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v o i c i e s t m a v i eC A R L Y F O X
v o i c i e s t m a v i eC A R L Y F O X
A G E N D A
a. thesis b. work & process -photographic overlays -projection & l ightbox -audioc. contextd. planse. questions
a . t h e s i s
multimedia instal lationwith a nonlinear narrative
about my mother
1 . how objective can I be?
2. are memories haunting or comforting? what about objects?
3. is detachment or attachment a better coping mechanism for loss?
4. is forming an archive a way to make sense of loss/memorial ize someone?
C E N T R A L Q U E S T I O N S
curating, cataloguing, manipulating
precious yet ephemeral family history
b . w o r k & p r o c e s s
process: organizing moms things on wall in my studio
overlays of my mothers paintings with cancer cells, many specific to her type of cancer, found within the universitys databases
photos of my mother and I in middle school/early HS
digital overlay of 2 previous images
moms painting overlay of mom, me & her painting
double exposure of photo I took of my mother & her wedding phototaken ~30 years earl ier
superimposition of mom with grandma, and pattern from my moms skirt
overlay of my grandmotherwith photo of my mom & my childhood self
young mom & middle-aged grandma with moms jewelry
young mom & young grandma with moms gloves
double exposure of mom & grandma with house I grew up in
overlay of young mom & mewith house mom grew up in
process: prints on transparency film
photo of my mom I took in our old house, inspiring exploration with l ighting
p r o j e c t i o n
using overhead projector
and transparency film
l i g h t b o x
using layers of 11x17 digital prints
on vellum and transparency film
sketches of what I want the final instal lation to look l ike
photos of my momI took in my old room
inspiration for final instal lation
a u d i o
overlapping mothers, grandmothers, and my own voices intersecting time and place to create a narrative, showing nonlinear nature of grief and memory
c . c o n t e x t
La Traverse de la Vie , 2015, 32 printed veils, 12 l ight bulbs, electric wire, 70 9/10 90 3/5 in
CHRISTIAN BOLTANSKI
The Reserve of Dead Swiss , 1990photographs, electric lamps, fabric, and wood, 2834 x 4725 x 270 mm
CHRISTIAN BOLTANSKI
Family Tradition , 2008Acrylic on Injet, 20 x 20 in.
SARAH ANNE JOHNSON
Left Behind , 2013Photographs, archival images
JENNIFER LOEBER
Radiant Human Series , 2015Polaroid photography
CHRISTINA LONSDALE
d . p l a n s
overlapping mothers, grandmothers, and my own voices intersecting time and place to create a narrative, showing nonlinear nature of grief and memory
NOW : experiment with material , make overlays, compile mothers photos & objects
LATE DECEMBER : document & visit place where mom grew up, discontinue collecting objects
JANUARY : develop audio & visual pieces to integrate into instal lation & decide which pieces to show
FEBRUARY : design catalog for show, get extra materials
MARCH : finish written thesis, finalize & print for show
t h a n k y o u
1 . does it make more sense to overwhelm or comfort the viewer in the final exhibit?
2. should I cut down my aspirations for the final exhibit (choose between projection, prints on l ightboxes, audio, and my mothers physical objects)?
3. is a shorter audio cl ip more eective than a longer one, since I wil l l ikely have several other visual pieces at my show?
Q U E S T I O N S
audio11-14 57
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