Monday, September 2, 2019

artist statement



My everlasting love for the sky inspires me. In the building I live in, the view from my roof spreads from being able to see all the way towards the Verrazzano Bridge on one side, the Manhattan Bridge from another, and farther than that as well. Sunsets from the roof are a surreal experience, and from trying to make it a habit to watch the sunset - whether from my window in my third floor apartment or from the roof - I've fallen in love with those final moments of  the sky going from cerulean to a mix of soft magentas and purples with tufts of clouds forming shapes to a blazing orange to the hints of the dark where the moon comes in like the icing on a cake.

It's the wave of emotions I feel when I see it. The longing feelings of nostalgia remembering memories of the past, the tinge of melancholy of things that could've been, the feeling of fleeting youth and desperate longing to not have it leave so quickly. That's what I try to capture in my (though seemingly unprofessional) photos of the sunsets and what I try to capture in my non sunset photos as well. I want to be able to look back at what I've created and feel the emotion that I felt in the moment. I want to be able to have anyone that looks at my work as well be able to feel the tinges of the same emotions as well,  especially in the colors and the little details that I try to capture as well.

Music is something that's extremely important to me as well. It's become second nature that I have a song or several songs playing in my head or actually playing when I want to take pictures or film a short clip, which reinforces my vision of trying to portray and make one feel emotions. Music, like media, has the ability to transcend language and can leave a lasting impression on you with the story they've created. I want to be able to create a story with whichever form of media I choose to create. 

Kon Satoshi's work is something that I've found very profound with the way he's able to bend what's real and what's not real with his medium of storytelling. His direction in Perfect Blue of messing with the viewer on where the boundaries of delusion and reality cross is so horrifying spectacular with leaving you thinking about it even days afterwards. The way he seamlessly is able to combine and transcend the reality of retired actress's sharing the story of her life with filmography while also displaying a millennium's worth of Japan's history all wrapped up into one story in Millennium Actress is so visually stunning and cleverly crafted. The emotions that come from both movies, even though they're polar opposites with Perfect Blue leaving you with anxiety, fear, and hope at the very end and Millennium Actress with wistfulness, thrill, and heartbreak all come from the little details that are displayed throughout and the overall themes, much similar to the kind of direction I want to evoke in my work and that's what I want to ultimately achieve.


kirsten johnson

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