Vicki Haines
  • Home
  • AD7000 FMP
  • Past Work
    • Looking >
      • Page Readings >
        • Page 1
        • Page 5
        • Page 9
        • Page 13
        • Page 17
        • Page 21
        • Page 25
        • Page 29
        • Page 33
        • Page 37
        • Page 41
        • Page 45
        • Page 49
        • Page 53
    • Video Projects
    • Tattoos
    • Seaside
    • Street Life
  • Bio/CV
  • Exhibition & In Print
  • Contact

Mass Surveillance (In The Age Of Live Streams) - Gaia Light

14/1/2017

0 Comments

 
https://www.lensculture.com/articles/gaia-light-mass-surveillance-in-the-age-of-live-streams
"The series “Mass Surveillance” is the result of a photographic survey of the thousands of publicly accessible webcams live-streaming around the world. It is a reflection about how our daily lives, in general, are constantly monitored and controlled.
In documenting this phenomenon, the first impression is that the apparatus of the surveillance camera carries an inescapable and uncanny quality. Pictorially and precisely, its images connote the so-called ”state of exception,” a condition within law when all rules and all laws are suspended. It is the state of exception that underwrites the state of emergency, under which so many places have fallen.
While the security camera is intended to protect and police, the public webcam takes on the outward form of entertainment. But more disturbingly, these streaming images are utilized today to underwrite regimes of power, where normal rights of privacy are permanently suspended.
“Mass Surveillance” collects images from all over the world: a kindergarten in Japan to the streets of London. Insofar as these images were gathered from the Internet, “Mass Surveillance” presents the apparatus of the traditional surveillance camera in its contemporary iteration, the webcam. Thus, the final images take on the distortions of the device while pushing them further, emphasizing digitalization, pixellation, and the very process of being (re)photographed.
Given the physical ubiquity of such cameras today—and add in their footages’ presence on the Internet—and we arrive at a moment where the state of exception is no longer an exception, but a universal."
—Gaia Light
http://www.gaialight.com/
Since 2010 she has been working on a long-term, perpetually ongoing, project, Mass Surveillance, which is the result of a sustained, photographic-documentary survey of the thousands of publicly accessible webcams available on the Internet. The presence of this wide network of surveillance cameras illustrates how public, as well as private day-to-day activities are constantly monitored and subtly or explicitly controlled. The series is composed of still photos shot with a digital camera through the screen of a computer while attending freely accessible webcams’ live-streaming sessions on the Internet and aims to question the increasingly intricate connections between privacy rights and surveillance needs in the post-9/11 world.

- taken from Gaia Lights website


MASS SURVEILLANCE 2016
The Mass Surveillance series is a systematic sampling of thousands of publicly accessible webcams, which for very different reasons offer free, live-streaming services and broadcast a range of activities that cover private and public space, urban and domestic environments, and seemingly remote and/or wild landscapes worldwide.
The series is composed of still photos shot with a digital camera through the screen of a computer while attending freely accessible webcams' live-streaming sessions on the Internet and aims to question the increasingly intricate connections between privacy rights and surveillance needs in the post-9/11 world.
For years I have been documenting all sorts of streams, freely available and easily accessible on the Internet, photographing all kinds of extremes and weird practices happening on surveillance cameras and distributed online, for God knows what reason. 
I have always been intrigued by the perpetually increasing extent of the popularity of this phenomenon, recognizing a lack of information and, more importantly, of specific and adequate regulation or accountability. 
The Internet is a gigantic planet, some would say dark planet, and as any other communal experience needs limits, boundaries, and rules in order to healthily and democratically function. Technology is certainly faster than the legislator nowadays, but this should represent an incentive to confront the problem, not an excuse/alibi to remain passive. 

I believe in the power of visual knowledge and in the progressive force of photography as an important tool to raise consciousness and inspire reflections and actions toward positive changes within the regulatory apparatus of the Internet, especially when related to surveillance practices and abusive interpersonal relations. 
The Mass Surveillance series is focused on the limits and dangers of the Internet as ideal platform for the broadcast of everyday life, much of which occurs without the subjects or the participants ever knowing they are conscripted “actors” in a strange carnival. 
This Series is for all of the unaware victims of abusive surveillance practices in the hope that my efforts will suggest/inspire a change in the way the Internet’s wilder practices are perceived today by the majority of aware and unaware citizens and above all by sleeping legislators.
In this series and written document above, Gaia talks about the need for "regulation and accountability" on the internet and aims to expose the dangers of "abusive surveillance" which can be found freely online.  Again, for me, it is the aesthetic of the images which appeals - harsh vignette, grainy, pixelated, out of focus with camera angles that are taken from up high, all of which make the images feel indecorous - inappropriate. 

At some stage, I would like to try and manipulate my images to have this kind of appearance to see how they work and how it changes the meaning.
0 Comments

Surveillance Landscapes - Marcus DeSieno

14/1/2017

0 Comments

 
https://www.lensculture.com/articles/marcus-desieno-surveillance-landscapes
"In our increasingly intrusive electronic culture, how do we delineate the boundary between public and private? “Surveillance Landscapes” is a body of work that interrogates how surveillance technology has changed our relationship to—and understanding of—landscape and place.
To produce this work, I hack into surveillance cameras, public webcams, and CCTV feeds in pursuit of the “classical” picturesque landscape. The resulting visual product becomes dislocated from its automated origins and leads to an investigation of land, borders, and power. The very act of surveying a site through these photographic systems implies a dominating relationship between man and place.
Ultimately, I hope to undermine these schemes of social control through my blurred, melancholic images—found while exploiting the technological mechanisms of power in our surveillance society."
—Marcus DeSieno
Images taken from http://www.marcusdesieno.com/surveillance-landscapes/m67a5gdxcw025r88sananaoaefcbr2
I really like the aesthetic of this work - the landscape viewed through the grubby glass of the CCTV lens, does indeed invoke a sense of possession upon me as the viewer.  The natural aesthetic of nature obscured by manmade machine.
0 Comments

Beat Streuli

10/1/2017

0 Comments

 
Of all the practitioners I have looked at, I identify most with the work of Beat Streuli - not necessarily in our motives or self objectives, but certianly in our finished work.  In fact on reflection, I am quite astounded by the similarities in our work up to this point.  Streulis aesthetic is a lot more clearer, richer and polished in appearance to mine, and this is for several technical and logistical reasons including, the time of year and the weather, which limits my ambient light availability to somewhere between grey and greyer.  I cannot wait for the spring/summer months when I can drop my iso, increase my shutter speed and throw caution to the wind with my aperture for maximum artisitic quality control!! 
There is also Streulis equipment to take into account, he uses a telephoto lens, which although I cant find the details for, I can tell that it far outshines any lens I have available to use.  I would hazard an educated guess that he probably shoots with a lens of at least 400mm with a very wide aperture of somewhere around f2.8 - this accounts for the clarity, rich tones and noise-free aesthetic.  This gives his images an almost cinematic quality - no doubt useful for the billboard sized prints he displays of his work!

0 Comments

Interesting Video Monologues of Artists

9/1/2017

0 Comments

 
0 Comments

Harry Conways Orwellian Society - an Interview

3/1/2017

0 Comments

 

This photo series questions surveillance in our city
​
Photographer Harry F Conway is ‘attacking’ pedestrians in central London in an attempt to wake us up to the possibility of an Orwellian society

http://www.dazeddigital.com/photography/article/30816/1/harry-f-conway-the-photo-series-highlighting-surveillance-in-our-cities
Harry F Conway doesn’t want to give us pretty pictures. He wants to make us think. In his Stolen Souls photo series (soon-to-be exhibition), Conway, a native of London, uses his collection of photos shot on the streets around Soho, Chinatown and Oxford Street to highlight how surveillance cameras in the city observe us day and night. We are all being caught on camera constantly and Conway’s upcoming exhibition addresses this relentless recording of our images and actions. “I thought why not inject a bit of honesty into this practice of stealing pictures… so I walked around the busiest places in London past midnight and jumped out at people with a big camera and flash, letting them know I'd taken their photograph,” he explains.
Previously featured on Dazed, he comes to photography through a route less travelled. Having studied at Central St. Martins in London, Conway was also once a prolific graffiti writer. After being tracked down by the police, he was given a 12-month sentence at notorious west London prison, Wormwood Scrubs for his graffiti work. Upon release, he changed direction and headed for a photography BA at the London College of Communication. But his life as a graffiti writer has undoubtedly shaped the photo series – “I like to approach my photography as aggressively as I approached graff,” he says. Like the bold and invasive methods he applied to his previous work, the shocking technique used to take these photos draws attention to our lack of control over who records us anonymously, when and where. In advance of Stolen Souls opening later this week (22 April) at south London’s MMX Gallery, we caught up with the young artist and photographer to find out more about his work.

x12
Harry F Conway Stolen Souls



Can you explain the story behind this photo series?
Harry F Conway: Stolen Souls came from me watching my peers using their phones to take discreet pictures of strangers. Whether it was on a train or just in public, people would be taking pictures without permission and then sharing it on social media without the person’s knowledge; this often led to malicious comments online about said stranger. I felt there was such a degree of deceptiveness in this act. I wanted to do the same thing, but make sure the individual knew I’d stolen their face. I liked the idea that the stranger would now know their image had been taken, they could not stop or alter this act; but they now knew it had taken place.
Surveillance has become a hot topic for artists, what particularly drove you to highlight it? How did graff shape your thinking behind Stolen Souls?
Harry F Conway: What drove me to it? The police trying to kick down my door, tracking my Oyster card to see where I’d been, stealing my property, and detectives trying to intimidate my family and friends. All for a bit of paint on a wall...
My photography is a reflection of my life. Graff had to shape my future work; it was such a big part of my adolescence. I came out of prison for graff and the next day I was sitting in a tutorial for my first year at London College of Communication. It was pretty surreal. One day a cell, the next day an art school.
“I don’t trust anyone to have that much control over my liberty and the rest of society’s right to privacy. Orwell got it right” – Harry F Conway
Why do you think people are so ignorant to surveillance? Is it because we’re complicit and it’s become the norm? Or because people aren’t even aware of it?
Harry F Conway: People know it’s there, but I’m not sure the everyday person knows the full extent of surveillance in the UK, and especially London. The battery in your iPhone can’t be taken out so even when it’s turned off the phone is emitting a signal every few seconds to reveal your location. Now everyone’s moving to contactless cards, your journeys anywhere are recorded. That’s not even going into social media monitoring and CCTV, yet alone facial recognition software the police now use. In a couple of years we’ll have mini-drones in the skies monitoring our every move.
The sad thing for me is this argument that we shouldn’t worry as “if you don’t have anything to hide then you shouldn’t care”. This is unsettling as it seems the majority of people in this country truly don’t understand how these kinds of measures are not just used for terrorists, they are used for anything the police and security services like. I don’t trust anyone to have that much control over my liberty and the rest of society’s right to privacy. Orwell got it right.
How do these pictures relate to your graff work – the illicit, subversive nature of it?
Harry F Conway: I started shooting Stolen Souls in the day, but I realised the flash isolated people in the frame at night. Also, people are more worried at night, if a guy jumps out at you in a camouflage jacket and weird camera gear in hand, people normally look pretty scared. I was used to roaming London at night due to my obsession with writing graffiti. For years, we’d take night buses all over town to paint spots and this gave me a great knowledge of the city at night. I knew which areas and streets to frequent to find the largest volume of people to prey on. It was a hunting exercise. I’d trawl the streets until the early hours, sometimes with friends, sometimes alone, just searching for subjects to prey on with my lens.


Courtesy Harry F Conway
How did people react to having you taking their pictures?
Harry F Conway: I’m a 6ft bald guy with a moustache jumping out at you with some weird camera set up in the dark. Most people kept it moving and didn’t look back. Some people would scream, others would mutter under their breath as they walked the other way. It turned into a bit of a social experiment; seeing who I thought would flip out. To tell the truth, I only got in a couple of fights the years I was shooting this series.
How did it feel, actually taking the pictures?
Harry F Conway: It felt uneasy at times. People think you’re some sicko. I got called a pervert a couple of times. Some nights I stopped shooting early, as it’s quite a difficult thing to take on; going out in the cold night after nightfall, attacking people with your camera. You change your mindset to that of a predator in search of prey; I began weighing up whether someone would attack me and if they fitted the series itself. I wanted it to be everyday people going about their everyday business, coming home from work or going to the shops. Stolen Souls is the paparazzi of the stranger.
Is there one picture that stands out to you?
Harry F Conway:There’s one picture of an older couple, (they’re) both wearing navy blue jackets and the women’s hat colour matches the colour of the guys silver white hair. The main difference in the photograph is their expressions; she looks disapprovingly into the lens as in contrast he looks bewildered like a deer in headlights.




“To tell the truth, I only got in a couple of fights the years I was shooting this series” – Harry F Conway
Now that you can’t do graff anymore, is this another way to make your voice heard? 
Harry F Conway: Yes, I definitely found it to be a transition of my energies. I was shooting photography before graffiti, but I didn’t take it too seriously. When I came out of prison I began to put more effort into taking pictures. Instead of spending my nights writing my name, I would walk for hours on end searching for frames. However cliché, it’s kind of become a therapy for me.
Are there any street photographers you’ve been particularly influenced by?
Harry F Conway: Garry Winogrand is a massive influence to me. When I look at his work I always see new things inside his frames. For me, he had an unparalleled eye. I only discovered Bruce Gilden through Stolen Souls and, obviously, his and Mark Cohen’s approaches aided me on the street.
We always hear graffiti artists referred to as “artists” but you use the word “writer”. Can you explain that?
Harry F Conway: There’s graffiti artists and there’s graff writers; two different kinds of people. I’m not going to go in depth about it. If you’re a writer you know you’re a writer. Fuck the British transport police and the London underground. Stop imprisoning kids for simply writing their names in paint and solve some real crime. We need to change the way we view ‘criminal damage’ and how we punish those responsible in this country. Instead of wasting the taxpayer’s money chasing kids about for a bit of graff, why don’t the BTP use their endless CCTV and go about solving all the sexual assaults on the rail network. We have the worst double standards; using graffiti for advertising, giving big brands street cred, yet we lock up those painting real graff. End custodial sentences for writers.
What do you want people to take away from the photos?
Harry F Conway: I want people to view these photographs and feel shame and unease. When people view these images in my book or at an exhibition, they feel awkward; like, ‘why are all these people looking at me like I’ve threatened them’? I want that intense set of emotions to reflect the nature of surveillance culture upon us right now. The aggressive nature of surveillance tactics used every day in the streets you walk around in London – just try and think about that for a minute, why do we need to be monitored so closely?
Stolen Souls launches with a private viewing on Thursday 21 April and will run Friday 22 April until 28 May at MMX Gallery, New Cross, London. Click here for more details and follow Conway for updates on Instagram here.
Follow Alice Nicolov on Twitter here @alicenicolov
0 Comments

Mark Neville

28/12/2016

0 Comments

 
http://www.markneville.com/
What I love abut these few images by Mark Neville is the disconnection between the subjects and the camera.  I'm sure the people new all too well of Nevilles presence, but these shots were captured candidly and without the subjects knowledge.  This allows me as a viewer to delve in deeper, look closer and 'see' better without the distraction of direct contact made by the subject looking back at me.  I can survey the whole scene almost segmented by the framing and composition like a Hockney.  There are obvious points that my eye is drawn to initially, but soon after I am able to gaze over other areas corner to corner and see - really see!
0 Comments

Unseen Uk - Stephen Gill

15/12/2016

0 Comments

 
http://www.stephengill.co.uk/portfolio/news
In this photobook conceived and edited by Stephen Gill, mail carriers from the Royal Mail share their unique views on British society and culture along their postal routes.
Photographs by The Royal Mail, conceived and edited by Stephen Gill
https://www.lensculture.com/articles/stephen-gill-unseen-uk​
"In this age when many famous fine art photographers and photojournalists strive to capture the mundane, the banal, the everyday reality of our existence, it is like a breath of fresh air to come upon this unique collection of inexpensive snapshots taken by inexperienced camera operators.

These are truly delightful photos of ordinary day-in-the life experiences taken by the men and women who deliver the mail throughout Great Britain.

This project — conceived, managed and edited by the young photographer Stephen Gill — offered the free use of disposable cameras to every member of the Royal Mail. Hundreds took him up on the offer, and as a result, Gill painstakingly reviewed over 30,000 images to end up with the best of the best. It is apparent that everyone had fun in the process.

The goal was to create intimate documentary views of the UK that are rarely seen except by postal carriers, utility workers, garbage collectors, and so on. 

Why? Because it might be interesting to see a country, more or less in real-time, from such a privileged vantage point. 

How to get everyone on board with the idea? Promise to publish a tightly edited book and sell lots of copies to benefit a charitable organization.

In addition to a wonderful collection of photos (printed and sequenced beautifully), the reader is rewarded by thoughtful essays, and hilarious, heart-warming hand-written notes that accompanied the cameras on their return to the organizers of the event. You can (and should) buy it online from the Royal Mail."

— Jim Casper
​https://www.lensculture.com/articles/stephen-gill-unseen-uk

I like how the adults in the pictures are not looking at the camera, seemingly unaware of their participation in the project.  The use of cheap, colour film cameras add an appealing colourful and high contrast aesthetic finish to the work, which in itself adds credibility to the 'truth' of the images.  The fact that the adults are not looking, allows for the viewer to become more voyeuristic, it is less confrontational you can REALLY look, surveying the scene, make judgements or simply observe.  It allows you to sympathise, empathise or place yourself socially in comparison to the subject.  I think this is very powerful and definitely something I can keen to adopt in my own practice.
0 Comments

Looking at ... Cheryl Dunn

17/11/2016

0 Comments

 
http://www.cheryldunn.net/

​"Flags Flags Flags"

Picture
Picture
Picture
Picture
Picture
"The colors of the pales (the vertical stripes) are those used in the flag of the United States of America; White signifies purity and innocence, Red, hardiness & valour, and Blue, the color of the Chief (the broad band above the stripes) signifies vigilance, perseverance & justice."  http://www.usflag.org/colors.html

The stark contrast in the symbology of the American Flag and the way people in Dunns photos have posed with it, resignates with me and what I would like to try and acheive.  


I really like the flag series, the antihesis of the American Dream using the iconic american flag.

​"People Taking Pictures"

Picture
Picture
Picture
Picture
Picture
This is a great idea - looking at people taking the image.  I really like the notion and possibilities this throws up to me - I may develop something similar to this in my own practice.

"Turkey Street"

Picture
Picture
Picture
Picture
These images I liked because of their oddities and irony.  I like the humour that can be found in everyday life that we are a part of but do not always 'see'

"Street 12"

Picture
Picture
These documentary style shots are pobably my least favourite, factual, cliche, black and white shots that tell an aged old tale of life on the streets

"Score Out The Door NY Street"

Picture
Picture
All Photos sourced from ​http://www.cheryldunn.net/

Interview: Street Photographer Cheryl Dunn On New York, Her Idols And Photography In Flux

"The beauty of street photography is in the very small details."/

Interview Sourced from:
​http://www.oystermag.com/interview-street-photographer-cheryl-dunn-on-new-york-her-idols-and-photography-in-flux
Photographer and filmmaker Cheryl Dunn has been documenting life on the streets of New York City since making it home in the '80s and with her candid, kinetic documentary style, she has captured the gritty reality and brash energy of alternative Americana subculture for decades. In 2013, with a little help from Kickstarter, Dunn released the documentary Everybody Street, in which she follows some of her personal idols and New York's most iconic street photographers including Bruce Davidson, Elliot Erwitt, Rebecca Lepkoff, Jill Freedman, Martha Cooper, Jamel Shazaam and Bruce Gilden, to provide a fascinating interwoven portrait into the styles, lives and personalities of her subjects. We interviewed Cheryl in the lead up to her appearance at Semi-Permanent Sydney where she'll be discussing Everybody Street, New York City and more.
​
Suz Tucker: Hi Cheryl. Your photography is so strongly linked with New York City. What was it about the City that made you want to move there after college, and what sections of New York have meant the most to you?
Cheryl Dunn: I grew up in New Jersey, close to New York. I was a kid during the gnarliest time in New York: Every night on the news, it was all about murders and chaos and the black-outs. Every time I went over the bridge or through a tunnel, I swear my heart would race in fear and excitement. You would drive down the West Side Highway and it would be littered with car carcasses. If you got a flat tire and you had to leave your car, your car would get stripped.
The city was bankrupt, so they had no money to pick up these cars... You would just think "If we break down we’re going to die here". I guess I was drawn to that energy. I didn't know what I wanted to be in life but I knew I had to live there. One thing about this town, it is always in flux. People move here everyday to make their way. It's a hard town; it's a town of hustlers from every walk of life. I go on a trip and come back two weeks later and a building is gone. Something new has popped up. It's a town of reinvention and the speed of change is pretty fast these days. Mixed with the history of what has come before… New York is a constant source of amazement for me. I have lived downtown most of my 31 years here. I live in the East Village now and lived there in the mid '80s so I would say this section really means a lot to me.


Suz Tucker:  What is your most vivid memory from the filming of Everybody Street? Was there a photographer whose experiences documenting NYC were particularly relatable to?
Cheryl Dunn:  Shooting Bruce Gilden ducking out of the way from getting hit by a woman in the diamond district then all these guys with bottles and cans suddenly came out of nowhere all up in his face. That was pretty memorable. He got very wound up afterward, and went on about what he would have done to those people if this were back in the day when he was more wild. And shooting 16mm of Bruce Davidson on the subway.
Bruce Gilden photographed in action by Cheryl Dunn
Picture
Suz Tucker:  One of the most fascinating elements of the film was seeing how the different photographers approach their subjects. With street photography it seems that in order to take great photos, the photographer's personality is almost as important as their technical skills - how watchful they are, how they engage with their subjects, how they create relationships with the people they document... What do you reckon?
Cheryl Dunn:  I purposefully wanted to present very distinctly different personalities and working methods because street photography is so much about individual's personalities and want kind of images they make. All the characteristics that are displayed with this group of photographers - the quiet and observed technician, the crazy in your face hustler, the documentarian who spends months with their subjects… Someone who doesn't do this as a practice wouldn't understand the nuances and the diverse approaches, ways of working, personalities…how they really influence the work in very different ways. The beauty of street photography is in the very small details. What detail this photographer would pick out in a broad scene versus what someone else would pick out is so different. Unless you do it, you might not understand that. Someone who does this and searches for it is in tune with those details. I wanted to show the capabilities of a trained eye, perhaps. It's a real thing.

A link to Dunns film 'Everybody Street' 
"Everybody Street" illuminates the lives and work of New York's iconic street photographers and the incomparable city that has inspired them for decades. The documentary pays tribute to the spirit of street photography through a cinematic exploration of New York City, and captures the visceral rush, singular perseverance and at times immediate danger customary to these artists.

Featured PhotographersBruce Davidson, Elliott Erwitt, Jill Freedman, Bruce Gilden, Joel Meyerowitz, Rebecca Lepkoff, Mary Ellen Mark, Jeff Mermelstein, Clayton Patterson, Ricky Powell, Jamel Shabazz, Martha Cooper, and Boogie, with historians Max Kozloff and Luc Sante.
Suz Tucker:  What is it about everyday individuals that capture your attention – especially compared to subjects like celebrities, politicians, etc?
Cheryl Dunn:  I'm attracted to real emotion rather than manufactured emotion. I'm drawn to level playing fields. I hate when people think they are better than everyone else: that's not interesting to me. That's not my scene and that's not what draws my eye. I like to point my camera at something that isn't getting attention - I want to find stories in your average person's face or actions.
Dash Snow by Cheryl Dunn
Picture
Suz Tucker:  Street photography seems to have changed over the past decade. For one thing, Instagram has made taking and sharing photos more accessible and more democratised than ever. Then there's 'street style' photography in fashion, which found this insane popularity on the Internet and is now a recognised style of photography unto itself. In what ways do you think these two phenomena have been good or bad for photography?
Cheryl Dunn:  The public's reaction to photography changes exponentially every couple of months. What is the trend? What is people's behavior like in front of and behind the camera? It's constantly evolving. One month people are nervous about being slandered on the Internet with images, the next it seems like everyone's looking for a little bit of notoriety and are stoked to have a camera poked in their face. Who knows what new app, way of shooting/sharing images is going to exist in six months. I just try to stay the course and do what I do. I alter my behavior based on people's reaction to me and their relationship with photography so that I can shoot the images I'm trying to get, that's all.

Suz Tucker:  What was the turning point in the late '90s that inspired you to focus on a different art form other than photography through filmmaking?
Cheryl Dunn:  I love them both and I feel they both inform each other – I still split my time between the two mediums. In this project, they are very equally utilised and the stillness of how I showed the artist's photographs statically, embedded in the often frantic, handheld film camera footage, seems to balance the experience. Very early in my career I did more photography, but when I started to make films myself, I always incorporated the still image, and I think visa versa - my still photographs have always been infused with motion, and actually breaking the frame when I did start to make film was very liberating.

0 Comments

    Categories

    All
    AD7801 Aesthetic & Layouts
    AD7801 Artist Research
    AD7801 Evaluation
    AD7801 Exhibitions
    AD7801 Interesting Articles
    AD7801 My Work
    AD7801 Proposal
    AD7803 Aesthetic & Layouts
    AD7803 Artist Research
    AD7803 Evaluation
    AD7803 My Work
    AD7803 Proposal

    Archives

    May 2017
    April 2017
    March 2017
    February 2017
    January 2017
    December 2016
    November 2016
    October 2016

    RSS Feed

Powered by Create your own unique website with customizable templates.