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apparently z9 wall looks so perfect for this editing..
It's really simple
I just don't wanna make it too complex..
I guess this peculiar editing will actually minimize the process since we don't have to care about making colour pretty or spending time to make the actor look even prettier etc.

I just used this picture because.. i don't know.....for Rhyia's portrait privacy..............

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-Long Shot from behind the actress.
(You can see her back, she is dressed in tanned underwear, the floors are covered in images of her face, the walls are covered in foil cut outs of an ideal face shape, she is surrounded by mirrors).
-In a cannon an advertisement is presented in the reflection of each mirror.
(The advertisement promotes products that 'enhance' one's appearance).

-Then various shots of the actress rolling on the ground, crying, pulling at her hair, pulling at the skin on her face, scratching her skin.

-The previous shots are interrupted by quick shots of extreme close ups of the certain parts of the actresses body including her eye, nose, lips, eye brow, finger tips.

-Quick shots of a surgeon's hands in plastic gloves holding a scarple and covered in blood flash across the screen.

-Close ups of her feet seen stepping on the drawn pictures of her face on the floor.

-By the end she looks in a mirror and her reflection shows no similarity of her self to show that after all this body mortification she can no longer recognise herself.

These images will be accompanied by music which is interrupted by text tones, ring tones, notification sounds and television static.

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https://youtu.be/GKSRyLdjsPA

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sorry I think my pain got a little severe
so I don't think I will be able to post anything new for the next couple of days
sorry

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Hi, this is Hyunjoo.
I just have a suggestion upon the approach to the collaborative response towards the artwork 'Alison Lapper Pregnant', in regards with the thematic and visual aspect.

I thought of featuring more specific theme of 'plastic surgery addiction' from our initial and general theme 'female's confidence in their individual appearance'.

So I came up with a number of visual experimentation ideas of:

-Representing fat with cotton (common content of doll, conveying the message of "You are as lovely as doll" or whatever..)

-Drawing repetitive face croquis (fast drawing) of the actor who is addicted to the plastic surgery (I can draw about a hundred each night) and placing them on the actor's mirror or all over the room - ceiling, walls and floor.

-Use of green tint over the main colour of red (which are not only suggestive of the blood and operating theatre, but also complementary colours.)

It was just a quick thought before the lecture in about 7 minutes.
I will post some examples of the croquis and relatable images for the other ideas that matches with my thought if I can find any when I get home today.
I will also try to draw an example diagram for my general idea towards our film if it is possible.

+Here are some example drawings.
Second composition is visually inspired by FKA Twigs' M3LL155X full album music video, the part with the fourth track: In Time.
I will also post how to impose this colour palette into the video/photographs using coloured still image layers just in case.
It's basically just using green colour-burn layer and hue layer, red darken layer and the translucent luminosity in chronological order. (bottom to top layers)

+ Causes of this issue are to be researched.
I myself never had this issue since I'm not interested in my appearance. But I have witnessed quite a number of people in South Korea, where plastic surgery has become too common due to the increase of the public's attention to the media; full of K-Pop idol girls. As public's expectation on female appearance gets severe, the plastic surgery has tacitly became almost compulsory. It is particularly evident in central cities where all the women look the same.
From my point of view, this issue is caused by the media that formed the social norm of female aesthetic.
Still I'm not too sure about how severe this issue is in Australia. Seems like it's certainly better than South Korea.
But since Marc Quinn has propounded this issue with his artwork Alison Lapper Pregnant in exclusively opened venue- the 4th Plinth in Trafalgar square- I guess it would have been one of those which have been issue but didn't get much chance to draw the public's attention.
With my quick thought, this media representation can be visually problematised through depicting this as the main character girl's room that is full of dolls or bromide of female celebrities horizontally juxtaposed with the croquis of the actor's face.
We might have to realise the quality of media - TV (particularly), magazine, social media etc. - to further manifest this depiction of the media.
This quality can be illustrated with the digital media, material that has similar quality with the digit etc.

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Our first offline discussion will be held on this Wednesday at 2-3pm in Z9 around the elevators.
If you CAN make it, please comment here by Wednesday 10am.

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With the chosen theme of female empowerment (in regards to their confidence in their appearance) from the original work Alison Lapper Pregnant (Visual Arts),
Rhyia Klimenko, Sally Manton and I have decided to do film work for this collaborative response, since three of us have studied film at high school.

According to the remarks that have been made in the workshop, each group member's role wilbe:

Sally Manton - Lighting (to be confirmed) and camerawork (since Sally has said that she is confident with both filming and photography)

Rhyia Klimenko - Editing (as Rhyia has shown a particular interest in the Editing process) (Any discipline-specific role to be confirmed)

Hyunjoo Jun - Compositional direction and assistance for any of abovementioned process

Bronte Price - Acting (to be comfirmed)

To Bronte Price, thank you so much for notifying us and our tutor about your unattendance prior to the workshop class.
Feel free to comment here or message me for any additional contribution for the filming process.

To everyone, since I check my message and this padlet very often, the response will not take any longer than 12 hours. So feel free to message me anytime for any confirmation, as well as for questions and suggestions.
Also I'm very happy to email our tutor (since she is my tutor for two workshops) on be half of you if you are struggling with contacting her.

And to those who are struggling with finding a discipline-specific role for the task, you might find helpful to ask around the students in your discipline about this task.
I wish I could help you with this, but I don't have much knowledge in any of your disciplines.

Our first offline group discussion will be held at 2-3 pm on 9th May (this coming Wednesday) in Z9 (Creative Industry Faculty) ground floor, in front of the elevators.
If none of you turn up without any notice, we would likely to be unable to present our draft, which is due this coming Friday (11th May).

Please keep in contact.
You don't have to write long multiple messages at all.

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Sorry for not posting this sooner!

1. What can I offer/contribute in relation to the discipline:

At the moment, I don't think there is much I can contribute in terms of technical production, as we are still learning everything (lighting, sound etc) and I don't feel quite confident with it yet.

But I did do film for three years in high school so feel very comfortable with filming, editing and everything involved with that process and have also done a little bit of photography.

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Sorry for the late update!

Since we don't know everyone's answer for the first question, let's just complete the first one and then think about the next two..

1. What I can offer/contribute in relation to the discipline

Visual Arts
a. Drawing
- traditional
- gestural croquis
- fine-line

b. Painting
- watercolour
- acrylic
- oil (takes long)
- digital (realistic or anime) (Photoshop CC)

c. Decoration

d. Simple sculpture
- paper sculpture (usually involving origami)
- wire sculpture

e. Photography

f. Installation work

I have been exloring the materiality (quality and properties) of art media throughout this semester.
I mainly explored paper, transparent and digital (predominantly mathematics graphing) media.
You can look at my folio to get a brief idea here: laticitane.tumblr.com

Additionally, I also experimented on different approach to design principles (density, pattern, layer, etc.).
So I can contribute to the compositional design.

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Suggestions for Initiating Idea Development

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Suggestions for Initiating Idea Development

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I think it will be cool if we post:

1. What each of us can offer/contribute in relation to the discipline

2. What each of us wish to do for this task

3. Two approaches that you can think of doing and what each person will be doing within that idea (This can be one of the ideas you have suggested during the workshop group appraisal)

on either Blackboard group discussion board or here (Preferably!)

You don't have to upload them all at the same time since we still don't have much understanding of what each person is doing.

But I hope that everyone will post the first two points as soon as possible!

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FKA Twigs - In Time (M3LL155X)

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We discussed and appraised the original work: Alison Lapper Pregnant by Marc Quinn (from visual art discipline) today (27 April, Week 8 Friday Workshop)

In the course of the group appraisal, we (Sally Manton, Bronte Price and Hyunjoo Jun) identified a number of themes connoted in the work, including female and disability empowerment.

My critique upon this work (submitted for the Assessment 1) will be posted this evening; I confirmed with our tutor that we are allowed to share the assessment document, as I mentioned in the group chat last week.

Hopefully it will provide a comprehensible conceptual expository of the work.

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Our current group members (20th April, Week 7 Friday) are:

Sally Manton (Technical Production)
sally.manton@connect.qut.edu.au

Rhyia Klimenko (Drama)
rhyia.klimenko@connect.qut.edu.au

Bronte Price (Acting)
bronte.price@connect.qut.edu.au

Brandon Rufus (Dance)
brandon.rufus@connect.qut.edu.au

Hyunjoo Jun (Visual Arts)
hyunjoo.jun@connect.qut.edu.au

Some of email address (except Brandon Rufus and mine) might be wrong.
So please check and correct me if any of them is wrong.

Our workshop tutor is Caitlin Franzmann (caitlin.franzmann@connect.qut.edu.au).
According to our blackboard contact page, she can only reply email on Monday, Wednesday and Friday, so let's be aware of that.

(Last edited 27th April)

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KYB101
Understanding Creative Practice
Semester 1, 2018
Assessment 1: Appraisal of Creative Work
Hyunjoo Jun
n10171088
Word Count: 814

Marc Quinn
Alison Lapper Pregnant
2005
Marble
355h x 180.5w x 260d cm

Quinn, Marc. 2005. Alison Lapper Pregnant. Exhibited London: Fourth Plinth in Trafalgar Square. Installation: Marble sculpture
Alison Lapper Pregnant is Marc Quinn’s colossal marble monument of Alison Lapper, who is phocomelic with shortened limbs and known for her courage that overcame constant disadvantages for being the disabled (Quinn 2012, para. 1; Kieran 2009, 32). This sculpture was commissioned by Ken Livingstone, the mayor of London, and installed as the first female and the disabled sculpture of the Fourth Plinth Trafalgar Square (Lewis 2005, para. 3). Through Quinn’s locational, allusive, elaborative and compositional choice, the sculpture successfully commemorates the beauty of fortitude and the biological imperfection, for the disabled and female in particular (Lewis 2005, para. 8; Quinn 2015, para. 1; Millett 2008, 2).
Marc Quinn’s locational choice of his sculpture is one of its distinct aspects that significantly evinces the idea of the beauty of imperfection in particular. The Fourth Plinth Trafalgar Square, where the sculpture is erected, is a site with a deep cultural background (Quinn 2012, para. 1). This installation environment effectively becomes the theme with its correlation to the sculpture’s intent of commemoration. Furthermore, UK, where this exhibition site is located, used to have an unfair disabled rights, and has been politicised at the time period of installation; a large number of demonstrations by the disabled were emerging during the previous decade of the installation period (Ali 2013, 15). Within this context, the public installation of Alison Lapper Pregnant crucially conduced to the revision of UK’s disabled right (Quinn 2012, para. 2). Additionally, all other statuary in the Fourth Plinth Trafalgar Square are portraying public heroes in full body, standing or equestrian position that discernibly display the legs. As a result, Quinn’s work was the only sculpture with the shortened limbs and an implacably seated posture, which contrarily resonates torso sculpture (Carpenter 2013, 20). By constructing this conspicuous distinction, Marc Quinn does not only propound the public’s subconscious perception towards the disability, but also empowers the disabled by demonstrating what being human and its beauty really is in conjunction with the inevitable imperfection and diversity as an organic creature (Quinn 2006, para. 1; Cooke 2005, para. 5; Carpenter 2013, 20).
Quinn’s manoeuvre over his use of design elements and principles is another aspect that contributes to his work in empowering both the disabled and female, as well as celebrating the beauty of spiritual resilience. Alison Lapper Pregnant distinctively draws attention with geometric curvilinearity that specifically explicates the biological femininity avoiding an intimation of the weak. Moreover, this feature allows the sculpture to be distinguishable amongst the surrounding male sculptures that are predominated by rectilinear forms, thus ingeniously contributes to the concept of the beauty (Lewis 2006, para. 6). With this bold presence, the enormity and its placing in upper position induce a low angle that manifestly connotes the sense of strength, resulting in the empowerment and insight representation of one of its theme, the beauty of spiritual strength. While unbalanced structure evokes a daunted impression that imparts the implication of the weak, the sculpture’s low-centred structure provokes a strong sense of stability; this feature effectively develops the material sturdiness, further expounding the psychological resilience of the subject matter, Alison Lapper.
Quinn’s allusive and elucidative choices are the aspects that elicits his theme of empowering and commemorating the beauty of the individuality, female in particular, and the spiritual resilience. Alison Lapper Pregnant distinctly resonates the image of Venus de Milo, which symbolises the beauty and femininity, with no arms and two legs concealed; this allusion empowers both the disabled and female by again patently celebrating their individual beauty at the same time (Carpenter 2013, 18). Nonetheless, the beauty of the biological imperfection is subversively delineated in Quinn’s work, while the traditional limbless statuary made of high art medium, such as marble, that the Venus de Milo exemplifies denote the ideal physicality (Humphries 2012, 148; Jenkins 2010, 100; Betterton 2002, 262). Therefore, Quinn neoclassically challenges the public’s received subconscious prejudgment of the external beauty (Cooke 2005, para. 5; Humphries 2012, 148; Betterton 2002, 262; Millett-Gallant 2008, 13).  Furthermore, Quinn's choice of maternal figure rejects the eroticism in the traditional femininity (Betterton 2002, 262; Carpenter 2013, 28). Instead, biological femininity is illuminated through the pregnancy’s depiction of female fertility stressing the mother’s spiritually resilient quality to empower female (Kieran 2009, 48). Quinn boldly excludes the pupil and facial expression. This is another distinction whereas others in the same location have elaborated their public figure’s pupils and majestic facial expression, which amplify their righteousness. While emphatic delineation of a life’s eye hint the subject matter’s emotion, by excluding this element, Quinn deliberately eliminates the sensitiveness that possibly miscommunicate with an imagery of the weak in conjunction with the received conception of disabled female figure. As a result, Quinn captivates the viewers’ focal point on the sculpture’s body while the restrained expression further intensifies the sculpture’s indomitable spirit, hence it further empowers the disabled and female.
Quinn’s neoclassical sculpture Alison Lapper Pregnant has effectively empowered the disabled and commemorated the beauty of spiritual strength and biological imperfection in conjunction with his use of location – with thematically highly relevant context and other statuary classically resembling in appearance, the allusion and elucidation – celebrating his new definition of the beauty in both their external and internal beauty, and the use of the design elements and principles – in terms of the quality of curvilinearity, enormity, marble, balanced form and three-dimension. Hence, through Alison Lapper Pregnant, Quinn has successfully embodied his intention.
References
Ali, Ahahnaz. 2013. “A Disability History Timeline.” Accessed March 28. 2018. http://www.merseycare.nhs.uk/media/1749/disabiliyt-timeline-2013.pdf

Betterton, Rosemary. (2002). “Prima gravida: Reconfiguring the maternal body in visual representation.” Feminist theory 3(3): 262. http://journals.sagepub.com.ezp01.library.qut.edu.au/doi/10.1177/146470002762491999

Carpenter, Kim. 2013. “Visualising the disabled: Marc Quinn’s Alison Lapper Pregnant.” Sculpture Review 62 (2): 18-28. https://web-a-ebscohost-com.ezp01.library.qut.edu.au/ehost/detail/detail?vid=1&sid=a4d4262b-e481-4c03-9817-7b067fe62dcf@sessionmgr4010&bdata=JkF1dGhUeXBlPWlwLHNzbyZzaXRlPWVob3N0LWxpdmUmc2NvcGU9c2l0ZQ==#AN=89880407&db=vth

Cooke, Rachel. 2005. “Alison Lapper Pregnant.” Accessed March 30, 2018. https://www.theguardian.com/artanddesign/2005/sep/18/art

Humphries, Oscar. 2012. “The Life Blood of Art.” Apollo 175 (596): 148. https://search-proquest-com.ezp01.library.qut.edu.au/docview/1266034232?pq-origsite=summon

Jenkins, David Fraser. 2010. “The Meeting Place by Paul Day: A very public commission at St Pancras Station, 2006/9.” The Sculpture Journal 19 (1): 100. https://search-proquest-com.ezp01.library.qut.edu.au/docview/664781675?pq-origsite=summon

Kieran, Cashell. 2009. “Aftershock : The Ethics of Contemporary Transgressive Art.”: 32-48. https://ebookcentral.proquest.com/lib/qut/detail.action?docID=676648&query=Aftershock+:+The+Ethics+of+Contemporary+Transgressive+Art

Lewis, Caroline. 2005. “Alison Lapper Pregnant Takes Plinth Position In Trafalgar Square.” Accessed March 30, 2018. http://www.culture24.org.uk/art/art30597

Millett-Gallant, Ann. (2008). “Performing Amputation: The Photographs of Joel-Peter Witkin”. Text and Performance Quarterly 28 (1-2): 13 https://www-tandfonline-com.ezp01.library.qut.edu.au/doi/abs/10.1080/10462930701754283

Millett-Gallant, Ann. 2008. “Sculpting body ideas: Alison Lapper Pregnant and the public display of disability.” The Disability Studies Quarterly 28 (3): 2. https://libres.uncg.edu/ir/uncg/f/A_Millett_Sculpting_2008.pdf

Quinn, Marc. 2005. Alison Lapper Pregnant. Exhibited London: Fourth Plinth in Trafalgar Square. Installation: Marble sculpture

Quinn, Marc. 2006. “Alison Lapper Pregnant.” Accessed March 30, 2018. http://marcquinn.com/artworks/single/alison-lapper-pregnant1

Quinn, Marc. 2012. “Alison Lapper.” Accessed March 30, 2018. http://marcquinn.com/artworks/alison-lapper

Quinn, Marc. 2015. “The Making of ‘Alison Lapper Pregnant’.” Accessed March 30. 2018. http://marcquinn.com/studio/studio-diaries/the-making-of-alison-lapper-pregnant