I would use mote as the object to describe my own work. The tiniest
particle of dust, accumulating in the corner, floating in the air, blown
by wind, scattered everywhere.
My thesis book is called motes, a collection of motes.
It was inkjet printed on tracing paper, 13 by 19, pure image, protected in an acrylic case. Images from each project were chopped up and recombined together in a sequence that people described as a ‘smash cut’ in film, while at the same time creating a connection between each other visually, or conceptually. A sense of floating in the stream of consciousness.
I laid out the captions for each project on a sheet of paper as the key to decode the book, and slipped it in to the case.
I always thought a big book is tricky to deal with. It takes up space, one could hardly browse through it, and it requires care to flip each page. But I chose to make the biggest book I’d never made for my thesis, for all my selected projects. It needs to be handled with care. One has to handle it with care, with generosity, with patience, in order to sense it, to feel it.
My thesis book is called motes, a collection of motes.
It was inkjet printed on tracing paper, 13 by 19, pure image, protected in an acrylic case. Images from each project were chopped up and recombined together in a sequence that people described as a ‘smash cut’ in film, while at the same time creating a connection between each other visually, or conceptually. A sense of floating in the stream of consciousness.
I laid out the captions for each project on a sheet of paper as the key to decode the book, and slipped it in to the case.
I always thought a big book is tricky to deal with. It takes up space, one could hardly browse through it, and it requires care to flip each page. But I chose to make the biggest book I’d never made for my thesis, for all my selected projects. It needs to be handled with care. One has to handle it with care, with generosity, with patience, in order to sense it, to feel it.