Punched Ticket

  Confession: I only have read one full story piece by this artist  Confession: in a book of amazing, talented, flexing artists, she was immediately my favourite Confession: among all comic makers, she is likely my favourite too In a way, it feels nonsensical. I have not interacted with Michelle Kwon's works pretty much at all. Yet, her methodology of storytelling was so captivating, through-through, and different that even one work was enough to convince me of her genius. That work is EX. Mag, Vol. 02 , a collection of super fun comics mixing love and supernatural, brought to light by an indie publisher, and bought by me after a few nights of wondering around tinier internet bookstores. Her website provides virtually no non-professional information. Her online media presence is limited to instagram. No twitter, no interviews. This is an especially odd contrast given how personal and vulnerable and open her storytelling is.  So, most of my thought on this artist is based of off her

  Immediately, I was reminded of many other artists who have explored the complicated issue of the complexity and nuancedness of human connection.  Tarkovsky came to mind first, immediately followed by another sculptor of time- anime director Shinkai.  Where Cristian's works lie in distinction is their physical stillness. To me, his narratives overlap greatly with many other artists- after all, "all things Twitter" is perhaps one of the most discussed topics today for a variety of reasons.  Out of all works, I was entangled in Scriptorium's emphasis on the methodology, on the process. The final result is not something incredibly complex, of lesser cognitive effort and greater dedication and scrupulousness. I was amazed at the author's ability to envision such an ambitious end-goal and meet it with clarity. Would I undertake a similar effort in order to make a point?  I'm even more impressed that he was able to keep going for such a significant amount of time s

Updated on 5/10 So much happening, but nothing I've done can be claimed as direct work on this project. I still believe that I can create something amazing within the remaining two weeks if I manage my time well. And if I land a job relatively soon too... Anyways, a major milestone: being commissioned for a 3D Animation in Blender. This was an exhaustive and exhausting experience that gave me a deep overview of my past struggles with 3D Animation, and allowed me to work through them. Despite losing many, many hours to rushed ideas and poor time management, I was able to nurture a result I am truly satisfied with. Below are the numerous draft versions of  various animation scenes; at the bottom is the very final result. FINAL CUT I also created a poster design, with many drafts: In addition to the animation Project, I was able to learn some additional modeling while creating 3D Prints for my Exhibit. They're so cute!

Authorship is always fascinating, but only sometimes trivial for gaining a complete unerstanding of the work.  That stood true until about 2 years ago, when I began diving into deeper personal topics and started to lear to understand myself in a whole different way. I noticed how much of all of my own, and other artists' inspirations came from entanglements of their identities. Particular awareness of these entanglements rose from seeing so many of my favourite artist turn to NFTs and shift to producing content that paid well, rather than told a good story. Meaningful narratives turned to aesthetics for Instagram followings, appealing to the market before appealing to the artist's own identity. Yes, these are rather accusatory, but I am quite dissapointed with how much empty aesthetics are replacing good stories.  My favourite artists are now those who have a fascinating story to tell, and tell it through examining their own identities. To me, the artist is more interesting tha

Howdey!  As always, I am too ambitious. It is not just unrealistic to design a game while also working on my capstone, Art Minor Senior Show, and a solo Exhibition... It's just plain impossible, as I have not generated any output so far. I've been learning more about game development, but am unable to apply my knowledge. It seems that I need to focus on something I already know in order to make the ends meet. Plus, I realized that what I truly truly  want is to be an animator, not a composer. Yes, for working in video games, I want to be in the audio sphere. But when I envision doing something for the joy of the process and  a satisfying final product, it is animation.  An integral part of the previous project that I want to keep, however, is the integration of music into visual elements. And!.. I want to keep utilizing my photo and videographies from Poland as core references for the visual work. So, I will be making animations for my music, and music for my animations! Here&#

There were a couple things I was captivated by when reading through others' reflections on the artist. Jessie wrote,  "He [uses faceless figures] to make sure himself as well as his viewers can understand what they are going through...  viewers can put themselves  and their own loved ones into the pieces." I did find the faceless works a lot more captivating, with the very first work being the only one (?) to utilize an real portrait. It was not as relatable to e personally, although I was empathizing with the complex emotions depicted in the portrait. However, my fascination with the lack of eyes, mouth, nose, and other facial structures in the figures was not from seeing such as encouragement of empathy or compassion... My interpretation of facelessness is darker: it is that anyone can be these figures, or rather that these figures represent all people who will fit this visual description. A commentary on cultural conditioning, with boys playing war growing into men mur