Digital Collage
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Essay
June 20th 2000: I didn't know it then. When I was born, I didn't know the baggage my mothers blood came with. I didn't know that I'd have a white grandmother who would one day pass in the night like a cat on its way to the moon. I didn't know that I wouldn't be able to shed any tears for her or for a teacher who watched me grow for ten years that fell in the shower. I didn't know then who I'd become. Of course I didn't. Because I still have no idea now.
But suppose I did have something that resembled an answer. Would the newborn me believe me if I said I became a poet? I sure as hell wouldn't. Even now I step back every now and then and wonder where my parents went wrong. Apparently I was dropped as a child. Perhaps I'm just innately stupid. Or maybe it's in my blood.
Mostly Cambodian, somewhere in this body of mine are Chinese and Vietnamese roots that rise to the surface on occasion. According to my mother, "true" Cambodians have darker skin. If I was "truly" Vietnamese or Chinese, I'd look like it. I was stuck in a limbo of stereotypical characteristics I loosely fit. I didn't know it then, back when I started kindergarten, that I would learn to first hate the slant in my eyes before I learned to love it. I also didn't know how privileged I was to be able to hear a response when I screamed out, "Dad!" Back then, I didn't know that the Khmer Rouge would mean anything more to me than an event in history. But as it turns out, chains are hereditary. However, that's a story reserved for a rainy day.
That's a problem of mine. I tend to ramble then lose focus until I slyly change the topic. Truthfully, I've always been a terrible communicator. Some diagnose me with being shy or timid. The answer is far simpler. I can never say what I need to say until the moment I need to say something passes. My response to this flaw was writing. When writing full sentences became a pain, I found poetry. Somewhere in the timeline I found a camera too. I know, I managed to acquire the teenage angst starter pack. The funny thing about it all is this; people often ask, "How or why did you become a poet?" Oddly enough, I haven't the slightest clue. While I could mention all of the sadness weaved into the exposition of my life and bleed metaphorical ink onto my answer, the truth is, I did it because it made me happy. I've no good philosophies, but I've got an idiot’s guide to living. It goes something like this: 1. Do what makes you happy, 2. Find sustainable sources of happiness, 3. Take time to be happy, 4. Cry when necessary, 5. Rinse and repeat.
Artists learn to see the world in two ways. One way focuses on the beauty whilst the other highlights the self perceived ugliness of it. Some days I see the previous. Other days I wallow in the latter. But after writing hundreds of poems and capturing thousands of photos, I've come to see that present becomes past almost instantaneously. The camera only captures what happened. The pen only captures thoughts of the past. They are my response to the finite reality of my existence. If I had an artist statement it'd be simple; I'm far too arrogant and egotistical to let the world forget me, that is why I leave my art wherever I can. If time should go against my wishes, so be it. But never let history say I did not try.
But suppose I did have something that resembled an answer. Would the newborn me believe me if I said I became a poet? I sure as hell wouldn't. Even now I step back every now and then and wonder where my parents went wrong. Apparently I was dropped as a child. Perhaps I'm just innately stupid. Or maybe it's in my blood.
Mostly Cambodian, somewhere in this body of mine are Chinese and Vietnamese roots that rise to the surface on occasion. According to my mother, "true" Cambodians have darker skin. If I was "truly" Vietnamese or Chinese, I'd look like it. I was stuck in a limbo of stereotypical characteristics I loosely fit. I didn't know it then, back when I started kindergarten, that I would learn to first hate the slant in my eyes before I learned to love it. I also didn't know how privileged I was to be able to hear a response when I screamed out, "Dad!" Back then, I didn't know that the Khmer Rouge would mean anything more to me than an event in history. But as it turns out, chains are hereditary. However, that's a story reserved for a rainy day.
That's a problem of mine. I tend to ramble then lose focus until I slyly change the topic. Truthfully, I've always been a terrible communicator. Some diagnose me with being shy or timid. The answer is far simpler. I can never say what I need to say until the moment I need to say something passes. My response to this flaw was writing. When writing full sentences became a pain, I found poetry. Somewhere in the timeline I found a camera too. I know, I managed to acquire the teenage angst starter pack. The funny thing about it all is this; people often ask, "How or why did you become a poet?" Oddly enough, I haven't the slightest clue. While I could mention all of the sadness weaved into the exposition of my life and bleed metaphorical ink onto my answer, the truth is, I did it because it made me happy. I've no good philosophies, but I've got an idiot’s guide to living. It goes something like this: 1. Do what makes you happy, 2. Find sustainable sources of happiness, 3. Take time to be happy, 4. Cry when necessary, 5. Rinse and repeat.
Artists learn to see the world in two ways. One way focuses on the beauty whilst the other highlights the self perceived ugliness of it. Some days I see the previous. Other days I wallow in the latter. But after writing hundreds of poems and capturing thousands of photos, I've come to see that present becomes past almost instantaneously. The camera only captures what happened. The pen only captures thoughts of the past. They are my response to the finite reality of my existence. If I had an artist statement it'd be simple; I'm far too arrogant and egotistical to let the world forget me, that is why I leave my art wherever I can. If time should go against my wishes, so be it. But never let history say I did not try.
Process
Brainstorming1. Write down potential ideas for photographs, settings, and collage concepts that are relevant to your life.
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Planning2. Create two to three planning sketches. Visually explore possible collages based on your brainstorming ideas then decide which concept to base the collage off of.
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Shooting&Editing3. Based on the chosen sketch and brainstorming list, start collecting the necessary photos to assemble the collage. When shooting, try to take photos that will reduce the amount of editing required in Photoshop. Edit the photos on a basic level (i.e. white balance, exposure, cropping, etc.)
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Experimentation
4. Take all the edited photos into Photoshop CS6 or CC and experiment with various filters and adjustments. I used one photo and examined every option to get an idea of what would best suit my needs. The blur gallery, liquify, and threshold were the most effective for me. In regards to tools, I used the quick selection tool to isolate objects and remove them from photos and a combination of the eraser and zoom tool to remove any extra areas surrounding the objects. At this point, keep all objects and images on separate canvases.
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Combining Photographs
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5. Create a 24x36in canvas with a resolution of 170 pixels/inch. First place down the background of the collage. Then build on top of the background with separate layers. As the layers and adjustments are added, the work area may become cluttered. To keep organized, merge objects with adjustments only when you are certain that it looks the way you want it to. It is important to note that adjustments will affect every layer below them unless merged with a particular layer. Once the collage is constructed, use the eraser to clean any layer with jagged edges or excess photo.
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Artistic Inspiration
The artistic inspiration behind my piece "Circumlocution" is Rene Magritte's series of works featuring a man with a face obscured by an object, specifically, "The Son of Man." Magritte was a Surrealist painter who often created puzzling and subtly unsettling works through juxtaposition. This is clearly demonstrated in "The Son of Man" where the apple is contextually out of place and harshly contrasts with the man. I incorporated a similar juxtaposition in my piece to achieve a similar sense of wonder. Furthermore, I emulated the very rigid stance of the man to convey a similar sense of seriousness. In regards to contrasting elements, Magritte utilized a simple composition with a very plain, almost monochrome background while I opted for more vibrant hues and a busier background.
Reflection
Through the completion of this project, I became increasingly familiar with Photoshop and learned that art is never truly finished. What I mean by this is; there's always another way to experiment and play with a piece to create something completely different and better. Knowing when to consider a piece done is a matter of personal satisfaction. I personally consider "Circumlocution" to be a work in progress. I have not experimented enough to be satisfied with my product. I learned that experimentation and taking risks is necessary in art. Had I not spend hours upon hours testing various filters, I wouldn't have reached the point I'm at now. And through rigorous experimentation, I've learned to use Photoshop to cleanly cut, paste, and edit images. I've gained a better understanding and appreciation of digital mediums and the craftsmanship required to create digital work. Prior to this project, I was only familiar with Illustrator. Now I have expanded my ability to create as an artist. In the future, I plan to to further polish the layers and potentially make the composition more balanced. Furthermore, I plan to add more symbolism to further emulate Rene Magritte. Initially, I wanted to add various street signs to my piece to incorporate more symbolism, and perhaps I'll find a way to incorporate them in the future, but as it is, the signs clutter the composition of my piece. I struggled with composition throughout the creative process. Only in post processing did I realize I used the wrong lens for the photo of my figure; I used a 22-50 mm kit lens. When I return to this piece, I will most likely use a prime lens for shallower depth of field and sharper lines. Furthermore, the highlights are a bit too bright on my coat. I'll either opt for a higher aperture or use a filter to better control the lighting.
Meaning
"Circumlocution" is two things. Number one: it's a response to the people in my life that made me question my culture and nationality. Number two: it's me sharing my inability to decide what I am. Some people call me a poet, others call me a photographer. Much like my nationality, I often cannot decide what I am. In my life, I've fought the trivial battle of defining my existence only to have a stranger tell me I don't look Cambodian or I don't seem like a poet. With this piece, I'm trying to come to terms with the fact that I am what I am regardless of my definition or anyone elses. I'm a poet and a photographer. I'm Cambodian, Vietnamese, and Chinese. I am me. My collage represents my freedom from my indecisiveness with the fans that symbolize wings. The melting Rubik's Cube is symbolic for a change in the way I think. I'll admit, even now I struggle with who I am from time to time. But slowly, I'm starting to think differently. I'm starting to accept that I am who I am. I am me.
Connection to ACT
1. I am able to identify the cause-effect relationship between my inspiration and its effect upon my artwork by analyzing the similar and emulated elements of my piece. An example of this is symbolism. Due to Magritte's painting incorporating symbolism, it affected my piece by influencing the incorporated symbols.
2. The author's point of view is that Magritte was a master of juxtaposing objects to produce a sense of unease through situations contextually out of place.
3. While researching, I discovered that people are generally uneasy when objects are in contextually odd places. People are curious as well, they seek to find the meaning behind almost all art.
4. The central theme of my inspirational research was symbolism through juxtaposing parts.
5. While reading my research, I inferred that Rene Magritte utilized simple, uncluttered compositions and a fairly monochrome color scheme to further develop a feeling of unrest.
2. The author's point of view is that Magritte was a master of juxtaposing objects to produce a sense of unease through situations contextually out of place.
3. While researching, I discovered that people are generally uneasy when objects are in contextually odd places. People are curious as well, they seek to find the meaning behind almost all art.
4. The central theme of my inspirational research was symbolism through juxtaposing parts.
5. While reading my research, I inferred that Rene Magritte utilized simple, uncluttered compositions and a fairly monochrome color scheme to further develop a feeling of unrest.
Sources
"Rene Magritte Biography, Art, and Analysis of Works." The Art Story. N.p., n.d. Web. 17 Sept. 2016.
Artsy. "René Magritte." René Magritte. N.p., n.d. Web. 17 Sept. 2016.
Artsy. "René Magritte." René Magritte. N.p., n.d. Web. 17 Sept. 2016.