darger

Untitled (At Cedemine, they are treacherously attacked...) verso, 19x46 inches, Watercolor and pencil on paper, Henry Darger


At Cedemine, they are treacherously attacked, 19x46 inches, Watercolor and pencil on paper, Henry Darger

Henry Darger was born April 12(?), 1892 in Chicago. At the death of Henry’s father in 1905, Darger was institutionalized with the diagnosis that “little Henry’s heart is not in the right place.” A series of escapes ended successfully in 1908. Eventually, Darger found menial employment as a janitor in a Catholic hospital where he remained until his retirement. Darger lived a solitary, reclusive life whose patterns seemed to vary little; he attended Catholic mass every day up to 5 times a day and collected a baffling array of trash from the streets. Darger settled into his 2nd floor apartment in the Lincoln Park area of Chicago where his novel The Story of the Vivian Girls, in What is Known as the Realms of the Unreal, of the Glandeco-Angelinnian War Storm, Caused by the Child Slave Rebellion, and accompanying images were conceived and produced.

His novel consists of 15, densely-typed volumes of 15,145 total pages. “The text is accompanied by three bound volumes of several hundred illustrations, scroll-like watercolor paintings on paper, the work of six decades, derived from magazines and coloring books.” His figures were derived from these, having either been collaged together or traced. Some of his favorite figures were the Coppertone Girl and Little Annie Rooney. His work encompasses themes such as good versus evil, in which the Vivian Girls are seen as martyrs. The epic scale of his collages is suitable to the length of his novel and seems only appropriate so that they may portray the immense detail of his words. Here is a quick synopsis of his book:

In the Realms of the Unreal postulates a large planet around which Earth orbits as a moon and where most people are Christian (mostly Catholic). The majority of the story concerns the adventures of the daughters of Robert Vivian, seven sisters who are princesses of the Christian nation of Abbieannia and who assist a daring rebellion against the evil John Manley's regime of child slavery imposed by the Glandelinians. Children take up arms in their own defense and are often slain in battle or viciously tortured by the Glandelinian overlords. The elaborate mythology also includes a species called the "Blengigomeneans" (or Blengins for short), gigantic winged beings with curved horns who occasionally take human or part-human form, even disguising themselves as children. They are usually (but not always) benevolent; some Blengins are extremely suspicious of all humans, due to Glandelinian atrocities.

In The Realms of the Unreal, the "assassination of the child labor rebel Annie Aronburg... was the most shocking child murder ever caused by the Glandelinian Government," and was the cause of the war. Through their sufferings, valiant deeds and exemplary holiness, the Vivian Girls are hoped to be able to help bring about a triumph of Christianity. Darger provided two endings to the story: In one, the Vivian Girls and Christianity are triumphant; in the other, they are defeated and the godless Glandelinians reign.

His work is considered outsider art, and is praised for his composition and use of color in his watercolors. Dargerism is a term used by artists and the media alike to describe the academically trained artists whom have looked to Darger (and other self-taught artists) for inspiration, thus freeing themselves to think in their own idiosyncratic terms, perhaps in defiance of how they were taught. An exhibition titled Dargerism: Contemporary Artists and Henry Darger “demonstrates Darger’s “pervasive influence on the contemporary art discourse and how an examination of the work of self-taught artists is essential for a full understanding of art history. By leaning into the boundaries of the Western canon, “Dargerism” illustrates how one self-taught master has spawned a new movement, a wholly new ‘ism.’”

Other, Larger images can be found here

Wednesday, February 24, 2010

Idea Blog for 02/25

Hayley 12, Kerry McDonnell, 2010

Hayley 13, Kerry McDonnell, 2010

Hayley 14, Kerry McDonnell, 2010

Hayley 15, Kerry McDonnell, 2010

Hayley 16, Kerry McDonnell, 2010

Hayley 17, Kerry McDonnell, 2010


Hayley 18, Kerry McDonnell, 2010

This weekend I’ll be going to the Lewis Ginter Botanical Gardens to shoot my sister as Tom suggested I use this place as a possible transition from winter to spring in my final images. I’m pretty excited; I’ve never been there before and from what I’ve heard from several people the place is gorgeous. So, I’m really looking forward to shooting there. I went home again this past weekend and shot. As I mentioned in my last critique blog, Tom recommended that I try pulling back and shooting at a wider angle so that I can really start to experiment with composition. I tried this over the weekend and had a few images turn out well. I tried something a little different with a couple shots where Hayley was more interactive with the crown. Anyway, these along with any images from this weekend at the botanical garden will be posted on the critique blog as well. Just a preview for now :)

I chose not to include the moth in these images. The more and more I shoot them the less pleased I am with the final images. They worked effectively last semester, but this work is different in its layout/presentation and the moth just does not have the same effect. I’ve also had people suggest using other props (swords/wands/shields) along with or in place of the crown. I explained in my critique blog that I think the crown is the perfect metaphor for the different versions of herself that Hayley is assuming as well as its connection to perfection/perfectionism. I also explained that I’m using the crown’s color (orange) as it represents ambition. Including these other elements-along with the moth-has the possibility to demerit my work and perhaps even water-down and distract from my concept. While shooting with other props isn’t something to rule out immediately, especially when I haven’t tried it yet, I am not feeling convinced by any of it AT ALL. I’d hate to put my name on something which I’m not happy with or proud of and would regret doing so if that were the case. I didn’t get many responses on my critique blog so I’ll post the questions again here:


What do you think of including other hand-made objects in place of, or accompanying, the crown?

Should the crown stay the same color (orange)?

Does Hayley always need to be wearing it?

Is it important to see it in every image?

Is the Where the Wild Things Are reference distracting?

Is it necessary the moths are included? What do you think of the images where it is included?

Lastly, what do you think of the images above?


02/18 Critique Blog Individual Meeting