Banner Assignment

This banner explores the interplay between simplicity, context, and meaning through the statement: “The Piece Begins and Ends in a Simple Sentence.” It is photographed in four distinct locations-an abandoned building, an abandoned school, a church, and a library -each adding unique layers of meaning to the statement. In the abandoned building, the sentence takes on a haunting tone, reflecting forgotten narratives hidden within its deteriorating structure. The stark simplicity of the phrase contrasts with the building’s decay, evoking a sense of untold or abandoned stories. At the abandoned school, captured in video format, the setting resonates as a place once defined by beginnings-where knowledge was cultivated-now left empty. This juxtaposition amplifies the theme of endings, reinforcing the cyclical nature of the statement. Displayed outside a church, the banner invokes themes of faith, purpose, and existential cycles. Beginnings and endings are deeply rooted in religious teachings, and the phrase serves as a meditative focal point for reflection on life’s transitions. Finally, when hung in front of the library, the banner reflects its phrase in a literal sense. Libraries, as repositories of words and knowledge, are symbolically reduced to a singular essence: holding words. The banner invites viewers to consider the relationship between complexity and simplicity in the pursuit of meaning. Overall, I enjoyed discovering and experimenting with locations that could infuse the banner with new interpretations, demonstrating how context profoundly shapes meaning.

Internet Videos: POVs

Neil Postman : Amusing Ourselves to Death

• Computerized and digital era turning public life into entertainment 
• Overwhelmed with information glut because of bottomless appetite for TV and everything meaningful will become meaningless
• College kids have the ability to understand if this book is still relevant today 
• No more ability to sit by oneself to think without the need for digital distraction
• Desensitisation of news outlets because of the need for sequenced information ex. Global warming followed up by a cheerful news anchor talking about moving on to the next segment which may not hold the same value as the very serious story discussed before. (the sequence is random which associated with incoherent/psychotic)
• In a professor’s class of 25, 23 will write papers about the information in this book and two would be uninterested in it 
• Students disagree and are defensive over negativity on TV presented in this book. TV was seen as a “parent” and an important part if their culture
• Amusing ourselves to death is a call to action
• Since the book came out; news consumption in young down, network and entertainment are mashed together
• This led to Jon Stewart’s valid point: “that serious news and show business ought to be distinguishable, for the sake of public discourse and the republic”. 
• Communities collapsing: people not participating in club meetings often, families reduced sit down dinners, friends don’t come over as often/ know their neighbors
• Computers “necessary” for school with administrators pushing this notion
• Average 4.5 hour TV day in America
• The book prompts insightful questions such as ‘what happens when we become infatuated with technology?’ and ‘does free time imprison us?’
• Postman was not pessimistic, assessed technology in a way that was cautious to open future surprises not necessarily to condemn it
• The book was “ahead of its time” with the information resonating more so now then earlier decades
• 1985 ABC Nightline Postmans discusses how TV’s focus on brevity and feel-good content undermines meaningful discourse
•  Different american cities have symbolized cultural and historical shifts ex Boston 18th century:Political radicalism
• Las Vegas= society where public discourse becomes entertainment ex. Politics, religion, news education have been transformed into show business
• Entertainment has impacted politics and leadership with politicians focused on their performance not ideology 
• Media prioritizes visual appeal: candidates with less visual charm are not considered. Cosmetics and image management have replaced substance
• Several other things have now been shaped by entertainment such as journalism and business
• Cultural decline with public being dominated by entertainment values
• Media shapes content ex. Smoke signals cannot support philosophical discourse
• News of the day is a product of technology
• Decline in print culture has reshaped politics, religion, education, and public discourse  with television emphasizing entertainments, ultimately transforming the content and meaning of cultural conversations
• Book was influenced by McLuhan’s concept: “the medium is the message” and ancient sources such as the Bible’s second commandment, which prohibits graven images
• Suggests media forms influence cultural and intellectual life
• Speech and language structure influence worldviews 
• Media as cultural shapes: writing shifted from auditory to visual language processing which enabled abstract thinking/critical analysis. 
• Clocks redefined time: detachment of time from nature and human events and promoted efficiency, diminishing timeless viewpoints
• Media functions as metaphors and frame how we see reality with clocks suggesting time is a measurable sequence. Writing reimagines the mind as a tablet, the telegraph transforms news into a commodity
• Tools shape understanding of bodies, minds and intelligence ex terms like biological clock derive from tool-based metaphors
• Intelligence quantified (ex. IQ) because of tools that imply measurability  

1. Are some of these ideas from more than 40 years ago applicable to our own historical moment?

Quote for discussion: “how the image is undermining other forms of communication, particularly the written word; and how our bottomless appetite for TV will make content so abundantly available, context be damned, that we’ll be overwhelmed by “information glut” until what is truly meaningful is lost and we no longer care what we’ve lost as long as we’re being amused.”

Yes, the information provided by Postman remains highly relevant today. He critiques the shift in public discourse driven by entertainment, where individuals no longer prioritize the meaning behind information. Instead, the constant consumption of media has made everything seem meaningless. With the rise of social media platforms such as TikTok, attention spans have been further impacted, as we now rapidly consume short videos on a variety of topics within minutes. This aligns with Postman’s notion of society’s “bottomless appetite for entertainment.” Moreover, news outlets often overwhelm viewers with a fast-paced flow of content, desensitizing them to important issues. Postman illustrates this with examples of a news station discussing a serious topic such as climate change and then abruptly switching to a lighter, less significant topic, preventing viewers from processing the information. This approach reflects the challenge of digesting information when entertainment-driven formats dominate. Postman’s critique of the prioritization of entertainment over information is even more relevant today, as algorithms on social media and news platforms now push sensational content to capture attention, further blurring the line between meaningful discourse and mindless consumption. 

2. Did Neil Postman predict the age of television/video media personalities in positions of great power? 

Quote for discussion: “Our politics, religion, news, athletics, education and commerce have been transformed into congenial adjuncts of show business, largely without protest or even much popular notice.”

Postman accurately predicted the rise of media personalities assuming powerful roles in society. He critiques the transformation of public figures into entertainers, where charisma and the ability to perform for the camera are valued more than competence and experience. In today’s political climate, particularly in the United States, politics has increasingly become a form of entertainment. This is evident in events such as Donald Trump’s rallies, where the focus is often on entertaining the crowd rather than providing substantive policy discussions. The emphasis on spectacle over meaningful content reflects Postman’s concerns about the growing dominance of entertainment in areas traditionally driven by expertise and informed discourse. 

3. How does he argue that the overflow of accessible, 24/7 information and entertainment make us less wise, healthy, and safe?

Quote for discussion: “Prior to the age of telegraphy, the information-action ratio was sufficiently close so that most people had a sense of being able to control some of the contingencies in their lives. What people knew about had action-value. In the information world created by telegraphy, this sense of potency was lost, precisely because the whole world became the context for news. Every- thing became everyone’s business. For the first time, we were sent information which answered no question we had asked, and which, in any case, did not permit the right of reply.”

Postman discusses how the overwhelming amount of media, often filled with trivial and fragmented information, diminishes individuals’ ability to engage in critical thinking. This leads to shallow engagement with content, where television, for example, prioritizes image over substance, distracting viewers from serious issues. People are entertained by what they see, but they are not truly informed. As a result, the constant stream of content leaves individuals ill-prepared to tackle societal challenges or make informed decisions. Reading ahead, Postman also explores the concept of the “information-action ratio,” explaining how media makes everything feel like everyone’s business, even when we have not asked for it. This idea, though unsettling, is highly relevant today, as algorithms interact to curate personalized feeds that cater to our tastes without us needing to take action. The line between what is private and what is public is increasingly blurred, creating a sense of constant exposure. 

4. How might these ideas influence how you think about the effects of video culture in our own time? 

The information in this book has led me to reflect on the negative effects of video culture. WHile it provides a platform for collective communication and creativity, it often results in oversimplified content being consumed at a rapid pace, which in turn reduces our attention spans. Personally, I have been reflecting on how much my media consumption in my spare time has contributed to my own reduced attention span. After reading this, I am more aware of these effects and am actively making an effort to counteract them by choosing to read more whenever I feel the urge to pick up my phone and “doom scroll.”

AGO Art Trip

The Culture: Hip Hop and Contemporary Art in the 21st Century was an incredible exhibition at the Art Gallery of Ontario (AGO). The diversity of artistic styles and mediums showcased in the exhibition was striking, yet the pieces complemented each other seamlessly, creating a cohesive and thought-provoking experience. Among the many works on display, four pieces stood out to me:  Nation, Live Culture Force 1’s, DJ Screw in Heaven, and Don’t Talk To Me About No Significance Of Art. Nation, created by Deana Lawson in 2018, is a pigment-based inkjet print collage that delivers a powerful visual statement. The piece depicts two men seated on a couch, gazing directly at the viewer. The man on the right has his mouth held open by a dental tool called a cheek retractor. In the upper right corner, an image of George Washington’s dentures is included- a chilling reference to the brutal history of American Slavery, as Washington’s dentures were made using teeth taken from enslaved Black people. This work forces viewers to confront the uncomfortable reality of how historical figures like Washington continue to be glorified despite their deeply troubling legacies. Another standout piece was Live Culture Force 1’s by Aaron Fowler (2022), which was constructed from recycled materials in honour of the artist’s late brother. The sheer scale of this piece was breathtaking, and the effort behind sourcing and assembling the materials was evident in its meticulous craftsmanship. DJ Screw in Heaven by El Franco Lee II (2008) also caught my attention. Created using acrylic and vinyl record on canvas, this piece serves as a tribute to the legendary DJ Screw. The artist’s comic book-inspired style adds a dynamic and engaging element, drawing the viewer into the scene and reinforcing DJ Screw’s large influence on hip-hop culture. The final piece that resonated with me was  Don’t Talk To Me About No Significance Of Art by Shirt (2021), an inkjet print on canvas. This work stood out for its bold use of text, directly questioning the authority that determines what qualifies as “significant” art. Shirt based this piece on a 1922 issue of the experimental arts journal Manuscripts (MSS), a publication that featured debates on art and photography. By responding to this historical discourse through a text-based artwork, Shirt challenges conventional artistic hierarchies, particularly regarding rap music’s place in the art world. Overall, this exhibition was both visually and intellectually stimulating, showcasing how hip-hop continues to shape contemporary art in profound ways. I thoroughly enjoyed it and look forward to exploring future AGO exhibitions.   

Internet Video Project: Rage Quit

This internet video art piece explores video game streamer culture, specifically the phenomenon of “rage quitting.” Rage quitting occurs when a player, frustrated— often by having to restart a level or other in-game setbacks— reacts with anger, sometimes violently. The video begins with mild expressions of frustration, such as swearing or lightly hitting a table, and progressively escalates to extreme outbursts, where gamers destroy expensive equipment in fits of rage. The piece is structured in a four-screen layout to heighten the sense of overstimulation. This format prevents the viewer from focusing on a single screen, creating a chaotic and immersive experience. The videos are also in constant flux, further intensifying the overwhelming effect. A striking aspect of the piece is that every individual featured is male or male-presenting. Watching these men erupt in destructive anger-breaking not only their gaming setups but sometimes even harming themselves-becomes both unsettling and difficult to ignore. In this context, the work serves as a commentary on male rage, particularly in the current political climate, where discussions around masculinity and aggression continue to evolve.

Response to Esais’s Internet Video:

The video’s cyclical structure mirrors the act of breathing, alternating between disembodied breath sounds on a black screen and fragmented footage of individuals inhaling and exhaling. This repetition highlights both the presence of the body and the shared nature of breath. Breath has been a recurring theme in art, explored by various artists. This work, for example, recalls Bill Viola’s The Passing (1991), where breath serves as a bridge between life and death. It also shares elements with Marina Abramovic’s Breathing In/Breathing Out (1977), which explores the intense intimacy of shared respiration. In a similar way, this piece connects the personal and the collective-while the black screen and layered voices create an intimate and individualized experience, the introduction of fragmented video clips transforms it into something shared and universal.

Beginning with a black screen and isolated breathing immerses the viewer gradually, forcing them to listen attentively to the rhythmic, intimate, and sometimes uncomfortable qualities of breath before linking it to a physical body. The shift to human figures makes the act of breathing more tangible, yet when presented on-screen, it also takes on a performative quality. The editing reinforces this theme of “universal breath,” balancing intimacy and emotion with the physicality of breathing. The transitions between clips feel smooth rather than jarring, and the variety of shots some close-ups of mouths, others showing full bodies adds depth to the experience. By presenting breath from multiple perspectives, the video allows the viewer to consider it both as a personal, bodily function and as a broader, collective act.

One question that arises is what aspect of internet culture is being referenced. The emphasis on isolated sounds makes me wonder if the piece is drawing from ASMR culture, which similarly heightens awareness of specific bodily noises. However, if you intended a different connection, I would be curious to know what other influences were at play.

My Crops Are Dying But My Body Persists:

After watching Bridget Moser’s My Crops Are Dying But My Body Persists and reading Charlene Lau’s commentary in Artforum, it becomes evident that Moser appropriates various tropes from internet culture. She draws on ASMR trends, incorporating common elements such as handling a rubber or silicone mouth while wearing gloves and speaking in an exaggeratedly sultry voice – distinctive elements of the genre. Additionally, her use of soft pink tones, a minimalist interior, and a centered camera framing her in silky pajamas amid rose-colored decor evokes the aesthetics of influencer culture, particularly “get ready with me” videos. However, rather than creating an atmosphere of relaxation or aspirational beauty, Moser subverts these tropes. She contorts herself uncomfortably on the couch, moving and touching it in a way that Lau interprets as an attempt to “feel something” in a world where intimacy and connection were already elusive even before the pandemic (Lau, 2020).

Moser also critiques whiteness throughout the video, notably in a sequence where she handles white bread and sticks bandages onto it-a moment Lau describes as a “sly joke on white fragility” (Lau, 2020). At the same time, she ridicules the grotesque self-exposure of whiteness while examining the performative nature of guilt and activism. This is especially apparent in her re-creation of Robbie Williams’ Rock DJ music video, where she dons a skinless muscle suit as a robotic text-to-speech voice declares, “The antidote to guilt is action.”

Physically, the video provokes discomfort. Moser’s sensual interactions with objects-stroking a couch, caressing a skull with a prophylactic glove filled with baked beans- made me feel both amusement and unease. Her ability to take familiar internet comfort genres, such as ASMR and influencer-style videos, and strip them of their intended soothing effect is striking. Lau characterizes Moser’s work as “parodies of ‘haute’ consumerist taste” (Lau, 2020), exposing the artifice behind luxury aesthetics and revealing them as little more than carefully orchestrated illusions.

Lau, C. K. (2020, September 1). Bridget Moser. Artforum.

https://www.artforum.com/events/bridget-moser-247483

Parent Video Brain Storm:

Archival footage

– videos of me and my sister dancing: use dads composed music?

– videos of us playing the piano: overlay this with fathers music? Him performing on stage?

• Youtube channel: recreate my fathers videos such as his performances, or his acting videos

Teach:

• Have my mother be taught by my father how to draw
• Have my mother teach my father how to cook a portuguese dish
• have myself follow one of his how to art videos without seeing what he is doing

Stories:

• Something to do with my mothers immigration story
• My grandmother as an artist, my father as an art teacher, me as an art student and make a connection? Videos of our art trying to reveal similarities

Fathers medical scare (Cancer) and surgery

• Archival footage during that time (40th birthday, playing etch)
• Mouthing words?
• Involve sister somehow (include her as an “audience” watching)

Parent Video: A Note For My Younger Self

https://drive.google.com/file/d/1XNlcBEbydY9pU91EGJeV-1g0QpTLFcg5/view?usp=sharing

This video features a voice recording of my father recounting his experience with a medical scare and resulting surgery– a story that, until now, was largely hidden from me and my sibling. I was too young at the time to fully understand what was happening, and this recording marks the first time I have heard his full account. In the video, I sit still at the center of the frame, lip-syncing to my fathers words– as if his voice is coming through my body. I act both as a vessel for his story and a stand-in for his presence. At the same time, archival footage of my father, sister, and me playing and laughing together is projected over my face. The footage shows us happy and unaware of what my father was going through. In a way, it feels like I am speaking to our younger selves– still playing, still unaware. Within this footage, there are small, fleeting moments– like a glimpse of my father’s bandage on his arm as he reaches across the frame to tickle us. This detail feels like a quiet confession, revealing the truth in subtle ways, even though it was never spoken aloud. The difference between my father’s calm narration and the innocent archival footage highlights the gap between what we remember, what was kept  hidden, and what we absorbed without realizing. Overall, this video piece shows how both archival footage and the body can work together to release stories that have been hidden or left unspoken. Once the full story is known, the footage itself begins to change– shifting from something purely happy, fun, and blissful to something subtly marked by my father’s hidden pain. 

Tattoo brain storm:

Shoe prints walking along back turns into a sculpture when placed feet on parts of body

Tape

Door (different doors) open or some doors open some doors closed

Tattoo bra straps 

Tattoos: Bra Straps

For this project, I created temporary tattoos of my own bra straps, inviting people to apply them to their bodies however they chose– some matched the colours, some mixed them up, and others chose to wear just one. It was a playful and participatory piece, but also deeply personal. Seeing people of all identities walking around with what is often considered a private part of my daily wear was both strange but impactful. The tattoos looked surprisingly real, creating the illusion that participants were actually wearing bra straps. That realism, combined with public visibility, turned the piece into a subtle act of protest. Visible bra straps are often judged and linked to words such as “slutty,” “trashy,” or scandalous.” This project reclaims that visibility, questions those labels, and challenges the way everyday parts of femme-presenting bodies are policed.

Book Stacks

The three book stacks I created are titled Migrations, Possessive Desires, and Into Being. Through experimenting with different combinations of book titles, I created three distinct poems, each reflecting a unique theme. 

Migrations:

The first stack, Migrations, is composed of Migrations and All the Birds in the Sky. The word “migrations” refers to movement and transition from one place to another. Paired with All the Birds in the Sky, the stack can be read literally, evoking the seasonal migrations of birds flying through the sky, or metaphorically, suggesting freedom, change, and new possibilities. Together, these titles express the idea of freedom in movement and future potential. 

Possessive Desires:

The second stack, Possessive Desires, is made up of Possession, A Certain Hunger, and Never Let Me Go. Possession conveys notions of ownership and control, while A certain Hunger hints at deep desire and longing. Never Let Me Go implies an intense need to hold on tightly. Combined, these titles create a powerful image of obsessive love and desire, reflecting the darker, possessive side of relationships. 

Into Being:

The final stack, Into Being, includes A Breath of Life, Body, and You Are Here. A Breath of Life symbolizes the act of coming into existence, while Body refers to the physical nature of existing. You Are Here suggests presence in a specific space. Together, these titles explore the experience of being–focusing on the connection between the physical body and the immediate, present moment.   

The composition of the photographed book stacks was also carefully considered. All three stacks were photographed against a blank background to ensure that the focus remained solely on the books. The stacks were placed on a wooden table, evoking a homely, familiar environment. In each image, the books are stacked alongside others with their spines turned inward, drawing attention to the outward-facing spines of the selected titles. 

This arrangement was intentional, creating the impression of a bookshelf or a bedside table. The idea was to make it seem as though the books were left in this order waiting to be discovered in an intimate unknown space. This setting aligns with the fact that the books were taken from my personal collection, and the deliberate composition was meant to convey this intimate environment. 

In the final photograph, the books are stacked vertically, allowing the titles to be read fluidly. This decision was necessary because the last book’s title, You Are Here, was printed vertically, while the others were printed horizontally. Stacking the books vertically ensured that the titles could be read seamlessly. 

Environmental Video Ideas

Initial Ideas:

• Honey attracts ants etc (mask? bear?) flip in nature (the insects are eating the predator) fast track to the cycle of life. GLOVES AND SHOES no need to get stung by wasp
• Blending into nature (bury body parts)
• Teaching trees (call and answer)- artist easel with chalk board, pointer
• I am a tree (wearing a sign that says it (around the neck) and standing in different parts of the forest- wearing an outfit that has nothing to do w anythings) mimic sounds and movements

Further Brain Storm After Presented Ideas to Class:

In camera visual effects: shoot film then reverse it.

Cuts in video, 

Transformative power of nature

• Person appears and disappears 

People walking into a space, crouch then jump, blank shot of woods in back, drop back down w changed clothes 

Someone hides behind a tree with a pile of leaves, runs behind a tree, quick cut, someone gathers leaves and throws them. Two separate shots: one running. One holding and throwing leaves. 

Frenetic music?, very suddenly it cuts 

Rough Story Board:

Outfits:

• colour coordinated to the element

Blue= Water, Red= Fire, White= Air, Black/Grey= Earth

FINAL IDEA:

Concept: To evoke the classical elements of nature- earth, fire, water, and air- by exploring their connection to the “transformative power of nature.” This project will emphasize how these elements shape and change both the natural world and human experience.

• after further discussion, decided on doing basic in camera editing to give video a “DIY” feel
• building off of our first story board (Air) to make a couple more videos in the same manner as discussed further in class

SHOOTING:

• the tree stump (as photographed)
• a large tree
• an open field
• the bridge/ body of water

However, the voice of locations may need to be adjusted depending on how the video shoot unfolds or if challenges arise with a selected site. It is essential to remain flexible and responsive during filming, as only by being present in the moment can determine if a particular location is suitable or not.

MOCA/Biennial of Art Write Up

Although I could not attend the class trip on the scheduled date, I made a point to visit the Museum Of Contemporary Art (MOCA) and the Toronto Biennial of Art on my own time. Even though I live in Toronto, this was my first time visiting MOCA. The museum’s three levels were impressive, but I was especially fascinated by the third floor, which featured work of artist Tishan Hsu. His exhibit, Interface Remix, explores the intersection of technology– such as artificial intelligence– and the human body, creating art that feels unsettling to look at. One piece that particularly caught my attention was on the far left wall, centered in the space. The canvas appeared almost as though it was wrapped in skin, with strange, circular, two-dimensional mounds that seemed to protrude from the surface in uniform rows, resembling skin tags. Some areas of the image on the canvas were distorted, while others were replaced by features resembling human arms, mouths, and other mysterious orifices. The neutral and cohesive colour palette enhanced the eerie effect, while the distortions made the piece appear as though it were alive, adding to its dynamic and unsettling quality.

At the Toronto Biennial of Art on Lisgar Street, two pieces stood out to me. The first was a video work titled Filiacion abono (Dung kinship) by Naomi Rincon Gallardo. I was struck by the creative use of materials in the costumes, particularly a snake-like character whose headpiece was made from scraps of metal twisted into a coiled form. The DIY quality of the filming and editing reminded me of making videos as a child, adding a nostalgic charm to the piece. The second piece was Threatened (Birds in Canada) by Maria Ezcurra, a striking drawing and painting installation that took up all four walls of the room it was exhibited in. The walls were completely covered with images of Canadian bird species at risk of extinction. The beauty of the artist’s rendering of the birds, juxtaposed with their endangered status, made a powerful statement about the environmental threats they face due to human activity.

Overall, I thoroughly enjoyed exploring both exhibitions, and I look forward to returning for future shows!

ENVIRONMENTAL VIDEO: ELEMENTS

The video art piece Elements explores the classical elements of nature– earth, fire, water, and air– through colour coordinated outfits: blue for water, red for fire, white for air, and black/grey for earth. This project delves into the “transformative power of nature” highlighting how these representations of these classical elements evoke their own individual essence and their influence on both the natural world and human experience.  

Each video in the series corresponds to a specific element. For example, the first video represents fire, depicted through the repeated action of a kneeling figure (myself) attempting to ignite a tree stump by rubbing a stick between my hands to create friction. My ginger hair, resembling flames, is juxtaposed against the stark colours of the autumn background. I wear a red and orange gingham dress, further emphasizing the fire element, while my hair obscures my face, adding an element of mystery. The scene is framed in a medium shot, and the video loops continuously, reinforcing the persistence and intensity of the action. This repetition demonstrates the transformative power of nature, as it reflects the relentless and dynamic forces that fire symbolizes– its ability to both create and destroy. Through this, the video captures the cyclical, untamed essence of natural forces and their impact on the world. 

The second video represents earth and is conveyed through the repeated action of two figures (myself and Kat) jumping out of the camera’s frame, only to transform into rocks as we “land.” The video is reversed and looped, creating a continuous cycle where we shift from rocks to humans and back again. Both of us wear black, symbolizing the dark, rich tones of soil, further connecting us to the element. The scene is framed as a close shot, focusing solely on our shins and feet, emphasizing the grounding nature of earth. Similar to the first video, the framing in this obscures the identities of the two figures, enhancing the sense of mystery around who they are. This deliberate choice adds to the enigmatic quality of the work, allowing the focus to remain on the transformation itself rather than on the individuals involved. This video demonstrates the transformative power of nature by illustrating the constant process of regeneration and decay that defines earth’s life cycle. It emphasizes the deep connection between living beings and the earth, showing how we emerge from it and eventually return to it in an endless, transformative loop. 

The third video represents water and is depicted through the figure (myself) scooping water from a fountain and pouring it over my head, standing as if integrated with the fountain’s sprayers. This gesture plays on a continuous loop and is filmed in two long shots: one capturing the act of scooping and the other of pouring water on my head. The use of long shots ensures that the figure’s identity remains secondary, allowing the action to take center stage. This video demonstrates the transformative power of nature by symbolizing water’s constant flow and renewal– its ability to both cleanse and change, mirroring the cyclical and transformative processes of nature itself.  

The final video represents air, depicted through a figure (myself) running behind a tree and transforming into a flurry of leaves. The leaves then reverse back behind the tree, and the figure reappears, walking away. This sequence is looped continuously, with the figure dressed in white to emphasize the connection to air. The scene is framed in a long shot, similar to the second video, which helps conceal the figure’s identity and enhances the ethereal quality of the transformation. This video demonstrates the transformative power of nature by capturing the elusive, ever-changing nature of air– its ability to shift forms and move freely.

Overall, I thoroughly enjoyed this project. It was exciting to face challenges in the filming environment, as they pushed me and my group member (Kat) to think creatively and find effective solutions. We explored different filming locations and adapted our original concepts to enhance the final outcome. Working in a real outdoor setting provided a valuable experience, especially in navigating the unpredictability of weather and lighting. These conditions were great practice for adjusting lighting on the fly, helping me develop my skills further. This experience has sparked my enthusiasm for video art, and I would definitely love to pursue more video art projects in the future! 

Book Project Ideas

Sex with out being pornographic (convey feelings of intimacy with out inherent)

• Hand passing blunt to lips of another person (one full page)
• Grapefruit cut in half and place in front of private area 
• Bare knees side by side
• Rumpled bed covers and sheets 
• Peeling fruit 
• Feeding a person
• A light in a window
• A personal letter 

Intimacy and loneliness

• Personal notes and letters sent back and forth (redacted elements of letters, sent back and forth)
• Art sent back and forth 
• Books bought 
• Poetry 
• Text messages
• Photos
• Tenderness and meat (ground beef acting as  “LIFE STRING” then last page photo of meat and revealed note  

Nan Goldin: The Ballad of Sexual Dependency

https://www.moma.org/calendar/exhibitions/1651?installation_image_index=16

DIFFERENT IDEAS

• Play on the word meat 
• Puberty book (witness my shame)
• Hearing loss chart
• Organisms (classification naming etc) in using photos in Bio class
•  Write a poem using different structures everyday (like a journal) – think of the journals of sylvia plath 
• Food and people
• Personal notes and letters sent back and forth 
• Fairy books 

Pussy (Pocket edition)

• sexual/phallic looking images
• play on the word “pocket pussy”
• Small squares one image per page
• Observation guideline
• handeling instructions
• participation study (Mailing address) through written observations
• definition
• Play with colour or black and white photographs

Maira Kalman:

After listening to the On Being podcast episode titled “Daily Things to Fall in Love With,” one of the points made by artist Maira Kalman that particularly resonated with me was her reflection on the human capacity to hold contradictory thoughts and emotions. Kalman highlights that these conflicting responses do not need to be isolated or resolved, but rather can exist as an inherent part of a person. This idea engaged me because it emphasizes that the human experience does not have to conform to the structured expectations of daily life. It is okay for our emotions and thoughts to be in conflict with one another; this is part of what makes us human. The acceptance of such contradictions, without the need to resolve them, is a powerful acknowledgement of the complexity of individual experience.

Another point that Kalman makes, which I found equally compelling, is her belief that museums– rather than libraries– offer one of the most profound spaces for meditation. She explains that in a museum, the experience is primarily visual, allowing for contemplation through observation rather than the active process of reading or sensory overload. A museum offers an environment where quiet reflection is possible, and where one can engage with art on a deeper level. I completely agree with this perspective, as it aligns with my own experiences. The Art Gallery of Ontario (AGO), for instance, is my favourite place for quiet reflection. There, I can fully immerse myself in the artwork without the pressure of conversation, allowing me to connect with the pieces on a deeper, more personal level. 

The image above is part of artist Maira Kalman’s book Still Life With Remorse. The painting immediately caught my attention due to her use of vibrant, warm colours, particularly red, which is my fabourite colour. I also admire the simplicity of the still life and the sense that it was created quickly. However, it was the accompanying text, Cleopatra and Cicero, that truly deepened my appreciation for the piece. The text presents a simplified, yet exaggerated, story of Cicero’s interaction with Cleopatra, highlighting the absurdity of his death over a trivial matter— a borrowed book. I found this commentary on the destructive and cruel nature of historical events, especially those sparked by such minor conflicts, both compelling and thought-provoking. 

Artist Multiple Ideas:

Hearing Aid Earplugs

• doesn’t work
• very odd objects not resembling hearing aid
• blocks the noise

Rubik’s cube personalized in some way?

Underwear

• pin/postcard
• Funny sexual health tips/real sexual health tips
• How to wear/ when to wear
• ironic laundry instructions?: do not put in dryer
• Intimate Packaging: small envelopes, mimics delicate care for personal items

New Take on Nutrition Facts tables:

• discuss effects of malnutrition
• includes photos of organs affected by malnutrition
• ingredients= list that improve and support healthy function
• List of sources used for research:
• Bouquegneau, A., Dubois , B. E., Krzesinski, J.-M., & Delanaye, P. (2012). Anorexia Nervosa and the Kidney. American Journal of Kidney Diseases, 60(2), 299–307. https://doi.org/https://doi.org/10.1053/j.ajkd.2012.03.019 
• Cleary BS, Gaudiani JL, Mehler PS. Interpreting the complete blood count in anorexia nervosa. Eat Disord. 2010 Mar-Apr;18(2):132-9. doi: 10.1080/10640260903585540. PMID: 20390616.
• James, Dotti C. PhD, RN. Eating Disorders, Fertility, and Pregnancy: Relationships and Complications. The Journal of Perinatal & Neonatal Nursing 15(2):p 36-48, September 2001. 
• Misra, M., & Klibanski, A. (2014). Anorexia nervosa and Bone. Journal of Endocrinology, 221(3), 163–176. https://doi.org/https://doi.org/10.1530/JOE-14-0039 
• Schocken DD, Holloway JD, Powers PS. Weight Loss and the Heart: Effects of Anorexia Nervosa and Starvation. Arch Intern Med. 1989;149(4):877–881. doi:10.1001/archinte.1989.00390040085017
• Weterle- Smolińska, K., Banasiuk, M., Dziekiewicz, M., Ciastoń, M., Jagielska, G., & Banaszkiewicz, A. (2015). Gastrointestinal motility disorders in patients with anorexia nervosa – a review of the literature. Psychiatria Polska, 49(4), 721–729. https://doi.org/http://dx.doi.org/10.12740/PP/35482 
• Zipfel, S., Giel, K. E., Bulik, C. M., Hay, P., & Schmidt, U. (2015). Anorexia nervosa: Aetiology, assessment, and treatment. The Lancet Psychiatry, 2(12), 1099–1111. https://doi.org/10.1016/s2215-0366(15)00356-9 

Pins/postcards of pomegranates:

• symbol of fertility
• “I felt like a seed in a pomegranate. Some say that the pomegranate was the real apple of Eve, fruit of the womb, I would eat my way into perdition to taste you.” 
• ― Jeanette Winterson, Written on the Body

explore the political climate gong on:

“I am more than my fertility”

“I control my fertility”

“A symbol of resurrection and life everlasting in Christian art, the pomegranate is often found in devotional statues and paintings of the Virgin and Child. In medieval representations the pomegranate tree, a fertility symbol, is associated with the end of a unicorn hunt.”

” By eating a few pomegranate seeds, Persephone tied herself to Hades—the pomegranate being a symbol of the indissolubility of marriage.”

https://pmc.ncbi.nlm.nih.gov/articles/PMC1118911/#:~:text=A%20symbol%20of%20resurrection%20and,end%20of%20a%20unicorn%20hunt.

Represents cannibalism

https://d1wqtxts1xzle7.cloudfront.net/78850999/JfHR_13_2020_SMITH_pp_115_132_AUT-libre.pdf?1642290433=&response-content-disposition=inline%3B+filename%3DTemptation_Transgression_and_Transition.pdf&Expires=1731522057&Signature=XdSt-G4Iz2NQUonpVqpSa4rzuRd80ATYbMRx87M5BgQa~72QVL205E7cDRz3HbeOtVZsrt4pUSTPElQ-oRmFDgxY5FFO0FgQRVNdlWLRs84ttMi3VfRmu7o6xJkHfkp55HG7yX24bt3-W7y1vOVGfODPKhCJ-aK3v8utgBzD4P9WCj8fpkellsu-E-o3ayV1QPWUZc~sk~yHzhTHKzJlj8HpFToCWnprXrx7F5WtgXlpxMCFcjLx7DY18ajW-lW2gv9Z1v4GfNNFm4bZAp8eQwkCIVVG8rk6ZKJpg7m-MC8AiZHgKGhHRzvrd7bUFPB4eg1m~GkgflBYwqPz-TCJAg__&Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA

https://brill.com/display/book/edcoll/9789401204897/B9789401204897-s008.xml

Artist Multiple: Nutrition Facts Label

For my artist multiple I created a series of stickers that transform everyday nutrition facts labels into stark, visceral commentaries on the effects of malnutrition, specifically targeting the experience of anorexia. The project borrows the aesthetic of cigarette packaging warnings, adopting the visual language to highlight the severe consequences of neglecting essential nourishment. By featuring these visuals on everyday consumer goods, this piece seeks to raise awareness about the dangers of malnutrition and encourage conversations about the importance of balanced eating habits. 

 Each sicker reflects the familiar black-and-white layout of traditional nutrition labels but with a critical twist. Instead of listing standard categories, such as “Calories,” these labels focus on how malnutrition impacts specific organs and functions; heart, liver, bones, fertility, blood, and digestion. The “Daily Values” section is replaced with the specific consequences of malnutrition in these areas. Additionally, the “Ingredients” section is reimagined to list nutrients and foods that support the health of the targeted organ or function, offering a proactive guide to prevention. Each label also features a stark visual representation of the affected organ or function which parallels the shock tactic used in anti-smoking campaigns to reinforce the message.

This art piece was deeply inspired by my sister’s personal struggle with anorexia. The idea emerged after she shared how she often cuts out nutrition facts labels from food packaging to avoid stressing over calorie counts– a common behaviour among individuals with eating disorders. This conversation sparked the concept of creating an art piece that is not only practical but also creatively designed as an artist’s multiple. To develop the idea further, I consulted both my sister and my therapist to ensure the design and format of these “nutrition labels” would be impactful, respectful, and informative. They both suggested focusing on how malnutrition affects specific organs, as tangible, realistic imagery of the body would create a stronger connection with viewers. This approach provides a visual connection, as opposed to addressing less tangible aspects such as mental health, which can be harder to depict. To ground this project in accuracy, I conducted research on the organs and functions most affected by malnutrition, how these effects manifest, and which nutrients are essential to prevent or mitigate these consequences. This process allowed me to create work that is not only meaningful on a personal level but also informative and engaging for a broader audience. 

List of sources used for research:

Bouquegneau, A., Dubois , B. E., Krzesinski, J.-M., & Delanaye, P. (2012). Anorexia Nervosa and the Kidney. American Journal of Kidney Diseases, 60(2), 299–307. https://doi.org/https://doi.org/10.1053/j.ajkd.2012.03.019 

Cleary BS, Gaudiani JL, Mehler PS. Interpreting the complete blood count in anorexia nervosa. Eat Disord. 2010 Mar-Apr;18(2):132-9. doi: 10.1080/10640260903585540. PMID: 20390616.

James, Dotti C. PhD, RN. Eating Disorders, Fertility, and Pregnancy: Relationships and Complications. The Journal of Perinatal & Neonatal Nursing 15(2):p 36-48, September 2001. 

Misra, M., & Klibanski, A. (2014). Anorexia nervosa and Bone. Journal of Endocrinology, 221(3), 163–176. https://doi.org/https://doi.org/10.1530/JOE-14-0039 

Schocken DD, Holloway JD, Powers PS. Weight Loss and the Heart: Effects of Anorexia Nervosa and Starvation. Arch Intern Med. 1989;149(4):877–881. doi:10.1001/archinte.1989.00390040085017

Weterle- Smolińska, K., Banasiuk, M., Dziekiewicz, M., Ciastoń, M., Jagielska, G., & Banaszkiewicz, A. (2015). Gastrointestinal motility disorders in patients with anorexia nervosa – a review of the literature. Psychiatria Polska, 49(4), 721–729. https://doi.org/http://dx.doi.org/10.12740/PP/35482 

Zipfel, S., Giel, K. E., Bulik, C. M., Hay, P., & Schmidt, U. (2015). Anorexia nervosa: Aetiology, assessment, and treatment. The Lancet Psychiatry, 2(12), 1099–1111. https://doi.org/10.1016/s2215-0366(15)00356-9 

Artist Book: PUSSY (Pocket Edition)

Pussy (Pocket Edition) is an artist book that humorously mimics the format of a serious scientific study, with its focus on the botanical forms of the pussy willow. The title plays on the dual meanings of the word “pussy,” referencing both the pussy willow plant and alluding to a vagina, as well as a “pussy pocket,” a type of sex toy, creating a playful contrast between botanical study and sexual humor. The book features a series of small, square black-and-white images, each focusing on close-ups of a selected area of pussy willows, highlighting their soft, phallic-like shapes. The images and text invite the viewer to engage with the natural beauty of the plant while acknowledging its more humorous, sexual undertones. The book combines dry, scientific language with visual humor, creating an academic feel while also acknowledging the playful absurdity of its subject. The cover amplifies this theme with a large, partially obscured image of a pussy willow, which humorously resembles a magnified view of a vagina. Inside, the book mimics the tone of a scholarly manual, complete with guidelines and instructions that encourage readers to engage with the images not just through observation, but also through emotional response. Each page provides space for field notes, inviting reflection on the form, texture, and emotional reactions to the Salix species presented, further blurring the lines between serious botanical study and playful, intimate exploration.