Bridge 1: Reflection PPJ

    • How did you choose the images that you visualized?

    I chose my photographs based on their structural balance and visual impact. I picked the first and second images because they fit to my theme clearly and cohesively. Then, I picked third and fourth photos in the way they create a story that follows the previous images. I chose my last photo to be conclusive, as well as connecting the whole story to the beginning in a circular manner.

    • How did you choose the medium you selected for each piece?

    Above all, I wanted to feel comfortable with the medium. I also wanted to be allowed the space to fail what I initially planned, and keep pushing through in a quick pace until I get satisfying results. Since digital photography allows for countless attempts and fast motions, I decided to use digital photography.

    • How did you choose how to present the work?

    I made a sequence with the five final images I chose, in the way they connect to one another smoothly, as well as circularly, so that the photos create as one whole, cohesive plot.

    • How did you choose to connect/ or not connect the pieces to each other?

    The first and the second photographs closely connect to one another both conceptually and physically, because they share the same elements—ivory wall, half-covered red handwritten words about revolution and resistance, parts of someone’s torso and arms. And the words on the wall connect and phrase meanings together. The third photo functions as a transition between the second and the fourth pieces. While featuring the same model from the previous images, it shows a more encompassing image of the model, and gives the context of the fourth photo. The chair at which the model is looking is the context for the next image. The fifth photo goes back to the initial imagery of the series. But it captures different parts of the model’s body, and includes eye patches. This last photo connects back to the first photo. I focused more on the circular motion of time rather than the linear time as the plot.

    • How did you feel (felt sense & emotional narrative) about presenting your writing – note keeping?

    I felt comfortable presenting my written thoughts because they’re essential to the story of my creative process. I was excited to share my emotional narrative even more than my final visuals in a way, because I was more involved in the thinking process whereas my final photographs weren’t very satisfying.

    • How did you feel (felt sense & emotional narrative) about showing your work?

    I felt okay because I wasn’t too fond of my photographs. Due to the complex process of reaching the visualizing stage, I wasn’t fully sure of what I wanted to capture. And such uncertainty affected my confidence negatively.

    • How did it feel to have the DAI happen with you present?

    It was very interesting to see how people talk about my pieces. I expected the analysis part to be most interesting, and it was so as I expected. I was thrilled to hear people’s own narratives that did not even occur to my mind when I took, selected, and presented my photographs.

    • What changes would you make to the work if you have to do another iteration?

    I’d like to have another photoshoot with more detailed storyboard on my side. I’d like to redo the styles that I like and improve them, while trying out different angles and models. I’d also like to start out with five questions instead of one so that my pieces are more independent from one another.

    • If there was something that you could have shared with your viewers to bring additional context or understanding, what would it be?

    The writing in red on the wall is about revolution and resistance: Our strategy should be not only to confront empire but to lay siege to it. To deprive it of oxygen. To shame it. To mock it. With out art, our music, our literature, our stubbornness, our joy, our brilliance, our sheer relentlessness—and our ability to tell our own stories.

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