Punched Ticket

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

This is an edited image of my adventures in Poland, with the original having much less saturated blues and overall more dark values in the bottom half of the picture. I wanted to use it for this analysis as it is most definitely an inclusion to my Interactice Environment project.  First, there is no linguistic message within the image, or practically any other images I am using. Perhaps influenced by one of my largest artistic aspirations, Rain World, I only see language as a symbolic in my artworks, and unless I have to be specific in my commentary (such as, critiquing a particular brand), I prefer to keep language undecodable or unexistant in my work. Rain World employs an imagined alphabet with letters assembled  randomly and thus producing no "real" language The literal messages are many, as we discussed in class: there is the soviet-era socialist buildings blurred in the background (which, I did not mention, were a part of the "jewish ghetto" in the city, Lodz,

Covering the functional grounds of interactive visual and aural experiences and reaching into narratives of relationships between natural growth and urban spatialities, this project has three core goals: Deliver a narrative exploring the struggle of coexistance between modern lifestyles and natural ecosystems Communicate that narrative utilizing only visual and aural methods of storytelling, abstaining from any form of direct communication Melt the communication of the narrative into real time, embroidering interactivity and conversations with the audience into the project via code  Overall, I hope for the final result to be a short interactive experience that brings together the 300 of my best photos and hours of field recording from Poland in a deeply aestheticized vision. Through aestheticization, the narratives from my Poland journeys will blossom in a way that will enrich the narratives and translate their emotional cores for a wider audience.  There are a few inspirations for thi