The location was at the house of a relative of mine, We liked this house because it’s regal and touch of femininity. This film was fun to make because it’s concept and also each scene was a perfect image with several hidden symbols. We choose ‘Womankind’ as our title reference to mankind but also because of the stereotype that woman need to be kind and gentle. We took several shoot and we picked out three of them. The videos were about ten seconds each and created a smooth transitions, the goal was to create a continuous shoot and also to create our model’s story about the fight that women did during decades. The first clip is in black and white in reference to the time period (50’s) and to Cindy Sherman. Our model is in the kitchen cooking. She looks around if her husband left, puts down the bowl and picks up her suffragette before she leaves. For the second scene, We can find colour but they are not very bright reference to Clare Rae. In these scene, the model walks into the scene, get’s ready and picks up her woman’s rights poster determined to protest for her rights. The last video clip with our model is the representation of a better future, our model is entering she seems happy and confident, she looks at the mirror and then smile at the camera when she leaves we can hear the speech saying how gentle and kind you are with yourself and then we see the images of strong women stories fighting, protesting, working, trying to have a better a life. After we pick out music for our NFT video. Unfortunately we could only use royalty free for the track due to rights issues. Our first idea was to put a different song for each decade but we thought it wasn’t enough meaningful. We wanted the song to make us emotional and that’s when we found Luminance by Scott Buckley. The song is sweet and dramatic it was perfect. We added for an extra touch three feminist speeches recordings that was well associated to every shoot. The first audio recording we used is taken from Christabel Pankhurst 1908 speech protesting the proper for votes for women. After we used a speech from 70’s on the Women’s rights motion and the third one is a speech recorded in 2019 the most recent of Britta Badour’s “Dear Young Woman”
If we had the chance to do this NFT project again, I think we would have done a few things differently. Firstly, I think we should have done some of the drone shots again so that in the video the shot isn’t as shaky. Secondly, I believe we should have got actual vr glasses instead of a printout. Finally, I believe the animated character should have had some similarity to Michael. However, it proves the point of the 2 live as it shows that he is detached from his other version of himself.
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.
