Abstract. Schizophrenia January 2007

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2 Abstract For my final project, I propose a suite of 20 photographs which depict windows as metaphors for human suffering. This particular project presents an opportunity for me to delve into various forms of mental and emotional trauma, or issues, that humans endure, and through abstract, metaphorical narrative, encourage the viewer to more deeply contemplate mental illness and human suffering. Whether the window metaphorically illustrates the ravages of cancer, the pain of being sexually abused as a young child, or the intense paranoia of schizophrenia, my hope is to spark compassion in the viewer, a compassion they can hopefully use in their every day dealings with humanity. Schizophrenia January 2007 All photographs will be captured digitally with a Canon EOS 5D and printed in my office using a Canon imageprograf ipf500. Though the majority of my images will be 11x14 prints, I plan to experiment with varying size formats in order to metaphorically and aesthetically mimic the various windows in the pictures. When presented at the Final Review, the 20 photographs will be in one row, from left to right and all of the images will be black and white. The titles are intended to guide the viewer to a deeper understanding of the narrative of each piece and may encourage contemplation of the particular anguish that the window represents.

3 Thesis Project Proposal Poverty October 2007 Life is suffering. This short, simple Buddhist proverb has been central to my work as an artist and to my philosophy as a person, and it is the focal point of my final project. Growing up, I fought against my own suffering as though it were actually possible to escape it. I watched my mother live a life of intense anxiety, riddled with anti-depressant medication and suicide attempts. I watched my father pass out drunk after long days at his medical practice. I felt pangs of sympathetic pain for the homeless, the poor, the aged. In college, my first roommate was a paranoid schizophrenic prone to fits of uncontrollable rage. Once married, I soon discovered that my wife s mother suffered from Borderline Personality Disorder. All the while, I personally struggled with depression, perfectionism and drug addiction. My way to escape this truth, that life is, indeed, full of suffering, was through art. When I began studying Buddhist philosophy, I realized that there would be no escape from suffering- that suffering is life, and life suffering. Ironically, this very depressing truth freed me from my struggle against it and allowed me to understand human suffering in a more objective, accepting manner. While taking Language of Vision at Academy of Art, I had an epiphany while photographing a window, a personal discovery that tied together my insight about suffering with the art of

4 photography: windows can be the eyes to the soul, and as such can represent the lives lived behind them, fraught with the suffering that is such an integral, inescapable part of them. When we view a window in detail- its individuality created by shape, size, wearand-tear, age, framing, and hue, we realize how perfectly distinct each one is, and we begin to hear it tell a story of the life, and suffering, lurking behind it. Abandonment October 2007 For my final thesis, I propose a series of 20 photographs which portray windows as metaphors for human suffering. Like most people, I have always agreed with the old adage that the eyes are the windows to the soul. However, I have discovered that windows can be the eyes to the soul as well. As a Buddhist, I have always been fascinated by the universality and unavoidability of human suffering in all its forms. If I combine these two interests, they complement one another as two pieces of a puzzle would. Through a creative lens, every window can be viewed as animate; each one has a history, uniqueness, and life to it. If we study a window long enough, paying close attention to its pane, frame, shape, and imperfections, we see that it tells a story, if we re

5 willing to listen. By combining these two truths, I hope to weave a story using my project, a story about the universality of human suffering. This project offers me the opportunity to continue learning about human suffering while continuing to hone my skills as an artist. The human suffering that one may metaphorically see within the windows I photograph might also move the viewer to contemplate human suffering in a new, more universal, way. Apeirophobia February 2007 Finding windows is easy. However, finding windows with extraordinary character that can help tell a compelling story about human suffering is more difficult. I intend to travel to as many varied locales as possible in order to discover new and interesting windows. Though a shortage of money may present a challenge in how far I travel, I would ideally like to travel to other countries in order to discover even more diverse windows; for example, the windows of India may tell a very different story from the windows of Texas. I have also purchased the book Abnormal Psychology by Martin E.P. Seligman so that I can more thoroughly research various mental illnesses and psychological conditions. Traveling to new locations and spending time doing independent research will help to enrich the depth and diversity of the photographs within my project.

6 M.P.D. January 2007 The two greatest challenges I may encounter in completing this project are as follows: perspective distortion and strangers prohibiting me from taking photographs of their property. Regarding perspective distortion, when shooting tall buildings from a short distance, the angles of the windows can appear altered. However, this may be remedied through using the Perspective option in Photoshop, by using a Tilt/Shift lens or, in certain cases, by shooting from a further distance. In regards to people being territorial, it may be awkward or even very hard to explain to people why I am pointing a camera at their house. People, in today s day and age, tend to assume you re up to no good. When contemplating possible solutions to this problem, I thought back to my Digital Photography class. The instructor, Chris Pinchbeck, offered this advice for the class: When approached by somebody who may not be too happy that you re on their property, flash a friendly smile and introduce yourself; the more cordial you are, the more willing they may be in allowing you to stay. Along with my smile and positive attitude, I also plan to bring my business cards and a laptop. Having an element of professionalism as well as physical proof of my intentions may put them more at ease.

7 Acrophobia January 2007 Each photograph in my final project will be captured with a Canon EOS 5D and printed at my home studio with a Canon imageprograf ipf500. Because windows come in various shapes and sizes, I plan to experiment with different print sizes. That said, I would like for the majority of my photographs to be 11x14 in size. I intend for the photographs to be viewed in one horizontal row and the entire project will be printed in black and white. It is my hope that the title of each piece will help the viewer to better understand the narrative and metaphorical meaning intended behind each window; however, the images could feasibly stand on their own, without titles, as an ode to the beauty and uniqueness of an often overlooked element of architecture: windows. Regarding my final year at AAU, I plan on working one-on-one under the guidance of a Directed Study Advisor. If possible, I would like to work with Tamara Hubbard, David Spindler or Jim Sienkiewicz, as I feel their knowledge, vision, and skills would benefit me. I also intend to participate in one Group Directed Study course, enrolling in

8 the Fine Art Photography Seminar. With regards to Directed Study credits, I hope to take the following courses, as they are in line with my area of concentration (Fine Art) and chosen genre (Exteriors as Metaphors): Experimental Photography and Architecture as Landscape. Lastly, because I have a limited understanding of the process behind printing my own work, I will be enrolling in the Advanced Digital Printing course. Divorce March 2007 The challenge of using windows as metaphors for emotional issues is an incredibly enlightening, educational journey for me, one that can hopefully help me and the viewers of my work become more understanding of one another s suffering. When I create a composition of a window with the concept of suffering or mental illness in mind, I become more compassionate, and I can better contemplate how much humans have in common. We all know the old proverb, The eyes are the windows to the soul. With my project, I hope to illustrate that windows can also be eyes into the soul; if we look at windows in this light, they can come to represent the ways in which we all suffer from a myriad of issues. I m truly looking forward to this challenge.

9 Influences Though countless artists have influenced me tremendously, Lee Miller may be the crux of my inspiration, particularly in light of this project. Miller s life story embodies that which I am attempting to convey through my project. Her life was replete with horrific suffering; she was sexually assaulted at seven, photographed nude by her own father during her teenage years, and struggled mightily as a mother. Her photographs become all the more meaningful when we know the profundity of the emotional issues Miller faced. I have been inspired by her, also, because she took photographs from her own distinct vantage point and, through her work, encouraged others to take note of the brilliantly unique way in which she viewed the world. What s more, the technical skills that Lee Miller employed were exceptional. One photograph in particular, Portrait of Space, encompasses all of the aforementioned traits. Portrait of Space Lee Miller It is a fascinating piece of art that asks many questions of the viewer, pushing them to think deeply about what it means. The composition is chaotic yet contained. The small

10 black square frame is purposeful, much like a band-aid, trying to hold it all together. The tear in the screen can be viewed metaphorically as internal anguish, as if someone we love has torn a hole in our heart. Behind the screen, we see an ocean of sand that, after spending some time focusing on it, begins to look like a moving ocean of water. This adds to the chaos, to the constant movement of the piece. The formal relationships between the various forms in this photograph create a palpable tension. The tight, active framing contains the commotion. The use of positive/negative space (for example, the black of the frame, the white inside of the frame, the white behind the screen, the darkness of the screen itself) create a sense of balance, while also creating a threedimensional feel due to how these forms activate the picture plane. Finally, Miller s succinct title adds depth of meaning to this image. Lee Miller has taught me to look deeply into the world that surrounds me, find the stories hidden within it, and tell those stories through photography. Everything has a story to tell, even the smallest dot, and Miller proves this through her work. Non-Conformist Chapel Lee Miller

11 Another powerful influence on my art has been Lee Friedlander. Though his photographs sometimes seem chaotic, it is evident when we observe the technical aspects of his photography that he spent a great deal of time making sure that the formal relationships in his images complement one another. His purposeful use of black and white help the images to play tricks on our eyes. We must stop and contemplate his photograph in order to make a conscious decision about where to lay our eyes. This is a result of his brilliant use of positive versus negative space. Friedlander knew exactly how to activate the picture plane and create living, breathing photographs; we feel as though we are a part of them, inside them. One of my favorite photographs of his is Boy In Window. Boy In Window Lee Friedlander In this photograph, he has activated the picture plane in such a way that we literally feel the window is directly in front of us; we can almost take two steps and walk into it. Much more impressive here, however, is the subject of the photograph. We are moved to ponder why this child is standing in a store window, and images of servitude, poverty, and oppression may come to mind, offering to us social or spiritual commentary. The

12 narrative of this photograph makes it a truly remarkable, exquisitely executed piece of art that pushes us to think deeply. It is precisely this, the act of telling a story thorough use of color, framing, space, and subject matter, that has influenced my own work. Texas by Lee Friedlander

13 Stephen Shore is yet another brilliant artist that has influenced me. I first encountered Shore in my Nature of Photography class, and I immediately fell in love with his work. First, his subject matter moves me. It is so simple, yet with careful observation, the details begin to emerge. We feel as though we are walking down the street, through the neighborhood, by the buildings he depicts. The color combinations complement each other spectacularly: dark red window frames upon cream colored stucco; forest green awnings jutting out from a dark cream building; black iron stairwells and cold opaque windows in a tall square structure. His use of color relationships create a vivid tone for the viewer, which adds texture to both the image and the story it is telling. He also utilizes framing to enhance the viewer s experience. We might not even notice the framing upon first glance, but when we examine the photograph more carefully, we can sense the space that is framed by unassuming objects, such as bushes or building edges, and then we are drawn in more closely to the windows or edifices he has captured. Shore also uses positive and negative space with grace and purpose: a wide open sky covered by a stocky building; slivers of gray sky in between tall structures; blackened windows inside a building. Church & Second Stephen Shore

14 His work has influenced mine in that he has demonstrated that a seemingly simple photograph of an exterior can carry with it so much detail and meaning when executed purposefully and with care. Meeting Street Stephen Shore

15 Barnett Newman s art has also served as an influence on my own work. When we appreciate his paintings, we are appreciating simplicity, and we learn that, ironically, simple shapes and lines can carry with them so much weight. At first glance, we may see a very basic rectangle. Upon closer inspection, however, we see the minute detail of near-perfect straight lines, complemented by the use of positive and negative space, as well as a stark use of color. Canto III Barnett Newman I am moved by the apparent simplicity of his work, and this appearance of simplicity, combined with the sheer detail of angles, lines, and shapes, inspires me as an artist.

16 Jackson Pollock s attitude as an artist has deeply influenced me as a photographer. Pollock was steadfast in his artistic vision. Though the world often judged him as an eccentric, he did not let the world s view deter him from expressing himself the way he deemed fit. He was not concerned with the conventional; on the contrary, he was most concerned with conveying that which was inside of him, despite the misunderstandings his art sometimes caused. Though to some, his pieces may just be paint dripped crazily on a canvas, to me there is perfection and process with each stroke and thrust. His paintings are windows into his mind: chaotic, brilliant, confused, scared, beautiful. We can even interpret his paintings as messages and stories, if we just use our imagination a bit. Rhythmical Dance Jackson Pollack Pollock s work epitomizes the unique vision we all have. Even more, his fearless attitude towards his art- to create what he needed to create, regardless of how others judged it- inspires me.