Overall, I think the film and the stills we produced together were very successful as we achieved our goal of creating an image that represents chaos, confusion and discrimination against humanity. of the LGBTQ community and religion. community suffered and, with the film, found an interesting solution. Some aspects of the film that I think worked well and worked well were the religious setting, in which we were able to shoot on location, in a real church. . Also, using clothes to signify the comfort of the characters in different contexts, like wearing conservative white clothes in church and comfortable casual clothes in dream sequences, I think has helped increase our importance. . Another thing that helps with filming is the use of camera frames to make moving camera scenes smoother. While that doesn’t mean the camera is completely stable, it certainly helped us produce more professional results. In my opinion, I think we can improve the riot scenes because we used the original video to make it more real. However, I think if possible we could use scenes more closely related to the theme of the film, such as religious protests against progressive legislation for the LGBTQ community. With our digital images, I think that by using the medium of embroidery to put the collage together, it creates a sense of vulnerability that these people have to endure. Indeed, it has helped to show how destructive the sexual worms and their comments are to their targets while also stabbing them and shattering their disease. If I could comment on something that could be improved in this image, it would be to make the colours in each photo darker, by printing them on canvas or canvas, instead of the heavyweight paper we use. Watching the movie, it can be said that we were inspired by artist NFT Littleocious, whose story of our hidden and repressed LGBTQ identities can also be seen through the engineering art of his acting. . In addition, artist NFT Hackatao can be considered as the inspiration for the composition of our final photo, as our photos incorporate signs of protest similar to the text of our work. To sum up, I believe that these two works are a successful response to the theme of community, with a message of solidarity and acceptance between LGBTQ and religious communities.
Overall, I believe that our film and still image that we produced as a group has been successful, due to the fact that we have achieved our goal by producing a visual representation of the turmoil and discrimination that people who are members of the LGBTQ+ and religious communities suffer, and with the film offered a light-hearted resolution. Some aspects of the film that I believe worked well and allowed for this to happen, were the religious setting scenes, due to the fact that we were able to shoot on location, in a real church. Furthermore, by using clothing to signify the comfort of the characters in different setting, for example wearing conservative white clothing in the church and leisurely and comfortable clothing in the dream sequence, I think it helped to enhance our vision. Another thing that helped the filming process, was using a camera frame to make scenes in which the camera is moving look smoother. Although this doesn’t mean that the camera was perfectly steady, it most definitely helped us produce a more professional outcome. On reflection, something I think we could improve on is the riot scenes, as we used stock video to make it feel more authentic. However, I think that if it were possible, we could have used footage that related more closely to the subject of our film, such as religious protests about the progressive laws towards the LGBTQ+ community. With our digital image, I think that by using the medium of embroidery to stitch over the collage, it created a sense of trauma that these people suffer. This is as it helped to represent how these verses and comments on their sexuality cause harm to the target whilst piercing them and break them down emotionally. If I were to comment on something that could be improved within this image, it would be to make the colours of the separate photographs bolder, by having them printed on a fabric or canvas material, instead of the thick paper we used. When viewing the film it can be said that we used NFT artist Fewocious as a source of inspiration, due to our story of a hidden and repressed LGBTQ+ identity, that can also be seen through his digital art. In addition, the NFT artist Hackatao can be said to be an inspiration for the composition of our final image, due to the fact that our photographs incorporated protest signs that have a similar essence to the written text within their work. In conclusion, I believe that these two pieces of work were successful responses to the theme of community, due to their message of unity and acceptance between the religious and LGBTQ+ communities.
Benitah is a French visual creator UN agency worked for 10 years as a dressmaker before turning to photography in 2001, exploring memory, family and therefore the passage of your time. usually pairing recent family photos with skilled worker accents, like embroidery, beads and ink paintings, Benitah seeks to reinterpret her own story as a girl, married woman and mother.
By activity totally different faces and options, the folks photographed are nearly stripped of their identity. I selected to check Benitah as a result of I believe his art best represents the construct I hope to capture during this project.
With beads, coloured thread and scissors, French photographer Carolle Benitah has altered her family photo albums to explore the memories of her childhood, and as a way to help her understand her current identity.
Carolle herself has said:
I started to be interested in my family pictures when I was leafing through a family album and found myself overwhelmed by an emotion of which I could not define the origin.
These photographs were taken 40 years earlier, and I could not even remember the moments they were shot, nor what preceded or followed those moments.
But the photos reawakened an anguish of something both familiar and totally unknown, the kind of disquieting strangeness that Freud spoke about. Those moments, fixed on paper, represented me, spoke about me and my family, told things about my identity, my place in the world, my family history and its secrets, the fears that constructed me, and many other things that contributed to who I am today.
I decided to explore the memories of my childhood to help me understand who I am and to define my current identity.
To begin, I carry out “excavations”. Like an archeologist, I dig out the pictures in which I appear from family albums and the shoe boxes full of photographs. I choose snapshots because they are related to memories and to loss.
These photographs are fragments of my past. I interpret them from a subjective perspective as confessions. I order them, classify them, scan them, then I print them. I don’t do anything directly on the original photo; I transpose this reality on a different paper. Sometimes I crop a detail that calls out to me, and I choose my format. The work of interpretation begins with these steps.
Once these choices of images are made, I start to tell my version of the story. I turn my attention to my own history, sometimes with 40 years of distance and the life experiences that changed my perception of events. The past of a human being, unlike the remains of an antique temple, is neither permanent nor finished, but reconstructed in the present time.
For the next step, I add needlework: embroidery and beads.
Embroidering is primarily a feminine activity. In the past, the embroiderer was seen as a paragon of virtue. Waiting was tied to this activity: women embroidered, hoping for the return of the man to the home. Embroidery is intimately linked to the milieu in which I grew up. Girls in a “good family” used to learn how to sew and embroider — essential activities for “perfect women”. My mother embroidered her trousseau.
There is nothing subversive about this activity, but I pervert it with my purpose. I use its decorative function to re-interpret my own history and to expose its failings. The two activities — interpretation and needlework — come together again in a kind of dispute: embroidery is the sign of a good education yet the words that I speak don’t show me to be what I was supposed to be: a well behaved girl, a wise spouse and a loving mother.
With each stitch I make a hole with a needle. Each hole is a putting to death of my demons. It’s like an exorcism. I make holes in paper until I am not hurting any more.
– Carolle Benitah
Benitah’s work is linked to ours as both share the nature of images hand-composed to tell a story or present an idea through embroidery
Louise Bourgeouis
Louise Bourgeois was a French-born sculptor best known for her monumental abstract and frequently biomorphic sculptures that deal with men and women’s interactions. She was born December 25, 1911, in Paris, France, and died May 31, 2010, in New York, New York, United States.
Bourgeois’ early sketches were created to aid her parents in the restoration of antique tapestries. She received her education at the Sorbonne, where she majored in mathematics. She switched her concentration to art at the age of 25, studying at the École des Beaux-Arts, the Académie de la Grande Chaumière, and Fernand Léger’s studio, and in 1938 she married and returned to New York City with her American husband, art historian Robert Goldwater. She started displaying her surrealist paintings and engravings there. She began experimenting with sculptural forms in the late 1940s, making a series of long, slim wooden figures that she displayed single and in groups.
Those were the first of her autobiographical pieces, which were characteristically abstract but emotionally strong. In the decades that followed, she created a number of frequently unnerving settings out of latex and found materials, as well as constructions out of marble, plaster, and glass. Betrayal, anxiety, revenge, obsession, anger, unbalance, and loneliness are among the most common. She frequently revisited subjects, techniques, and forms that had previously piqued her interest. Because she refused to confine her creative output to a single style or medium, she became more difficult to label and remained on the periphery of the art world. She was given a retrospective show at the Museum of Modern Art in New York City in 1982, an honor rarely bestowed on a living artist, and she represented the United States at the Venice Biennale in 1993. She was awarded the Praemium Imperiale medal for sculpture by the Japan Art Association in 1999.
Long into her 90s, the sculptor maintained her vibrancy and originality. She constructed a massive steel-and-marble spider (Maman, 1999) from which six monumental bronze counterparts were cast in 2003, and the bronzes were shown at various locations across the world. Louise Bourgeois: The Spider, The Mistress, and the Tangerine, a documentary, was released in 2008. Her house and studio, as well as a neighboring town house in New York City’s Chelsea neighborhood, were opened to the public in 2016 as a museum commemorating her life and work.
Art analysis
Louise Bourgeois is an artist that implements her own life struggles and thoughts into physical art.
Substance:
This project was clearly created using physical works like wood, linen, thread, metal and more
This artefact is stored in a museum for the public to see.
This is called “Cell of Hysteria” and Louise states that in this exhibition
Composition:
The key focus of the project is obviously the sculpture sort of hovering over the bed which has “Je t’aime” stitched through ought.
The artist has also added an antique sewing machine in this exhibition.
The dominant colours here are grey and red, successfully suggesting dark and gloomy times that have come upon Louise.
Lighting:
In this exhibition, the lighting is set towards the sculpture; powerfully drawing the viewers attention to the dis-membered sculpture.
There are a variety of lighter tones across the model, which provides better illumination for the sculpt to concentrate on, resulting in a precisely exposed cut
Techniques:
Embroidery has evidently been used to stitch the word s “Je t’aime” repeatedly
Atmosphere:
This form makes me feel empathetic because of the following:
the sculpture is dis-membered. This suggests that Louise is slowly getting rid of a memory of someone, considering the bump on the carve we can powerfully see that she’s attempting to “kill” the memory of a man. I know this because she repeatedly has called herself the murderer for this exhibition.
Also, “Je t’aime” is repeatedly stitched throughout the bed in which the sculpture is lying powerfully suggesting that the memory of this man (her husband who passed away) is killing slowly killing/ hurting her, nonetheless she still loves her husband. This is suggested by the fact the sculpture is only missing bits of its body like head, arms, and feet successfully showing the slow “murderous” process of getting rid of a memory.
The idea behind our NFT project was to show the different fashion changes throughout different decades- we included the ’60s, ’70s , ’80s and ’90s. We wanted to show how fashion has a huge impact on the internet , especially how so many people buy outfits and fashion related items online as it’s a huge part of our everyday life. We wanted to show the way clothes evolve through centuries and we achieved this by creating a short 30 second clip of our model walking in a straight line while her outfits change throughout different decades. We effectively combined all of our clips together and crated what we planned to do. We made sure our project relates to the NFT as the images we took show outfits that people could easily buy online as now fashion and clothes can be digitally bought through NFTs. We wanted to do our own interpretation of this and create a small short clip to present the outfits digitally.
The idea behind this project is to form a narrative that highlights the 2 communities of faith and also the LGBTQ community. With this we tend to touched upon the problems of bias and hate, inside bound religions, during this explicit Christianity, towards the LGBTQ community and the way usually folks ar created to selected between the 2. This was galvanized by the stress that’s usually seen in Jersey between these 2 entities, and sometimes the dismissal and disapproval of the 2 existing within the same area. Our presentation of this idea in image type, showcases a tapestry, which contains parts of the LGBTQ community and incompatible spiritual aspects. Here pictures are seamed over and along, a number of couples in an exceedingly colour of the LGBTQ flag and a few of harmful spiritual quotations. Our film supports this idea, through the story of a lesbian couple at the United Nations agency who are torn between the spiritual aspects of their lives, and their desire to be in harmony and true to their identity, all by being accepted by their religion. Showing scenes of serenity and violence, we tend to show the turmoil going on in their head. The purpose of this film is not to condemn either of these communities, however, to provide a path of acceptance that allows for a harmonious existence between the two because Jesus taught:
25 “Therefore I tell you, do not worry about your life, what you will eat or drink; or about your body, what you will wear. Is not life more than food, and the body more than clothes? 26 Look at the birds of the air; they do not sow or reap or store away in barns, and yet your heavenly Father feeds them. Are you not much more valuable than they? 27 Can any one of you by worrying add a single hour to your life[e]?
28 “And why do you worry about clothes? See how the flowers of the field grow. They do not labour or spin. 29 Yet I tell you that not even Solomon in all his splendour was dressed like one of these. 30 If that is how God clothes the grass of the field, which is here today and tomorrow is thrown into the fire, will he not much more clothe you—you of little faith? 31 So do not worry, saying, ‘What shall we eat?’ or ‘What shall we drink?’ or ‘What shall we wear?’ 32 For the pagans run after all these things, and your heavenly Father knows that you need them. 33 But seek first his kingdom and his righteousness, and all these things will be given to you as well.”
We are all inclined to believe that our project, which is part of the Metaverse, may exist in the near future, due to the undeniable fact that it has gone public, which is a potential utopia. This means that for this idyllic and peaceful online world to exist, bridges must be designed between divided communities, like this one, creating a safe online zone.
With our digital images, I think that by using the medium of embroidery to put the collage together, it created a sense of vulnerability that these people had to endure. Indeed, it has helped show their sexuality and the comments that inflict harm on them and their community . If I could comment on anything that could be improved regarding this image, it would be to make the colours of the individual photos bolder, by printing them on canvas or lighter paper, rather than the heavyweight paper we used.
Overall, I believe that our film and still image that we produced as a group has been successful, due to the fact that we have achieved our goal by producing a visual representation of the turmoil and discrimination that people who are members of the LGBTQ and religious communities suffer, and with the film offered a lighthearted resolution. Some aspects of the film that I believe worked well and allowed for this to happen, were the religious setting scenes, due to the fact that we were able to shoot on location, in a real church. Furthermore, by using clothing to signify the comfort of the characters in different setting, for example wearing conservative white clothing in the church and leisurely and comfortable clothing in the dream sequence, I think it helped to enhance our vision. Another thing that helped the filming process, was using a camera frame to make scenes in which the camera is moving look smoother. Although this doesn’t mean that the camera was perfectly steady, it most definitely helped us produce a more professional outcome. In my opinion, I think we can improve the riot scenes because we used the original video to make it more real. However, I think if possible we could use scenes more closely related to the theme of the film, such as religious protests against progressive legislation for the LGBTQ community.
Before our NFT video we did a shoot inspiring of Cindy Sherman and Lissa Rivera. Those are the images I have chosen. I choose those images because I feel that there are a mixt of the two artists. The picture in itself looks like a picture from a 50s movie it kind of reminds me of Hedy Lamarr’s iconic picture from the movie Ziegfeld Girl in 1941. She has a similar floe white dress, she stares into space and looks powerful. The strong yellow in the curtains reminds me of the colours that Lissa Rivera use in her pictures, it highlights the model. The dress again very floe reminds me of the kind of dresses Lissa Rivera use.
Hedy Lamarr
Ziegfeld Girl
Editing
Even if I really liked this image, it needed some modification like the cars behind, the reflection of the lights and I wanted it to be brighter. To modify the image I used Photoshop, I start by using the dodge tool which helps lighten areas on the picture, I used it to lighten the dress, make it brighter. Something that really bothered me was the reflection of the light on the windows and the cars behind, I had to get rid of that. I managed to do it thanks to the spot healing brush tool which removes marks and imperfections. The problem with this tool is that I also erase the ends of the white curtains, so so that it does not show I used the blur tool which blurs areas on the image. To finish I selected the curtains and then I played with the brightness and the contrast
The idea behind this project is to form a narrative that highlights the 2 communities of faith and also the LGBTQ community. With this we tend to touched upon the problems of bias and hate, inside bound religions, during this explicit Christianity, towards the LGBTQ community and the way usually folks ar created to selected between the 2. This was galvanized by the stress that’s usually seen in Jersey between these 2 entities, and sometimes the dismissal and disapproval of the 2 existing within the same area. Our presentation of this idea in image type, showcases a tapestry, which contains parts of the LGBTQ community and incompatible spiritual aspects. Here pictures are seamed over and along, a number of couples in an exceedingly colour of the LGBTQ flag and a few of harmful spiritual quotations. Our film elevates this idea, through the story of a lesbian couple United Nations agency are torn between the spiritual aspects of their lives, and their desire to be along and faithful their identities, while still being accepted to follow their religion. Displaying scenes of serenity and violence, we tend to showcase the turmoil that’s occurring in their heads. The aim of this film isn’t to condemn either of those communities however to supply a route to acceptance, that permits for a harmonious existence between the 2 for Jesus teaches:
25 “Therefore I tell you, do not worry about your life, what you will eat or drink; or about your body, what you will wear. Is not life more than food, and the body more than clothes? 26 Look at the birds of the air; they do not sow or reap or store away in barns, and yet your heavenly Father feeds them. Are you not much more valuable than they? 27 Can any one of you by worrying add a single hour to your life[e]?
28 “And why do you worry about clothes? See how the flowers of the field grow. They do not labour or spin. 29 Yet I tell you that not even Solomon in all his splendour was dressed like one of these. 30 If that is how God clothes the grass of the field, which is here today and tomorrow is thrown into the fire, will he not much more clothe you—you of little faith? 31 So do not worry, saying, ‘What shall we eat?’ or ‘What shall we drink?’ or ‘What shall we wear?’ 32 For the pagans run after all these things, and your heavenly Father knows that you need them. 33 But seek first his kingdom and his righteousness, and all these things will be given to you as well.”
Matthew 6:25-33
This quote powerfully shows that individuals should not be worrying whether people should be together or not for if they seek God first, everything else they need or want will fall into place and God will show to them if it is right or not. Because in Christianity it’s not if they’re the same sex or not that may be an issue it’s:
are they dating for marriage? For the bible says in 1 Corinthians 7:9, “But if they cannot control themselves, they should marry, for it is better to marry than to burn with passion.” This powerfully shows that the prime objective of dating is to marry. It’s smart really because if you do it with the wrong person before marriage, you become emotionally attached to them and it is harder to heal.
Are they equally yoked (share similar beliefs)? In the 2 Corinthians 6:14 it says, “Do not be yoked together with unbelievers. For what do righteousness and wickedness have in common? Or what fellowship can light have with darkness?” This suggests that a healthy relationship will have individuals with similar beliefs because otherwise they will clash.
and obviously, Matthew 6:33 says that couples should keep God first.
Additionally, Ruth 2 teaches us that if the person you are meant to be isn’t going to help you and support you physically, emotionally and faith, then it is probably not worth getting in to as you might get heartbroken.
We area all inclined to believe that our project, that is joined to the Metaverse, might exist within the close to future, due to the undeniable fact that it’s made public a potential utopia. this means that for this idyllic and peaceful on-line world to exist, bridges should be designed between divided communities, like this one, facultative a secure on-line area.
Whilst shooting our film we tend to took the chance to require stills of varied scenes, giving additional images that tell our story of the crossover between the spiritual and LGTQ communities, also as our studio pictures. These images embrace scenes like the couple within the church active Christianity while additionally feeling as if they need to repress a part of their identity. Aa well as this, there are still pictures of the dream sequence in our film that showcase the couple running through the sphere during a idealistic world for them, during which they’re free from restraints. Here Olivia actually has tried to edit in Lightroom and sorted through that images she assumed were best within the sense that they best sent our message and were clear and focussed. when this I went on to rate every of those best choice of pictures, rating them out of 5 stars. Once that was done, I proceeded to edit the still images for which I had rated four or five stars.
Editing and Developing
This still image shows one of the women working on her faith, reading the Bible, presenting another essential part of her identity. This establishes a personal relationship with the Christian religion for the character. To edit this image, I started by reducing the exposure a bit and increasing the discriminant, creating a lot of dramatic background that could later show the light match of the dream sequence. . I then adjusted the shadows, highlights, whites and blacks inside the image, increasing the highlights and whites, while reducing the shadows and blacks, further creating a larger difference. Finally, I improved the brightness and vibrancy of the image, increasing the earthy tones of this image.
This still image shows a scene where people of the same sex are separated for interest, but still looking at each other. However, in some cases, it brings happiness to the 2 communities who need to hide part of their identity to be accepted. Here, Olivia has even modified the image in the same way thanks to the previous scene, to preserve tonal consistency across the interval scenes in the church.
We tend to contradict this view that such communities should only exist in isolation, they can help each other while keeping the faith. Whether they should be together (as friends or more) is up to God for in Matthew 6:25-33 it says:
25 “Therefore I tell you, do not worry about your life, what you will eat or drink; or about your body, what you will wear. Is not life more than food, and the body more than clothes? 26 Look at the birds of the air; they do not sow or reap or store away in barns, and yet your heavenly Father feeds them. Are you not much more valuable than they? 27 Can any one of you by worrying add a single hour to your life[e]?
28 “And why do you worry about clothes? See how the flowers of the field grow. They do not labour or spin. 29 Yet I tell you that not even Solomon in all his splendour was dressed like one of these. 30 If that is how God clothes the grass of the field, which is here today and tomorrow is thrown into the fire, will he not much more clothe you—you of little faith? 31 So do not worry, saying, ‘What shall we eat?’ or ‘What shall we drink?’ or ‘What shall we wear?’ 32 For the pagans run after all these things, and your heavenly Father knows that you need them. 33 But seek first his kingdom and his righteousness, and all these things will be given to you as well.“
This quote successfully shows that you shouldn’t be worrying if you’re to be with this person or not but seek God first and let him handle everything.
This image could be a still image of 1 of our installation scenes for the dream sequence. it’s a large shot that stages a surreal and surreal scene, because of the castle and therefore the shiny inexperienced grass within the background. Here, this colour grading helps the film by transportation the vibration to life as hostile the marginally darker dark tones of the church. For the dream sequence, Olivia emended the still image reducing the exposure thanks to the big quantity of daylight already within the image. additionally, I conjointly exaggerated the distinction and adjusted the highlights, shadows, whites, blacks and saturation of the image.
This threshold image is taken from a dream scene that shows the 2 figures holding hands, demonstrating the liberty to remain faithful themselves during this idyllic world, that they worry during a spiritual setting.
I emended this image a similar because the previous dream sequence, to keep up consistency in tone and heat throughout the dream world setting, to make a stark distinction to the church scene.
Here, this still image additionally from the dream sequence shows another scene within which the couple have the liberty to think of how it would bee to be in a same sex relationship, as they’re once more seen holding hands on the brink of the Radio Castle ruins. . By having a scene during this castle structure with the sunset on the left within the background, it reinforces the concept that this is often a fantasy and sadly not their reality. I additionally emended this image with constant method for alternative stills within the dream sequence, this point solely slightly reducing the exposure and increasing the achromatic colour of the image. this is often as a result of a tiny low quantity of sunshine enters the frame once taken at sunset.
The final scene during this dream sequence shows the couple holding hands once more, feeling asleep with each side of their colours, walking through the colourful inexperienced landscape because the sun sets. This another time reinforces the thought of the thought idyllic world that the characters imagine. To edit this image Olivia followed constant method because the alternative dream sequence photos, though this point I reduced the brightness and vividness thanks to the big quantity of sunshine within the frame, ensuring that it’s not washed out.
Edited Still Images
These are the final emended versions of still pictures taken throughout the shooting of our film, every showing a special stage of the plot, most of that correspond to the storyboard of the first film, with the exception of the protest scenes and d riot, that we are going to take from actual recorded events to feature genuineness to our film. These pictures conjointly build it potential to reconstruct the filming, costumes and props of the stage. For scenes within the church setting, for instance, we tend to created certain that the figures were wearing white to symbolize purity through the eyes of Christianity. Additionally, for the unreal sequence, the characters are given additional relaxed and flamboyant costumes, to any increase their freedom of expression.
