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Our creations mirror our choices—should we design the spaces we occupy, find shelter in them, or assert our presence within? Our structures, both physical and digital, reflect our thoughts, aesthetics, and identities. As the human form moves through them, it is sometimes dwarfed by towering walls, other times magnified by open expanses.

Yet as we settle within their familiar embrace, these spaces begin to shape how we see and interact with the world. What starts as expansive and liberating subtly narrows; spaces meant to reflect us slowly enclose us. Their quiet authority grows, guiding our thoughts and drawing us into the loop of the familiar.

In their most confining form, these spaces strip us of the freedom to escape the penitentiary of our perception: walls close in, mirrors fracture, and familiar echoes repeat, encircling us in the comfort of our own making. The silk that once flowed freely now hangs like chainmail, binding rather than freeing.

Our surroundings—whether walls of steel or straitjackets of belief—transform from mirrors of connection to vessels of containment. Though these spaces feel distant and imposing, as if they hold power beyond us, they remain profoundly human, shaped by our own hands, desires, and limitations.

Through this spread, we invite audiences to question the spaces we inhabit: do they reflect us or or do they cage us?

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Fragmented, Claustrophobic, Unsettling

Repetition and Patterns: Spiral staircases, repetitive architectural lines, and looping elements that create a hypnotic, closed-in feel

Isolation in Vast Spaces: A solitary character moving through empty, almost desolate spaces, emphasizing introspection and quiet tension

Fractured Mirrors: Splintered mirrors and fragmented reflections to symbolize self-fracture and disorientation within enclosed spaces

Muted, High-Contrast Grayscale: A transition from dull, soft tones to stark, high-contrast grayscale, visually conveying the shift from openness to restriction

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Haunting, Wondrous, Fearful

Boxed-In Frames: Tight, claustrophobic shots where the character appears confined, with harsh lines that reinforce the feeling of entrapment

Facial Expressions: The models’ faces will convey a mix of emotions — from subtle fear and unease to disillusionment and resignation

Eye Contact: In the initial points of the spread, a blank stare off into the distance can convey resignation and a sense of lost wonder. By the end, direct, piercing eye contact with the camera to create an unsettling, almost confrontational gaze that challenges the viewer and heightens the intensity.

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Disorienting, Monolithic, Labyrinthine

Aerial Shots: Wide, overhead perspectives that create a sense of vastness, capturing the character’s solitude.

Sharp Light and Deep Shadows: Dramatic lighting with pronounced shadows, creating tension and highlighting the authority of enclosed spaces.

Blurred and Distorted Reflections: Blurred or warped reflections to convey confusion, isolation, and the breakdown of self within repetitive environments.

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Striking, Bold, Flowy

Tension in Fabric: Soft, flowing fabrics in nude and cold colors that shift to tight, constricting materials, mirroring the journey from freedom to constraint

Depth in Makeup: Intense makeup on the high points of the face to accentuate the range of expressions the models take on

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Budget: We plan to repurpose on-hand clothes and makeup and should be able to source photography equipment and software from Lathrop. We may need to thrift some mirrors for this shoot. We will need 1 main model for this shoot, as well as 2-3 extras for a couple shots

Location: Richard Serra's sculpture, Interior of Stanford Theater, McMurtry

Rough Timeline: Acquire materials (1 week), Shoot (2 weeks), Post-production (2 weeks)