For the one kilometer project, I chose to record the audio of running for 1 kilometer on the treadmill at my local gym. I decided to name this project ‘EXP. 1K Interlude’ as it is the first work of many in This Experimental I class I will create. It represents the beginning of an album of works that will be recorded, filmed, built and completed in this class.
GesturesDiscussion
In the attempt to recreate the movements and in inputs gestures of another person it is almost impossible because of our physiology, so even if it looks almost identical there are slight differences in one’s body that is required to replicate the movement. I think it is a unique gift as this replication is from one’s personal perception of a human being to another, there are also intimate replications like hugging or snuggling which symbolize the human connection, by replicating this, it’s possible that the dancers could feel the same.
Some of the movements in the article like the woman pulling her hair behind her ear and the man rubbing his eyes, I feel that there is a sense of awareness of perception by the camera. I perceive them differently than the one where there are two separate videos one of the dancer and one of the other person where she is imitating him, it seems a bit more natural in the relationship between the person and the camera
When I speak to my mom, she is very communicative with her hands, little movements she does to emphasize the words that she’s saying or sometimes in a way to illustrate characteristics in a story. If the story is more intense or there is frustration behind her words the hand movements become quick and short, in a more calm, or dramatic story her hand movements become elongated and slow. When I have a conversation with my father, he is more expressive with his facial expressions, brows raised or furrowed, slight squint or pout are typically indicators of emphasis in a story or conversation with him. My best friend when she talks emphasizes her voice more than anything but, she still shows micro expressions with her face most typically with her eyebrows, such as a slightly furrowed brow or a single raised brow – expressing interest, frustration, joy or whatever she may be feeling in the moment.
Field Trip Blog
My favourite art piece in the hip-hop exhibit was ‘ Z E L L A’ by Murjoni Merriweather – I have been following her artwork on social media since 2017 so seeing a work of hers for the first time in person was very special for me. She creates portrait like sculptures of people of colour, specifically Black people, normalizing and highlighting the beauty of Afrocentric features in art using mixed media such as hair weave, jewelry and clay. She also highlights aspects of black culture such as hair, grill and nail culture.
In Dionne Alexander’s work at the exhibit – Lil’ Kim’s Magazines and remakes of her Wigs, showcases the creativity and versatility of hair as a form of expression and its impact on popular culture, particularly hip hop.
Throughout the last five years, I have been creating videos, prints, zines, photos and sculptures that have similar aspects of highlighting aspects of black culture, particularly hair. This has been a topic that has informed my practice for a long time and by seeing the work artists (one I have been following for such a long time) in the AGO, it is encouraging to me to continue to explore this kind of artistic expression in a multitude of mediums.
Audio Art – Shedding
For this project I chose to emulate the experience of overstimulation in the process of grooming ones hair. Through layering audio of brushing, cutting, plucking and shaving this work intends to evoke hyperawareness, exhaustion and self awareness of daily, weekly and/or monthly grooming activities. Having an emotional resolution to the audio intends to evoke liberation of sensory overload.
Conceptual Self Portrait
For the conceptual portrait, I decided to share a vulnerable piece of an experience I have been going through over the past year. This work is very personal, as it reflects the emotional weight of being the victim in an ongoing criminal harassment case. Throughout the semester, this situation has remained a constant source of anxiety and fear, impacting my ability to focus and feel safe in everyday life. The continuous stream of worries by court updates, unexpected messages, or simply walking through familiar spaces, has changed how I move through the world. By channeling these emotions into my art, I wanted to convey the invisible anxiety I carry, while facing such an invasive and distressing experience. This portrait is not just about worry, but also about reclaiming my narrative through vulnerability and creative expression.
Button Project – Anti-Social Buttons
For my Button project I decided to create anti-social buttons. Inspired by Adrian Piper’s calling cards, using formal language to divert human interaction. By using ready made construction signs and alerts – ‘Detour’, ‘Risk of Explosion’, ‘No Connection Available’, ‘Do not Touch’, etc . Contrary to the intention of buttons made to start conversation or interaction, these buttons are perfect for when you have a low social battery, need no distraction or just flat out not in the mood to have a conversation!
The goal of this piece is to mimic the specific motions and behaviors that identify each person. Performing a gesture or movement that is not natural to the performer was one of the difficulties due to the fact that personal movements, tics, or unconscious gestures are frequently formed over time as a self-soothing, repetitive action. This performance has an added benefit in that it offers an interesting way of studying habitual movements from the perspective of someone who has seen them externally and is attempting to recreate them consciously rather than in the subconscious state in which they were first noticed.
The examples in Heitmann’s study where people kept the gestures of deceased loved ones struck me as particularly moving. Small details about the deceased gradually disappear from memory, but witnessing these movements, which may seem insignificant to others, can feel like a last glimpse of them and provide a very intimate opportunity to say goodbye. For example, the young Belgian woman’s mother and boyfriend made sure that a piece of her lived on in the archive by donating movements on her behalf after she passed away. Heitmann also provided secondhand movements that she connects to her father. His tax returns and bank statements were all that were left after his death, creating what she called “a very one-sided picture” of his life. She regained a closer, more personal relationship with him by keeping his gestures, demonstrating how movement may act as a powerful emotional bond with lost loved ones.
When my girlfriend is intoxicated she starts to blink excessively and the blinking intensifies whenever she tells me a story. Whenever my roommate is at a loss for words or is thinking about something he’ll rub his hair really aggressively and depending on if he’s trying not to laugh or can’t remember something he’ll rub it more aggressively. My younger sister is someone who talks with her hands but depending on how intense or invested she is in what she’s talking about she’ll use her entire body when she does these gestures
Field Trip
At the AGO, walking into the hip-hop culture exhibit, the Air Force 1s made from car parts were the first piece that caught my eye. The intricate design and the way the materials were repurposed complemented each other so well. This piece did a great job of showcasing the connection between sneaker culture and innovation, which really resonates with me.
Another standout was the durag exhibit. It was incredible to see an entire space dedicated to highlighting the cultural significance of durags in Black identity and fashion. The way the installation was presented made it feel immersive, emphasizing how durags have evolved beyond functionality into a symbol of style and empowerment. Both pieces captured key elements of hip-hop culture in a way that felt authentic and impactful.
The first piece that caught my eye was the installation incorporating a bamboo structure. The way the light seeped through created a sense of immersion, making you feel connected to the piece. The addition of pillows was a thoughtful touch, enhancing the comfort and allowing you to fully absorb the soft, calming atmosphere created by the lighting and space.
The second piece was centered around waves, which I found really fascinating. What struck me first were the colored aura panels surrounding it—they stood out as the only source of color in an otherwise completely black room. This contrast made stepping into the space feel like entering a different world, adding to the depth and impact of the artwork.
Habituation is the process by which repeated exposure to a stimulus leads to a decreased response over time. In daily life, routines can become so ingrained that we perform them without conscious thought, blurring the line between action and awareness.
What you’re hearing now are the sounds of my daily routine, from brushing my teeth to walking to class, all presented in the order they occur. Layered within this is the same routine reorganized and played in reverse, symbolizing how constant repetition can become mind-numbing, distorting our sense of time and experience
Conceptual Portrait
My conceptual portrait is made from the contents of my wallet.
At first glance, a wallet might seem like just a practical object but for me, it’s actually a time capsule. Receipts, notes, old IDs, random cards I don’t use anymore, every piece in there holds some sort of story or memory. As I laid everything out, I started to realize how much of myself lives in these small, overlooked items.
This piece is about how identity isn’t always loud or obvious. Sometimes it shows up in the things we carry every day without thinking. Things we forget we even have. The messiness, the randomness, the personal value that wouldn’t make sense to anyone else, it all came together to represent me in a way that felt really real.
I liked the idea that a portrait doesn’t have to be a face, it can be the stuff that holds your day-to-day life together. This project let me look at the ordinary and find something personal in it.
Open Studios Images
Artist Multiple: Buttons
For this assignment I wanted to poke fun at, and subvert, the overly sweet, sometimes hollow nature of inspirational merchandise. These aren’t your typical “live, laugh, love” slogans slapped on pastel backgrounds. Instead, each button offers a twist: something that feels like it should be inspiring, but instead reveals a more honest, ironic, or even uncomfortable truth.
I was inspired by the way inspirational merch often tries to simplify complex emotions with generic positivity. I wanted to flip that narrative and create buttons that make you stop, laugh, cringe, or think twice. They’re wearable contradictions, tiny rebellions against the pressure to always be “doing great” or “staying positive.”
These buttons aren’t meant to uplift but they’re meant to disrupt. Think of them as little reminders that not everything needs to be wrapped in glittery optimism.
For my artist multiples, I created two series of buttons that could be used in a party/gallery setting. I wanted them to to spark interaction between strangers, and would love to eventually test them out in a social space.
FRIENDSHIP BUTTONS are two buttons connected by rope of various lengths. The concept is that you would be paired randomly with a stranger and select a length from a bin. You’re destined to either hang out at a comfortable distance, be directly and intimately face to face (or crotch to crotch), or have an absurd length of rope between the two of you. I was happy to see McKenna and Paiten/Lamiss and Jay testing them out.
DISCO TITS is a series of disco ball buttons accompanied by two lights. The light buttons are meant for one persons chest, and the disco ball buttons are meant to be worn in surplus by another person. The concept for this is a party where you are randomly assigned to wear a bunch of disco balls or be the bearer of light in a dimly lit setting and to have impromtu disco moments among conversations with the complimentary button-wearer. This is also meant to be a piece worn to clubs for impromptu disco flash mobbing.
I loved seeing my classmates’ ideas for their artist multiples and was so happy to trade with them and start my own collection of artist multiples. I particularly liked Carter’s embarassing achievements and Tumi’s eerie positivity buttons.
CONCEPTUAL PORTRAIT
a mosaic of everyone I have ever loved: a conceptual portrait of myself through the love i’ve received from others in my lifetime, displayed through printer scans of the many items i’ve kept in shoeboxes in my room over the years.
this was definitely the most emotional thing i’ve ever done in the name of art- reflecting on the different ways i’ve been perceived by those i love, the experiences ive had with others, and the items ive deemed worthy of keeping (which is a LOT- im a sentimental gal, this is just the stuff that i was able to shove under a printer scanner). sifting through YEARS of birthday cards, trinkets, tickets to events, random pieces of paper and receipts, among other things, made me reflect on the love i’ve received from close friends, family, people who aren’t in my life anymore, lovers, strangers.
this was inspired by a quote that said “your room is a museum/mosaic of everyone you’ve ever loved”.
AUDIO ASSIGNMENT
For my audio assignment, I decided to piece together clips of my mom’s voicemails. She always tends to start and end them the same, with “hello m’love” and “love you. bye bye”. She has a pretty prominent East Coast accent that shines through in some of these. I thought that piecing them together to compare the start and end’s would be a wholesome idea with a sprinkle of guilt about not calling her back.
ONE FEAT, 3 WAYS
For all three of our videos, Tegwyn & I wanted to explore the abject concept of using body parts to serve different food items. We wanted them to be a hard, uncomfortable watch, but also something that you can’t quite look away from.
The One-Shot
Our one-shot was inspired by shaving-cream ASMR videos with bizarre foot-fetish undertones. We were both pleasantly surprised that the peanut butter and jelly erupted out of the holes of the crocs so well- it turned out to be so disgusting yet satisfying. We realized after that the crocs were kind of dingy and dirty, which added another layer of uncomfortability.
The Edit
“All You Can Eat” was meant to be a buffet-style sequence of several different ways to serve food with your body. This also somehow ended up verging on fetish content (for some freak out there), especially with the spitting of the syrup and the bacon. The white dress shirt was used throughout the video for continuity and formality, despite the non-formal essence of the video. We decided to do an overhead shot of the plate at the end with the accumulation of gross body foods, and thought that taking a bite out of the ass toast would add another layer of abject. The use of both male and female bodies in this video was useful in expanding the idea of sexual content and steering away from the use of explicitly womens bodies (we communally agreed that hairy butts are more effective in provoking the “eugh” factor)
The Loop
Our loop was intentionally meant to cater to fetish content, and we decided to wear silk slips and place the camera as a chest-shot on Tegwyn (two girls no bowl?). The visibly stressed rise and fall of my chest and the calm manner of Tegwyn while she leisurely scoops cereal out of my mouth are so contradictory, which I found entertaining. This one is especially pretty abject to me because of the spoon scraping on my teeth, and the experience of doing it and knowing that my uvula was being shovelled.
Overall, this project was so much fun to produce, and I’m incredibly happy that Tegwyn was able to match my freak (and beyond) and was not only so open to bizarre ideas, but already had them fired up and ready as soon as we sat down to talk about what we could do for this project.
Katja Heitmann: Turning the Gestures of Everyday Life Into Art
This work aims to emulate the unique gestures/actions that define an individual. One of the challenges might have been performing a gesture or movement that is not instinctual to the performer themselves; personal movements/tics/unconscious gestures are often developed over a long period of time as a habitual, self-soothing action. A unique gift with this performance is that it is a very interesting way to study habitual movements as someone who has externally observed them, and is making an effort to replicate them consciously as opposed to the subconscious state that they’re originally observed in.
I thought that Katja impersonating the child was super interesting- it seems as though the kid is dissociating, zoned out, in another world, etc., and would have a different perception on the work as opposed to adults. If you ask an adult if you could record them, they may become a bit more aware of their actions, but a kid is more likely to just do whatever they were going to do anyways. To me, it seems like the most genuine.
When my brother laughs or is really excited about something, he rubs his face up and down with both hands really fast, one or two times. My boyfriends mom pulls on one part of her hair when she is planning or talking in-depth about something. My roommate/best friend tilts her head down and looks up above her eyes when she is telling a story, while sticking one hand out and “talking” with it.
KILOMETER
I decided to do a skit on taking an unassuming, leisurely walk to the beach, which happened to be precisely 1km away from the characters house.
(In reality- the true kilometer was from the entrance of the Speed River Trail to the Guelph Lake Dam).
I began this project by reflecting on how I spend most of my kilometres; either in cars or walking. At school, walking is something I do a lot: AirPods in, playlist on. Like many people my age, I move through my day with headphones on, listening to music.
For 1 km walk I decided to turn this daily activity of walking into something more deliberate. I walked exactly one kilometre, 500 meters there and back. I did this while listening to songs referencing walking: Walking in the Air, Walking on the Moon, and Walking After You. Honestly, I thought it would be slightly funny to walk to songs about walking.
I enjoyed reflecting on how small choices, like a playlist, can add humour and creativity to an otherwise mundane and ordinary distance.
HIP-HOP EXHIBITION – Field Trip!
The Culture: Hip-Hop & Contemporary Art in the 21st Century was organized around six themes: Language, Brand, Adornment, Tribute, Pose, and Ascension, each of which highlights a different aspect of hip-hop’s cultural reach. Walking through the gallery, I was captivated by the way artists used hip-hop as a medium to discuss deeper social issues. Two pieces, in particular, stood out to me: For Whom the Bell Curves by Robert Pruitt and Anointed by Carrie Mae Weems.
For Whom the Bell Curves by Robert Pruitt (2004)
When I first saw this piece I thought of how it fit the aesthetic of hip-hop, the shiny gold chains. However, when I read the blurb beside the piece I found a deeper meaning. In Pruitt’s work the intricate gold links take the shape of the transatlantic slave trade routes.
It made me reflect on how hip-hop, while often celebrated for its extravagance and success stories, also carries the weight of a complex and painful past. Pruitt’s piece reminded me that the roots of hip-hop are deeply tied to resilience, struggle, and the ongoing fight for justice.
Anointed by Carrie Mae Weems (2017)
Carrie Mae Weems’ Anointed immediately captured my attention with its striking red tones and regal composition. Featuring the legendary Mary J. Blige receiving a crown, the piece celebrates her status as the “Queen of Hip-Hop Soul.” However, Weems takes this idea even further by placing Blige within a historical lineage of Black women icons, such as Dinah Washington.
Weems notes ”And of course, there’s Jean-Michel Basquiat’s constant use of the crown in relationship to jazz and music, and African American cultural utterance”
Weems’ positions Blige in a way that shows the importance of Black women in shaping music, culture, and art. Seeing this piece at the AGO made me appreciate how hip-hop is not just about music, but a constantly evolving cultural movement with deep artistic and historical significance.
NYT ARTICLE – Notes on Katja Heitmann’s Project “Motus Mori”
Describe the work discussed in the article and the unique challenges – as well as the unique gifts- that come with attempting to archive personal movements? The article discusses Katja Heitmann’s project, “Motus Mori,” which collects and archives personal movements, habits, and tics as a form of dance. Instead of using digital or written records, the project relies on dancers to physically preserve these gestures in their muscle memory, performing them in installations. This is a challenge since the archive exists only in dancers’ bodies. If a dancer stops, part of the archive disappears. This archiving of personal moments creates a human connection between donors, dancers, and audiences. For families of deceased individuals, watching their loved one’s movements performed can be a form of remembrance.
Discuss one or two examples of movements in the article – what strikes you about them? One example that stood out to me is how Heitmann’s father’s movements were preserved like any other donor’s. He was a dance teacher, and his habitual gestures (scratching his scalp and instinctively pulling in his stomach when passing a studio mirror) were archived through the dancers. This resonates with me personally because growing up as a dancer has shaped my own movements and gestures. The way I sit, my posture, and my instinct to adjust myself when passing by mirrors all come from years of training. Much like Heitmann’s father, dance has influenced my unconscious habits and how i move through the world.
Describe the habitual movements/unconscious gestures, tics of 3 people you know well. How do individual body parts move, and how does the whole body interact? My best friend gently spins her nose ring whens she’s thinking or nervous. I notice it especially when she is trying to make a decision. She will also place her index finger on her chin when she is driving and is unsure of where she’s going. I’ve found myself placing my index finger on my chin when i’m thinking. Even while typing this I found myself doing it. One of my roommates does this pose jump thing sometimes when she is about to exit a room. She flicks one of her legs back and like does a little turn hop. It’s hard to describe, but its super distinct. She does it especially when she wants something or has just asked for something I have. A guy I used to work with would always crack his knuckles especially when he was having conversations with people. He would also always fiddle with his lanyard hanging out of his pant pocket. When there was no customers around he would lean and wait while twirling the lanyard in his fingers.
VIDEO ART – One Feat Three Ways: Peeling an Orange
This project started with the idea to peel an orange. The result was three videos — 29, Openers Opening, and Over and Over. Each video explores the act of opening an orange in different ways.
In 29, instead of peeling an orange in one satisfying piece, we did the opposite, tearing it apart bit by bit using only our teeth. Would not recommend, orange peels taste gross.
For Openers Opening, we tested tools that are meant to open other things to see if they could peel an orange. It turns out a door handle is not the best item to peel an orange with. Most of them didn’t work that well but the bottle opener surprised me.
Over and Over was an experiment in repetition. While one of us peeled an orange, the other tried to put it back together, creating a never-ending loop.
READING RESPONSE –Bridget Moser’s Project “My Crops Are Dying But My Body Persists”
Bridget Moser’s My Crops Are Dying But My Body Persists is a weird and unsettling take on privilege, consumerism, and existential dread. She pulls from internet culture, pop references, and absurdity to create something that feels slightly ridiculous. Charlene K. Lau’s review breaks down how Moser uses humour and surrealism to critique materialism.
One of the most striking moments in the video is when Moser braids cooked spaghetti to a soft, dreamy soundtrack, mimicking those asmr videos online. Lau points out that the sequence is “pleasurable and calming to watch,” but at the same time, it’s kinda pointless. It made me think of how digital media can be numbing, rather than actually making me think.
Her use of props including all the rose-gold, the pink Himalayan salt, the pink everything, I think captures influencer culture’s obsession with curated aesthetics, and overconsumption. I found it all tacky and excessive. I can’t imagine a house filled with all that type of stuff.
Honestly it made me uncomfortable.
It made me think about how people are drawn to beauty and aesthetic perfection, yet at the same time we recognize its emptiness. That’s probably why I felt uncomfortable watching it. I thought about the absurdity of the things we consume, both online and in real life. I found Moser’s work bizarre but thought-provoking. But maybe thats the point, to build unsettling tension. As Lau puts it, “Although some odd visual comforts might recede… the absurdity remains.”
AUDIO ART – 4:38 AM: icicles melting out my bedroom window
This is the sound of icicles melting at 4:38 AM.
Sometimes when I can’t sleep I’ll open my bedroom window and just listen. I feel the cool air on my skin and listen to all the noise outside that I usually don’t pay attention to, the drifting wind, animals rustling, rain, thunder, lightening, trees moving and creaking, cars going by, and icicles melting. I found the repetitive nature of the dripping icicles quite meditative. I also thought the melting of icicles illustrated the cyclical nature of the seasons really well.
OPEN STUDIOS – Images
CONCEPTUAL PORTRAIT – Love Mom
Love Mom is a small artist book and a conceptual portrait built from small, personal objects. Each page pairs a note my mom wrote before a canoe trip with the bracelet I wore that summer. The bracelets were made with different ropes each summer. The bracelets are simple, practical, and meant to signify the the trip. Worn by everyone in the group, they became quiet markers of time, place, and shared experience. Together with the notes, they reflect a personal rhythm of leaving, returning, and growing up with my mom.
ARTIST MULTIPLES: Buttons – wearing your heart on your sleeve
For this series of buttons, I wanted to explore the the way my female friends speak to each other, and to themselves. I’ve noticed that the women I know tend to make more self-conscious comments than the men do. Phrases like “am i annoying?” or “do i look okay?”. Even though sometimes they’re said jokingly, I think that these comments reveal something deeper. My experience as a women, along with many others, was growing up being told to be more likeable or agreeable. Don’t be too loud, don’t take up too much space, don’t make people uncomfortable. I think this instills insecurities.
This is not about criticizing the way women speak at all, it’s more about noticing it and thinking why.
The buttons are meant to be worn on jackets, bags, shirts, anywhere visible.
I really appreciated the feedback from the group discussion. Some people saw it as confrontational, like a way to openly display and reclaim insecurities. I love that perspective, although it wasn’t what I originally had in mind, I think it’s a beautiful approach.
For my kilometre, I go on a walk every morning with my dog, and figured that with the 1 km walk I could show what it’s like to go on a walk with us. The twist I wanted to add was seeing both perspectives, me and my dogs as well as putting music on both POV’s.
Turning the Gestures of Everyday Life Into Art by Katja Heitmann
Describe the work discussed in the article and the unique challenges – as well as the unique gifts- that come with attempting to archive personal movements.
This article discusses how Katjia uses dancers to study and recreate movements of everyday life into an art piece that mimics the unique way one’s body moves. The unique challenges started with the fact that the dancers could not photograph, film, or record in writing anything from the interviews, they needed to memorize and become one with the specific authentic gestures made to become one with capturing human data. Another challenge was the archive being ongoing and live, meaning the dancers could not clock in and out, they couldn’t stop otherwise the artwork was considered gone. This could cause fatigue or body aches, so they would need to persevere through. The volunteers who were a part of the piece never realized the movements they had made and reflected on them, which also allowed them to discover new things about themselves, and some even made adjustments to their everyday lives because of it.
Discuss one or two examples of movements in the article – what strikes you about them?
What strikes me most is Broek who had “anxiety hands” and constantly cracked his knuckles. The gesture of cracking knuckles is such a common thing among those who have anxiety and, I also can relate because I find in high-pressure or uncomfortable situations, I crack my knuckles to pass the time or take my brain somewhere else with the sounds.
Describe the habitual movements/unconscious gestures, tics, etc. of 3 people you know well. How do individual body parts move, and how does the whole body interact? What about facial expressions and the emotional valence of the movement? How does body type inform the movement? What do these examples of small movements mean and imply?
My boyfriend plays first-person shooter games on his Xbox a lot. I noticed that when he gets really focused in rounds he opens his mouth the smallest amount and closes it slowly. Usually, when he focuses on others body movements are completely still and, his facial expressions are blank.
My brother, whenever he says something in a group setting that isn’t totally addressed to anyone, will say what he wants to say and then look at everyone who is close, but it’s in a way that still isn’t addressed to people, like an open response question or statement.
My best friend, when she is reading, will bite her hair or play with it. I feel like it’s a way of self-soothing, or alleviating boredom or anxiety when doing something as simple as reading.
During the AGO, I found 2 pieces that captured my attention. The first piece I liked was “Bic Lighter”, by Tarralik Duffy on the first floor of the exhibition. The take on the lighter and the cigarette she made is almost a comedic joke, they are supposed to highlight a sense of playfulness and humor but I took it in a different direction and saw it as a complete hit on a sensitive topic. I like this piece because in my head it was giving more of a warning or highlighting on the topic of smoking and the severity of it. It has become one of the everyday objects used and I think that is sad, but for her to use it in a comedic sense was slightly refreshing. Although it’s a sensitive topic for her to take this in the direction of enlarging and making the pieces out of foam as a type of plushie is a cool idea. The second piece was made by Narcisse Virgile Diaz de la Peña called the storm. I love this piece and was instantly captured by its beauty. I love the color pallet and the brush strokes used to portray a sense of darkness in the storm. I love the use of dramatic brushstrokes and the string natural effect it has on the piece. The combination of the dominating stormy sky on the open lands is so pretty. As well as the use of the framing adds to the dynamic of the piece and brings out the sun casting light onto the paths in the middle of the piece.
One Feat, Three Ways Video
Progress video
Audio Assignment
“Rhythmic anxiety” is a sound piece exploring the rhythmic patterns of anxiety-driven fidgeting. It is composed of layered sounds created by tapping my foot, drumming my fingers, and playing with jewelry—small, unconscious actions that often go unnoticed but reveal a restless mind. These sounds come together to form a beat that feels both structured and erratic, mirroring the way anxiety can create a sense of order within internal chaos. At times, the rhythm is soothing, like a subconscious coping mechanism, while at other times, it becomes overwhelming, reflecting how these habits can spiral. The title, Lost in Chaos, captures the experience of being trapped in these repetitive motions, where fidgeting is both a release and a symptom of unease.
Walking around the gallery was an interesting experience as it allowed me to see all the artistic styles and learn about different artists. It was also fascinating to discover what some artists are currently working on and what others plan to pursue after graduating. Hearing about their creative processes, including trial and error in developing techniques, provided valuable insights and helpful tips for future artistic endeavors.
One piece I particularly enjoyed was part of a series of paintings that captured the atmosphere of a women’s restroom with striking accuracy. The artist’s incredible attention to detail and creativity brought the scene to life. Speaking with her was insightful, as she shared valuable points about working with oil paints and showcased other thought-provoking pieces that pushed artistic boundaries and thought outside the box. It was also nice to see how each piece she showed different mediums, like the series painting, she had a wall of pictures of women’s purses and lastly put together a scene like restroom that made me think any girls messy set up when getting ready.
Unfortunately, I can’t remember the artists’ names, but these are some of the pieces I enjoyed seeing. Most are pieces with great attention to detail that bring certain elements alive.
I made an audio piece composed of clips of my dad playing his favorite songs on the guitar along with the music in the background. This is one of the best representations of my dad because throughout his life he has loved music and can portray parts of himself through song in a way he never could through words. Each one of these songs he grew up with and continues to play all the time at home. This is a little bit of a longer video but I wanted to incorporate some of his best sessions with these songs and give a sense of who he is through music and also a small sound of what it’s like to be in our household on a regular day. I incorporated some clips where he knew I was recording and some he didn’t know and I even caught him singing a couple of lyrics! In some of the clips, he also messes around a little bit which were the ones he didn’t know I was recording. I did that because he was quite nervous to be filmed. Overall, I think he did a really good job working through the nerves, and I think this piece came out well with capturing those candid moments which shows an authentic touch that really brings out his personality and love for music, I hope you enjoy it!
I created these buttons to encourage social interaction and engagement. Each button features an open-ended, thought-provoking question designed to spark conversation, break the ice, and make it easier to connect with others. Whether the prompts invite humor, personal stories, or deep discussions, they help turn everyday interactions into engaging and meaningful moments.
Starting conversations can be challenging, especially for those who aren’t naturally extroverted. These buttons serve as an approachable and fun way to initiate discussions, encourage curiosity, and make meeting new people less awkward. They can be used in classrooms, social events, or casual settings to create spontaneous and dynamic interactions.
I appreciate how these buttons promote interaction in different ways—whether through laughter, storytelling, or thought-provoking ideas. By wearing or displaying them, they invite connection, making social experiences more natural and memorable.
I created 13 squinting buttons. I originally made 15, however, one button’s mylar did not work so I had to take it off and another button had a strange white circle around the image (Pictured below on the left). The first time I printed out the images, I felt as though the pictures were still too big so I decided to go back to the computer and make the images even smaller (Pictured below in the middle and on the left). Unfortunately, within the black parts of my buttons there are faint lines, which Nathan said was because the printer needed to be serviced. Although I think the buttons would have looked better without these lines, McKenna mentioned it kinda looks like blinds on a window which is in theme with my concept of looking. Overall, I am very pleased with how these turned out and think they look quite ridiculous paired with all my “normal” buttons.
Artist Blurb:
Whenever I see buttons on someone’s bag, I always try to sneak a peak when they aren’t paying attention… I judge them on the buttons they have and determine if I think we would get along based on common interests or if I think I should avoid them… Therefore, I created buttons that not only look back at you, but also judge the looker for looking. I made the images smaller than the buttons themselves so the person taking a peak at them REALLY has to get in close and squint their eyes to see the person squinting back at them!
PORTRAIT PROJECT
IMPORTANT: I was very passionate about two concepts, one a portrait of my Opa and one a self portrait… so I did them both!!! The one I am handing in to be graded is Portrait of Hank but please check out my self portrait entitled no two snowflakes as well if you are interested!
BRAINSTORM
ICE SCULPTING AND VIDEO BTS
Portrait of Hank
Portrait of Hank Artist Blurb:
I made a sculptural and video art piece that speaks of the deterioration of the human body. As with all of us, age causes our bodies to change and break down slowly but in the case of my Opa, his body was deteriorating faster than normal due to symptoms from his cancer. I was heavily inspired by Portrait of Ross by Felix Gonzalez-Torres as my piece also speaks about gradual and unexpected loss. Where Felix uses candy, I use melting ice to create a type of vanishing portrait. Originally I had hoped this video would be in one shot but the ice sphere, a metaphorical body of my Opa, persisted and lasted 30 minutes! The video is quite frantic at the beginning as I edited together clips of me pouring the drinks, however, the last minute of the video is a singular clip which gives viewers a chance to reflect. In the moment I felt very strongly about eating the last little piece of ice as a way to not say goodbye to my Opa and to have him reside within me, however, looking back at the video I wish I had filmed the melting to completion. I created a hollow sphere out of ice with a small hole at the top to pour orange pekoe tea and coffee into. The tea and coffee, the tray, and the mug are all significant as they were always used when my Opa would come over for a visit. My fondest memories, and my last time seeing him, was during a tea and coffee visit.
Timelapse!
no two snowflakes
I went through every item in my closet with pockets and determined that out of 42 clothing items, 23 had stuff in at least one of the pockets. Once counted, there was a total of 63 items, 42 of which were tissues. I took all 63 items and scanned them, however, I was very intrigued by the tissues specifically as they looked strangely beautiful. I was inspired by Lacy Greene’s Lipsticks and On Kawara’s One Million Years which document the subtly of objects or a singular concept. I created a booklet out of all the 42 scans of tissues and printed it out as a zine. Below is a link to an online version of the book for those who are interested!
Walking around the open galleries made me extremely excited about having my own space and I began thinking about what I would want to display! It was a little intimidating but also really cool learning about everyone’s specialties and niches.
I especially loved the whimsical mixed media and sculptural pieces by Elisa, it is exactly my kinda style and really inspired me 🙂 I also loved Cindy Hill’s bronze casted dairies. I found the material really interesting to look at so I asked her about her process, she told me she used a burnout casting method. Cindy mentioned wanting to make a piece about destroying personal documentation. Her use of bronze was significant because she noted most subjects casted in bronze are men on horses, thus she wanted to make a feminine art piece using this historically masculine material. She mentioned that there are more horse statues than statues of women in Canada! Additionally, I really liked a sketch by Vida Beyer for its simplicity and I enjoyed Wendy Bishop’s sound resonance pieces for their thoughtful and mathematical arrangements of colour.
I have included some other pieces that really intrigued me! Overall, I’m glad I took the time to look and listen to the upper years and I am looking forward to displaying my own art 🙂
AUDIO ASSIGNMENT – 13 Piece Capriccio
BRAINSTORM
PREPARING FOR THE CONCERT
13 Piece Capriccio
BONUS: red belly
Artist Blurb for 13 Piece Capriccio:
My audio piece is a capriccio created from the sounds of 13 family member’s belly buttons. A capriccio is a lively, spontaneous, and sometimes humorous piece of music. One of my strangest stims, patting my belly button helps ground me, calms me down, and produces a loud drum like sound. Although it is a little strange, I have an incredibly nonjudgmental family whom I wanted to share this experience with. I invited any family members that lived close by to come over to my house and join me in my belly button drum circle. It was incredibly important to me that participants felt comfortable, playing their bellies however they deemed fit and laughing if they felt the need! The goal of this audio piece was to construct an unscripted musical composition while creating a safe and fun event amongst people I feel comfortable with. The experience itself was a very odd and unique one… looking around the room and seeing 12 other people smacking their bellies in a circle is something I never thought I’d be doing. Although the audio piece was mostly sporadic, I did conduct it to a certain degree as I quieted the group at the beginning and motioned to the group to slow down once we neared the one minute mark. I decided to keep in the murmuring at the beginning to humanize this piece and because it sounds similar to the murmuring that occurs before an orchestra, which ultimately quiets down once the music begins. My uncle (pictured on the right side of the images above) ended off the audio clip with a nice little beat. I am very happy with this piece as I was able to share one of my favourite sounds with the people I love. Every time I listen to this piece and hear the laughter of my family members, I smile 🙂
My Crops Are Dying but My Body Persists
Bridget Moser’s My Crops Are Dying but My Body Persists is an incredibly intimate video piece where Moser shares her experience with identity and existential crisis. As mentioned in Lau’s review, Moser references 2020 pop culture and memes. This is evidenced in her use of satisfying videos, such as the material squishing out of crocs, distorting music, a commonplace practice in “shit posting” videos, and strange yet goofy images, such as the bizarre muscular figure sitting on water. Her music choices also reference modern day “calming” and “Inspirational” soundtracks you could find easily on YouTube. For instance, the upbeat music at the 3 minute and 30 second mark reminds me of inspirational music I may use to ignore the chaos of the world around me while the meditation music at the 12-minute mark reminds me of the music I use to calm myself down, something I do when I am worried about the state of the world. The white, beige, and pastel colour pallet creates this sense of cleanliness. This orchestrated purity is even more off-putting when you combine it with imagery like Moser spitting out her own teeth or putting meat between fake toes.
I agree with Lau’s comment that the fake mouth at the beginning of the video, “delivers a monologue conveying existential dread (…) [which] ironically grapples with the malaise of being a body in the world”, as I had a similar thought that by disconnecting the body part, a mouth, from its source and using a robotic voice with no emotion it contradicts the human experiences it talks about, such as when the mouth says, “I take showers just to pass the time”. I also enjoyed Moser’s commentary on forming connections. As Lau highlights, Moser “awkwardly mounts the sofa’s back, caresses its dusty-rose velour, and balances atop it, trying to feel something”. This scene not only made me uncomfortable, but it made me feel exhausted as I could image how tiresome it would be to wiggle around that couch with such effort; Moser even begins to pant and breathe heavily. Another example of the inability or difficulty of forming connections is seen in the scene where Moser uses a fake hand, made of hot dogs, to touch a fake dog.
Moser’s phallic symbolism could be used to comment on connection in a more intimate manner, such as the scene where she touches a screen with an image of hot dogs and roses, runs away, then returns. Touching the screen, she forms a connection, while running away looking at her hand may suggest it is a connection she is not proud of or comfortable with. However, as she continuously returns to touch the screen again, this scene may be even more distressing symbolizing some form of addiction. Moser also comments on white fragility as Lau notes she delivers “a sly visual joke on white fragility (…) [by sticking] Band-Aids to the crusts of a slice of white bread”. Another scene that highlights this topic is when Moser lays on a white couch in a white room while hugging bread, getting comfort from her white privilege. However, her comfort is taken away as she sees a human figure stripped of its skin. This could be Moser’s confrontation with the things within herself she finds uncomfortable.
The quotes “I don’t know what I am feeling but I am feeling something” and “throw up and go on” stuck out to me the most as they beautifully explain the human experience, at least for me personally. These quotes highlight the confusion of being alive in a dying world and the perseverance to continue.
ONE FEAT THREE WAYS – PEELING AN ORANGE
BRAINSTORM
FILMING
29 (One shot)
Openers Opening (Edited)
Over and Over (Loop)
Artist Blurb for “One Feat Three Ways”:
Our feat was peeling an orange. Our three videos are entitled 29, Openers Opening, and Over and Over. Being the complementary colour to orange, we both wore blue to help make the focus of our videos stand out more. We spent three hours playing around with different ideas and items, some of which translated better into video format. By the end of filming, our hands were stained yellow and the whole room smelled like citrus. In opposition to those who try to peel an orange in one piece, we attempted to peel an orange in many small pieces in our video 29. To make it extra challenging, and a bit more intriguing, we attempted this feat using our teeth! Both Mckenna and I attempted this feat but we decided to use Mckenna’s version as one of our three final videos. In Openers Opening Mckenna and I use implements that open other things (handles open doors, zippers open clothes, Bottle openers open bottles) to see if they could open something unfamiliar, an orange. This video got REAL messy as most things are not great implements for opening oranges… In Over and Over we thought it would be fun if one person peeled an orange while the other tried to put it back together, creating this endless loop of opening then closing then opening. Originally planning to sit on the rolling office chairs, we decided to use the red chairs instead to ensure we did not move around during the video and mess up the loop!
AGO: HIP-HOP EXHIBITION
I was very excited to see the Hip-Hop exhibition at the AGO because last year in my sociology class we watched “Hip-Hop: Beyond Beats and Rhymes”, a documentary that detailed how toxic masculinity is promoted in the Hip-Hop industry and the system, run mainly by white men, typically only support black artists that perform these harmful stereotypes. A few pieces that really stuck out to me were Ride or Die by Gajin Fujita, Platano Pride by Miguel Luciano, and Nina Chanel Abney’s Untitled piece. Ride or Die drew my attention because it struck me as unusual to see graffiti in a gallery setting. The use of actual spray paint and overlapping designs made it feel like it was taken right from a concrete wall outside! I am not a big fan of the graffiti aesthetic and often ignore it in public, however, I found myself drawn to this piece. When something is given a platform, it is usually taken more seriously. Platano Pride caught my eye because you don’t see a large golden banana every day! In my sociology class, we also discussed the mistreatment of plantation workers. It was really empowering to see an artwork where a community reclaimed this symbol. Lastly, I adored Nina Chanel Abney’s Untitled work! The documentary, “Hip-Hop: Beyond Beats and Rhymes”, talked a lot about what is commonly valued and portrayed in Hip-Hop lyrics and music videos… money, babes, and cars! I love how the crudeness of the subject matter is reflected in the material being used, which seems to be harshly cut up crafting paper. This may have been my favourite piece in the AGO.
POWER PLANT
The Power Plant gave me an experience I was not expecting. I first watched the Floating Sea Palace by Lap-See Lam and I swear I fell into a trance. I had absolutely no idea what was going on except that there was a fish man… but I loved it! The translucent screen that was being projected on produced an incredible effect as shadows were cast on the wall behind it, giving the video literal depth! It was interesting too that the story was from a culture I am not accustomed to making it completely foreign to me. The immersive story and audio paired with the dark room and cozy bean bag chairs allows one to turn off their mind and just experience. Overall, the 26-minute video went by quicker than expected and I made my way to the second exhibit, How Many Colours Has the Sea by Charles Campbell. My favourite part of this exhibit was the audio piece that made me tear up a tad bit. I have never cried at an art gallery before… first time for everything I suppose. The piece was about loss and allowing yourself to sit with those feelings then let it go. Campbell gave me a space to contemplate the loss of someone close to me, and although I am not fully over it, this piece made me feel a bit better.
Took this picture of my finger while at the AGO by accident and later I couldn’t figure out what art piece it was…
Motus Mori Reading Questions
Question 1)
Heitmann’s collection of donated mannerisms are preserved through 10 dancers as they interview, mimic, memorize, then perform other people’s movements. This project has no end date and is an attempt to ensure the mannerisms of people who will eventually pass away stay alive and remembered. Heitmann believes everyone has at least one unique gesture as no two bodies move exactly the same. The donators are of all ages and their motions range from small to large. Once memorized, the dancers perform the movements in dance instillations for the public. One challenge of this project includes the dancer’s capacity to remember as some of them may eventually forget or unintentionally alter someone else’s motion. Another challenge is that those who donate their motions tend to want to “sit up straighter than usual or perform an ideal version of one’s self” while being monitored, changing their normal movements. The unique gift this project produces is a new form of documenting human kind. Rather than focusing on preserving text, physical art, music, or artifacts, this project provides a new way of thinking about and preserving an aspect of human culture that is often brushed off as not being important.
Question 2)
Both Mahat Arab and Ranti Tjan stood out to me because I relate to them. Recently I have started cracking my knuckles as a way to calm myself down, a practice that I only recently started doing and used to gross me out when others did it. I find it interesting that this mannerism is a newly developed one that, like Arab, stems from anxiety. As for Tjan, they realized that they arrange their body in ways that take up less space. I have always felt like a large person, I am quite tall and have broad shoulders. This used to make me feel very uncomfortable as a teenager and I adapted ways to “shrink” my body when in public so I would appear smaller and take up less space. I would sit with my legs touching each other, hold my arms in close to my body, and stand in a contrapposto position to lower my height.
Question 3)
My mom yawns dramatically and vocally when she is anxious… something I notice the most when her own mom comes to visit. This yawn is distinctive from her normal yawns as she really emphasizes it to the point where it seems fake, mainly because it is. I have noticed myself sometimes taking on this behaviour when I am around people I don’t know well or if there is silence in the room.
My brother sways his arms at his sides and looks up at the ceiling when he wants to hangout with me or wants me to do something for him. He will stand at my door and do this movement and I will know he wants something from me. This motion paired with the averted gaze tells me all I need to know about what he is thinking. His long arms really exaggerate this motion.
My dad has a very specific and goofy dance he does whenever he wants to embarrass my mom. He wiggles his hips in two quick and sharp movements and usually sports a giant grin while he does it. My brother and I mock this movement from time to time when we hear certain songs that remind us of him. This small goofy movement is seared into my brain and I will continue performing it, similar to Heitmann’s dancers, so that I may never forget it.
KILOMETRE PROJECT
BRAINSTORM
MAPPING OUT THE ROUTE
– Off for the Season –
Artist blurb:
I wanted to create a piece with some humour so I decided to give my tires a much needed break and take them for a joyride. I took them on a scenic drive exactly 1km from my house and back. Always being on the ground, I thought it was time they had a proper view. Being summer tires, they are off for the season both literally and figuratively. I shuffled the radio to represent the indecisiveness of family outings (not knowing what radio station to listen to, where to eat, where to go). The radio also incorporates an unknown element into the piece as it is randomized and I have no say in what is played next.
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