Book Stacks
The three book stacks I created are titled Migrations, Possessive Desires, and Into Being. Through experimenting with different combinations of book titles, I created three distinct poems, each reflecting a unique theme.
Migrations:
The first stack, Migrations, is composed of Migrations and All the Birds in the Sky. The word “migrations” refers to movement and transition from one place to another. Paired with All the Birds in the Sky, the stack can be read literally, evoking the seasonal migrations of birds flying through the sky, or metaphorically, suggesting freedom, change, and new possibilities. Together, these titles express the idea of freedom in movement and future potential.
Possessive Desires:
The second stack, Possessive Desires, is made up of Possession, A Certain Hunger, and Never Let Me Go. Possession conveys notions of ownership and control, while A certain Hunger hints at deep desire and longing. Never Let Me Go implies an intense need to hold on tightly. Combined, these titles create a powerful image of obsessive love and desire, reflecting the darker, possessive side of relationships.
Into Being:
The final stack, Into Being, includes A Breath of Life, Body, and You Are Here. A Breath of Life symbolizes the act of coming into existence, while Body refers to the physical nature of existing. You Are Here suggests presence in a specific space. Together, these titles explore the experience of being–focusing on the connection between the physical body and the immediate, present moment.
The composition of the photographed book stacks was also carefully considered. All three stacks were photographed against a blank background to ensure that the focus remained solely on the books. The stacks were placed on a wooden table, evoking a homely, familiar environment. In each image, the books are stacked alongside others with their spines turned inward, drawing attention to the outward-facing spines of the selected titles.
This arrangement was intentional, creating the impression of a bookshelf or a bedside table. The idea was to make it seem as though the books were left in this order waiting to be discovered in an intimate unknown space. This setting aligns with the fact that the books were taken from my personal collection, and the deliberate composition was meant to convey this intimate environment.
In the final photograph, the books are stacked vertically, allowing the titles to be read fluidly. This decision was necessary because the last book’s title, You Are Here, was printed vertically, while the others were printed horizontally. Stacking the books vertically ensured that the titles could be read seamlessly.
Environmental Video Ideas
Initial Ideas:
- Honey attracts ants etc (mask? bear?) flip in nature (the insects are eating the predator) fast track to the cycle of life. GLOVES AND SHOES no need to get stung by wasp
- Blending into nature (bury body parts)
- Teaching trees (call and answer)- artist easel with chalk board, pointer
- I am a tree (wearing a sign that says it (around the neck) and standing in different parts of the forest- wearing an outfit that has nothing to do w anythings) mimic sounds and movements
Further Brain Storm After Presented Ideas to Class:
In camera visual effects: shoot film then reverse it.
Cuts in video,
Transformative power of nature
- Person appears and disappears
People walking into a space, crouch then jump, blank shot of woods in back, drop back down w changed clothes
Someone hides behind a tree with a pile of leaves, runs behind a tree, quick cut, someone gathers leaves and throws them. Two separate shots: one running. One holding and throwing leaves.
Frenetic music?, very suddenly it cuts
Rough Story Board:
Outfits:
- colour coordinated to the element
Blue= Water, Red= Fire, White= Air, Black/Grey= Earth
FINAL IDEA:
Concept: To evoke the classical elements of nature- earth, fire, water, and air- by exploring their connection to the “transformative power of nature.” This project will emphasize how these elements shape and change both the natural world and human experience.
- after further discussion, decided on doing basic in camera editing to give video a “DIY” feel
- building off of our first story board (Air) to make a couple more videos in the same manner as discussed further in class
SHOOTING:
- the tree stump (as photographed)
- a large tree
- an open field
- the bridge/ body of water
However, the voice of locations may need to be adjusted depending on how the video shoot unfolds or if challenges arise with a selected site. It is essential to remain flexible and responsive during filming, as only by being present in the moment can determine if a particular location is suitable or not.
MOCA/Biennial of Art Write Up
Although I could not attend the class trip on the scheduled date, I made a point to visit the Museum Of Contemporary Art (MOCA) and the Toronto Biennial of Art on my own time. Even though I live in Toronto, this was my first time visiting MOCA. The museum’s three levels were impressive, but I was especially fascinated by the third floor, which featured work of artist Tishan Hsu. His exhibit, Interface Remix, explores the intersection of technology– such as artificial intelligence– and the human body, creating art that feels unsettling to look at. One piece that particularly caught my attention was on the far left wall, centered in the space. The canvas appeared almost as though it was wrapped in skin, with strange, circular, two-dimensional mounds that seemed to protrude from the surface in uniform rows, resembling skin tags. Some areas of the image on the canvas were distorted, while others were replaced by features resembling human arms, mouths, and other mysterious orifices. The neutral and cohesive colour palette enhanced the eerie effect, while the distortions made the piece appear as though it were alive, adding to its dynamic and unsettling quality.
At the Toronto Biennial of Art on Lisgar Street, two pieces stood out to me. The first was a video work titled Filiacion abono (Dung kinship) by Naomi Rincon Gallardo. I was struck by the creative use of materials in the costumes, particularly a snake-like character whose headpiece was made from scraps of metal twisted into a coiled form. The DIY quality of the filming and editing reminded me of making videos as a child, adding a nostalgic charm to the piece. The second piece was Threatened (Birds in Canada) by Maria Ezcurra, a striking drawing and painting installation that took up all four walls of the room it was exhibited in. The walls were completely covered with images of Canadian bird species at risk of extinction. The beauty of the artist’s rendering of the birds, juxtaposed with their endangered status, made a powerful statement about the environmental threats they face due to human activity.
Overall, I thoroughly enjoyed exploring both exhibitions, and I look forward to returning for future shows!
ENVIRONMENTAL VIDEO: ELEMENTS
The video art piece Elements explores the classical elements of nature– earth, fire, water, and air– through colour coordinated outfits: blue for water, red for fire, white for air, and black/grey for earth. This project delves into the “transformative power of nature” highlighting how these representations of these classical elements evoke their own individual essence and their influence on both the natural world and human experience.
Each video in the series corresponds to a specific element. For example, the first video represents fire, depicted through the repeated action of a kneeling figure (myself) attempting to ignite a tree stump by rubbing a stick between my hands to create friction. My ginger hair, resembling flames, is juxtaposed against the stark colours of the autumn background. I wear a red and orange gingham dress, further emphasizing the fire element, while my hair obscures my face, adding an element of mystery. The scene is framed in a medium shot, and the video loops continuously, reinforcing the persistence and intensity of the action. This repetition demonstrates the transformative power of nature, as it reflects the relentless and dynamic forces that fire symbolizes– its ability to both create and destroy. Through this, the video captures the cyclical, untamed essence of natural forces and their impact on the world.
The second video represents earth and is conveyed through the repeated action of two figures (myself and Kat) jumping out of the camera’s frame, only to transform into rocks as we “land.” The video is reversed and looped, creating a continuous cycle where we shift from rocks to humans and back again. Both of us wear black, symbolizing the dark, rich tones of soil, further connecting us to the element. The scene is framed as a close shot, focusing solely on our shins and feet, emphasizing the grounding nature of earth. Similar to the first video, the framing in this obscures the identities of the two figures, enhancing the sense of mystery around who they are. This deliberate choice adds to the enigmatic quality of the work, allowing the focus to remain on the transformation itself rather than on the individuals involved. This video demonstrates the transformative power of nature by illustrating the constant process of regeneration and decay that defines earth’s life cycle. It emphasizes the deep connection between living beings and the earth, showing how we emerge from it and eventually return to it in an endless, transformative loop.
The third video represents water and is depicted through the figure (myself) scooping water from a fountain and pouring it over my head, standing as if integrated with the fountain’s sprayers. This gesture plays on a continuous loop and is filmed in two long shots: one capturing the act of scooping and the other of pouring water on my head. The use of long shots ensures that the figure’s identity remains secondary, allowing the action to take center stage. This video demonstrates the transformative power of nature by symbolizing water’s constant flow and renewal– its ability to both cleanse and change, mirroring the cyclical and transformative processes of nature itself.
The final video represents air, depicted through a figure (myself) running behind a tree and transforming into a flurry of leaves. The leaves then reverse back behind the tree, and the figure reappears, walking away. This sequence is looped continuously, with the figure dressed in white to emphasize the connection to air. The scene is framed in a long shot, similar to the second video, which helps conceal the figure’s identity and enhances the ethereal quality of the transformation. This video demonstrates the transformative power of nature by capturing the elusive, ever-changing nature of air– its ability to shift forms and move freely.
Overall, I thoroughly enjoyed this project. It was exciting to face challenges in the filming environment, as they pushed me and my group member (Kat) to think creatively and find effective solutions. We explored different filming locations and adapted our original concepts to enhance the final outcome. Working in a real outdoor setting provided a valuable experience, especially in navigating the unpredictability of weather and lighting. These conditions were great practice for adjusting lighting on the fly, helping me develop my skills further. This experience has sparked my enthusiasm for video art, and I would definitely love to pursue more video art projects in the future!
Book Project Ideas
Sex with out being pornographic (convey feelings of intimacy with out inherent)
- Hand passing blunt to lips of another person (one full page)
- Grapefruit cut in half and place in front of private area
- Bare knees side by side
- Rumpled bed covers and sheets
- Peeling fruit
- Feeding a person
- A light in a window
- A personal letter
Intimacy and loneliness
- Personal notes and letters sent back and forth (redacted elements of letters, sent back and forth)
- Art sent back and forth
- Books bought
- Poetry
- Text messages
- Photos
- Tenderness and meat (ground beef acting as “LIFE STRING” then last page photo of meat and revealed note
Nan Goldin: The Ballad of Sexual Dependency
https://www.moma.org/calendar/exhibitions/1651?installation_image_index=16
DIFFERENT IDEAS
- Play on the word meat
- Puberty book (witness my shame)
- Hearing loss chart
- Organisms (classification naming etc) in using photos in Bio class
- Write a poem using different structures everyday (like a journal) – think of the journals of sylvia plath
- Food and people
- Personal notes and letters sent back and forth
- Fairy books
Pussy (Pocket edition)
- sexual/phallic looking images
- play on the word “pocket pussy”
- Small squares one image per page
- Observation guideline
- handeling instructions
- participation study (Mailing address) through written observations
- definition
- Play with colour or black and white photographs
Maira Kalman:
After listening to the On Being podcast episode titled “Daily Things to Fall in Love With,” one of the points made by artist Maira Kalman that particularly resonated with me was her reflection on the human capacity to hold contradictory thoughts and emotions. Kalman highlights that these conflicting responses do not need to be isolated or resolved, but rather can exist as an inherent part of a person. This idea engaged me because it emphasizes that the human experience does not have to conform to the structured expectations of daily life. It is okay for our emotions and thoughts to be in conflict with one another; this is part of what makes us human. The acceptance of such contradictions, without the need to resolve them, is a powerful acknowledgement of the complexity of individual experience.
Another point that Kalman makes, which I found equally compelling, is her belief that museums– rather than libraries– offer one of the most profound spaces for meditation. She explains that in a museum, the experience is primarily visual, allowing for contemplation through observation rather than the active process of reading or sensory overload. A museum offers an environment where quiet reflection is possible, and where one can engage with art on a deeper level. I completely agree with this perspective, as it aligns with my own experiences. The Art Gallery of Ontario (AGO), for instance, is my favourite place for quiet reflection. There, I can fully immerse myself in the artwork without the pressure of conversation, allowing me to connect with the pieces on a deeper, more personal level.
The image above is part of artist Maira Kalman’s book Still Life With Remorse. The painting immediately caught my attention due to her use of vibrant, warm colours, particularly red, which is my fabourite colour. I also admire the simplicity of the still life and the sense that it was created quickly. However, it was the accompanying text, Cleopatra and Cicero, that truly deepened my appreciation for the piece. The text presents a simplified, yet exaggerated, story of Cicero’s interaction with Cleopatra, highlighting the absurdity of his death over a trivial matter— a borrowed book. I found this commentary on the destructive and cruel nature of historical events, especially those sparked by such minor conflicts, both compelling and thought-provoking.
Artist Multiple Ideas:
Hearing Aid Earplugs
- doesn’t work
- very odd objects not resembling hearing aid
- blocks the noise
Rubik’s cube personalized in some way?
Underwear
- pin/postcard
- Funny sexual health tips/real sexual health tips
- How to wear/ when to wear
- ironic laundry instructions?: do not put in dryer
- Intimate Packaging: small envelopes, mimics delicate care for personal items
New Take on Nutrition Facts tables:
- discuss effects of malnutrition
- includes photos of organs affected by malnutrition
- ingredients= list that improve and support healthy function
- List of sources used for research:
- Bouquegneau, A., Dubois , B. E., Krzesinski, J.-M., & Delanaye, P. (2012). Anorexia Nervosa and the Kidney. American Journal of Kidney Diseases, 60(2), 299–307. https://doi.org/https://doi.org/10.1053/j.ajkd.2012.03.019
- Cleary BS, Gaudiani JL, Mehler PS. Interpreting the complete blood count in anorexia nervosa. Eat Disord. 2010 Mar-Apr;18(2):132-9. doi: 10.1080/10640260903585540. PMID: 20390616.
- James, Dotti C. PhD, RN. Eating Disorders, Fertility, and Pregnancy: Relationships and Complications. The Journal of Perinatal & Neonatal Nursing 15(2):p 36-48, September 2001.
- Misra, M., & Klibanski, A. (2014). Anorexia nervosa and Bone. Journal of Endocrinology, 221(3), 163–176. https://doi.org/https://doi.org/10.1530/JOE-14-0039
- Schocken DD, Holloway JD, Powers PS. Weight Loss and the Heart: Effects of Anorexia Nervosa and Starvation. Arch Intern Med. 1989;149(4):877–881. doi:10.1001/archinte.1989.00390040085017
- Weterle- Smolińska, K., Banasiuk, M., Dziekiewicz, M., Ciastoń, M., Jagielska, G., & Banaszkiewicz, A. (2015). Gastrointestinal motility disorders in patients with anorexia nervosa – a review of the literature. Psychiatria Polska, 49(4), 721–729. https://doi.org/http://dx.doi.org/10.12740/PP/35482
- Zipfel, S., Giel, K. E., Bulik, C. M., Hay, P., & Schmidt, U. (2015). Anorexia nervosa: Aetiology, assessment, and treatment. The Lancet Psychiatry, 2(12), 1099–1111. https://doi.org/10.1016/s2215-0366(15)00356-9
Pins/postcards of pomegranates:
- symbol of fertility
- “I felt like a seed in a pomegranate. Some say that the pomegranate was the real apple of Eve, fruit of the womb, I would eat my way into perdition to taste you.”
- ― Jeanette Winterson, Written on the Body
explore the political climate gong on:
“I am more than my fertility”
“I control my fertility”
“A symbol of resurrection and life everlasting in Christian art, the pomegranate is often found in devotional statues and paintings of the Virgin and Child. In medieval representations the pomegranate tree, a fertility symbol, is associated with the end of a unicorn hunt.”
” By eating a few pomegranate seeds, Persephone tied herself to Hades—the pomegranate being a symbol of the indissolubility of marriage.”
Represents cannibalism
https://brill.com/display/book/edcoll/9789401204897/B9789401204897-s008.xml
Artist Multiple: Nutrition Facts Label
For my artist multiple I created a series of stickers that transform everyday nutrition facts labels into stark, visceral commentaries on the effects of malnutrition, specifically targeting the experience of anorexia. The project borrows the aesthetic of cigarette packaging warnings, adopting the visual language to highlight the severe consequences of neglecting essential nourishment. By featuring these visuals on everyday consumer goods, this piece seeks to raise awareness about the dangers of malnutrition and encourage conversations about the importance of balanced eating habits.
Each sicker reflects the familiar black-and-white layout of traditional nutrition labels but with a critical twist. Instead of listing standard categories, such as “Calories,” these labels focus on how malnutrition impacts specific organs and functions; heart, liver, bones, fertility, blood, and digestion. The “Daily Values” section is replaced with the specific consequences of malnutrition in these areas. Additionally, the “Ingredients” section is reimagined to list nutrients and foods that support the health of the targeted organ or function, offering a proactive guide to prevention. Each label also features a stark visual representation of the affected organ or function which parallels the shock tactic used in anti-smoking campaigns to reinforce the message.
This art piece was deeply inspired by my sister’s personal struggle with anorexia. The idea emerged after she shared how she often cuts out nutrition facts labels from food packaging to avoid stressing over calorie counts– a common behaviour among individuals with eating disorders. This conversation sparked the concept of creating an art piece that is not only practical but also creatively designed as an artist’s multiple. To develop the idea further, I consulted both my sister and my therapist to ensure the design and format of these “nutrition labels” would be impactful, respectful, and informative. They both suggested focusing on how malnutrition affects specific organs, as tangible, realistic imagery of the body would create a stronger connection with viewers. This approach provides a visual connection, as opposed to addressing less tangible aspects such as mental health, which can be harder to depict. To ground this project in accuracy, I conducted research on the organs and functions most affected by malnutrition, how these effects manifest, and which nutrients are essential to prevent or mitigate these consequences. This process allowed me to create work that is not only meaningful on a personal level but also informative and engaging for a broader audience.
List of sources used for research:
Bouquegneau, A., Dubois , B. E., Krzesinski, J.-M., & Delanaye, P. (2012). Anorexia Nervosa and the Kidney. American Journal of Kidney Diseases, 60(2), 299–307. https://doi.org/https://doi.org/10.1053/j.ajkd.2012.03.019
Cleary BS, Gaudiani JL, Mehler PS. Interpreting the complete blood count in anorexia nervosa. Eat Disord. 2010 Mar-Apr;18(2):132-9. doi: 10.1080/10640260903585540. PMID: 20390616.
James, Dotti C. PhD, RN. Eating Disorders, Fertility, and Pregnancy: Relationships and Complications. The Journal of Perinatal & Neonatal Nursing 15(2):p 36-48, September 2001.
Misra, M., & Klibanski, A. (2014). Anorexia nervosa and Bone. Journal of Endocrinology, 221(3), 163–176. https://doi.org/https://doi.org/10.1530/JOE-14-0039
Schocken DD, Holloway JD, Powers PS. Weight Loss and the Heart: Effects of Anorexia Nervosa and Starvation. Arch Intern Med. 1989;149(4):877–881. doi:10.1001/archinte.1989.00390040085017
Weterle- Smolińska, K., Banasiuk, M., Dziekiewicz, M., Ciastoń, M., Jagielska, G., & Banaszkiewicz, A. (2015). Gastrointestinal motility disorders in patients with anorexia nervosa – a review of the literature. Psychiatria Polska, 49(4), 721–729. https://doi.org/http://dx.doi.org/10.12740/PP/35482
Zipfel, S., Giel, K. E., Bulik, C. M., Hay, P., & Schmidt, U. (2015). Anorexia nervosa: Aetiology, assessment, and treatment. The Lancet Psychiatry, 2(12), 1099–1111. https://doi.org/10.1016/s2215-0366(15)00356-9
Artist Book: PUSSY (Pocket Edition)
Pussy (Pocket Edition) is an artist book that humorously mimics the format of a serious scientific study, with its focus on the botanical forms of the pussy willow. The title plays on the dual meanings of the word “pussy,” referencing both the pussy willow plant and alluding to a vagina, as well as a “pussy pocket,” a type of sex toy, creating a playful contrast between botanical study and sexual humor. The book features a series of small, square black-and-white images, each focusing on close-ups of a selected area of pussy willows, highlighting their soft, phallic-like shapes. The images and text invite the viewer to engage with the natural beauty of the plant while acknowledging its more humorous, sexual undertones. The book combines dry, scientific language with visual humor, creating an academic feel while also acknowledging the playful absurdity of its subject. The cover amplifies this theme with a large, partially obscured image of a pussy willow, which humorously resembles a magnified view of a vagina. Inside, the book mimics the tone of a scholarly manual, complete with guidelines and instructions that encourage readers to engage with the images not just through observation, but also through emotional response. Each page provides space for field notes, inviting reflection on the form, texture, and emotional reactions to the Salix species presented, further blurring the lines between serious botanical study and playful, intimate exploration.