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My interpretation of the chain's story was good triumphing over bad. Dark becoming light, restorative and hopeful. I was struck by the scary campfire, haunting lore analogy in the movement response. Also the image from the painting of the monster creeping around the door. I imagined little kids wanting to close their eyes tightly or scare it away with loud shouts, clenched fists, or a can of trusty 'monster repellant'.

These notions came together in a set design that I initially envisioned as being displayed outdoors, possibly in light of the current 'indoors' restrictions. I wanted to evoke a scary forest feeling, with long shadows. I'm thinking of Ichabod Crane in the woods in Washington Irvine's story. However, I also wanted to flip the 'dark and scary' color palette to offer hope and conclusion to this chains story as I perceived it. The color palette was white with soft elements like fabric, roving, and living moss and plants. The red floor was a much later thought to anchor the design. The ceiling would remain as open as the space allowed. The petal-shaped seating nods to the flowers in the foreground of the photograph. They would provide seating and elevated viewing of the chain in its entirety. There to be climbed on, they are topped with soft felted balls that can be throw in the direction of the painting to banish the monster! I created two large speaker heads where the sound would confront you at a barely audible volume. The poem would be displayed in an old typewriter, a simple nod to its author's font choice.  The photograph projected ethereally on the white fabric high on the branches, the movement response on a video monitor further along the path. If I were to modify this design the movement images may be projected over the floor space or onto the second piece of fabric.

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on pins and needles waiting to see what will happen. We feel trapped in a cold dark place. We are almost like zombies—living dead.
A rectangular shape came to me with blacks, grays and some chrome. The only fabric that I used was a black curtain. It almost represents a
Mausoleum. The floor was painted to look like a dark stone. The walls remained white to help showcase the art. After you walk thorough the heavy metal doors, there is an artificial dirt path with some up lights  in the floor leading to the photograph. The photograph is on plexiglass or Lucite panels.As you walk past the photograph you see ghost images of ancestors in the middle and back panels. Moving to the corner of the room, you step behind a black curtain and experience  thin layers of cobweb hanging from the ceiling. When you enter, the music is triggered by a motion detector. There our wooden slats for the ceiling that allow some light to shine through. If possible the floor in that area should be slightly tilted. Patrons must go in small groups. The overall feeling is one of being trapped.  The next piece  is movement. It could be a refrigerated ice block or plexiglass ice form with a metal knife like a pendulum that swings across the top of the ice block. It could rest atop a chrome base. There could  be an intelligent light that tracks the pendulum knife and a light underneath  the ice block too. There could also be the underscore of scraping.  It is the focal point of the whole exhibit. Moving over to the next corner is the pins and needles sculpture which I see as a life-size maze to walk through. The pinheads light up with LEDs. The next exhibit is the poem which is projected on the floor.  The painting of the hail storm is in the corner with gallery lights above it.
You could add actors dressed as ancestors flowing around the room offering dates from bowls. They are mute.

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I knew I wanted to create a bridge as the setting for my exhibit. Life is a journey and the bridge symbolizes unity and connection. Two sides coming together, from different experiences in life but finding a common middle ground. There is no end, only a continuation of the journey.

I was inspired by the colorful interpretation of life and wanted to represent it as overhead portals, a “rainbow” bridge of color that one experiences by walking underneath along the bridge. The exhibits are tucked within the portals. The humming noise plays softly in the background at the beginnings of the bridge. It gets louder as one moves towards the middle. The bridge is covered in a field of lavenders represented by the glitter, softly crushing under foot. It is a light, fresh feeling full of hope . The movie loops continuously in the background and can be seen from every colored portal, tying them all together.

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I chose to pick this set up because it shows the characters point of view when you look at it closely. It also shows a lot about my chain because when the soda can exploded and the piano as the tape and the ducky is swimming in the lake. The stars and clouds on the wall and the flower tape like the river. So I chose to do this.

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This chain for me is about a sort of determination that leads to possibilities; taking what we have with us to create something powerful. The chain, and the scene design, move from black and white and gray to color. There is also a sense of something missing or unseen, not knowing what is ahead. The viewer enters the space and is met first by the poem, and can see ahead a portrait? From the portrait there is a video? When looking at the portrait, there is a fork: go left and out into a courtyard (to a scultpure and another screen with the video looping simultaneously) or go right and onto a second path. The paths eventually meet in a room with an amazing painting. There are chairs to sit and reflect on how you got there. The music is played on loop (simultaneous) through two speakers at the beginning of the path near the poem and at the end in the reflection room. The walls are constructed of a frosted, tempered glass that allows natural light in, but is essentially opaque.

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This chain clarified to me that we are all one piece of a whole. Maybe because we are all apart with the pandemic but going through it together. But the bee and the flower in the photo are part of the honey, each chime works with another to create the music – this would be live in the exhibit. There would be a fan to keep them going. The traveler is alone in the desert, the foot is part of a larger body finding its way through the desert, the painting is the oasis that a traveler would come to. Each palm branch swaying independently to create a breeze – that could trigger the chimes. The set is composed of puzzle pieces that do and don’t fit together. They are different sizes like we all are. The video would be projected on the wall. The dark blue floor feels universal to me – as in we are all in the universe – but experiencing it alone.

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THE DESIRE FOR NATURE, FOR FREEDOM NATURE HAS TO OFFER, FOR THE
KIND OF BEAUTY THAT IS ELUSIVE AND IMPOSSIBLE TO DEFINE OR SUPRESS. THERE IS SO MUCH IN HERE ABOUT N NATURE, THAT I FIND IT TO BE ALMOST SPIRITUAL. IT CERTAINLY HAS A RAW, ENVIRONMENTAL FEEL.

THE ENCLOSURES FOR EACH PIECE WOULD LOOK SOMETHING LIKE THAT PARTICULAR PIECE. HERE I GET THE IMAGE OF A TERRARIUM, WHERE WE ARE TRYING TO GIVE
AN ANIMAL A NATIVE ENVIRONMENT EVEN THOUGH IT IS CAGES, AS IF IT DOESN'T REALIZE IT IS CAPTIVE.

ADDING THIS ADENDUM AFTER MAKING THE PIECE: I DID NOT WANT TO STRUGGLE WITH MAKING A MODEL OF A GLASS ENCLOSURE IN A MATTER OF HOURS. SO MY NEXT THOUGHT WAS A MOUNTAIN. AT FIRST I TRIED MORE NATURAL MOUND, SQUEEZING NEWSPAPER INTO SHAPES. BUT IT DIDN'T LEAD ME ANYWHERE. ONCE I STARTED CUTTING MORE FIRM FORMS, AN IDEA TOOK FORM.

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I see this chain as finding your identity. Trying to have the strength to be a supportive, strong partner to just end up being turned into someone you are not. In the confusion to figure out who you are and balancing being the “perfect” other half you end up losing them. To continue down the spiral of confusion. Heartbreak. The design for this chain is a tunnel of twisted paper and twigs. You see the chain for the most part as it was created. the photo, the movement, the statue, the painting and last the poem. You are hunched over to read it, feeling the discomfort in your body as you realize what this person has lost. As you have moved through the tunnel the music has been playing in the background but you better focus on it as you turn to leave the tunnel, reminded again of all the pieces in the chain. The rocks crunching under your feet, so when you come back to the first picture you now see it in a whole new light.

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playful, calming, enchanting. maybe a little baby trying to explore beyond its crib. I want the room to see like you are in water. very blue and sweet. the photograph, song, movement, and sculpture really spoke to me as sweet like a baby. the poetry however, seemed very powerful , so I put it inside the sun. finally, the strong colors of the painting seemed so fierce and strong and I decided there was no way I could put it in the baby bye environment. I decided to give it its own little red area.

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The bedroom door is ajar. Peering into the boy's pitch black room there is turmoil in the darkness. The creatures are forced out from the shadows. But where do they go?

Amazing poem. I immediately identified with what the boy was going through and pictured myself as his mother. The image of what I was going to paint came quickly to mind. I also knew I wanted to do it in black pastel to represent the eeriness and darkness (I would have used charcoal if I had it).

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Before I even started to do my essences, I had to read the poem a few times to understand it and to start getting the worrying feeling I ended up getting from it. The way I understood the poem was someone is standing outside (maybe having a conversation with someone else.) Suddenly, it starts to hail but the two people talking don't notice. Suddenly the hail storm gets much, much heavier and the two people notice. However, it's a bit too late. The end of the poem leaves me to a bit of a suspenseful feeling.

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Person: My sensitive Martin.

Sound: Harmonica in staccato notes.

Scent: Whiskey or Bourbon (the good stuff).

Sensation: When a package I've been waiting for finally shows up, but it's broken or the wrong item.

Color: Red and warm yellow and warm black

Taste/Flavor: Unripe starfruit

Movement: Waling on a sidewalk up a steep street on a hot muggy day.

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This piece had a lot of joy in it, and reminded me of a daily affirmation. there was a lot of joyful spinning movement, and leaping, and running, and also a sense of something everlasting. I wanted to capture the spinning quality, and found myself making a mandala. I tried to capture the universe in this piece, a shimmery yellow and green mandala spinning throughout the universe, a dark field of stars, planets, and immeasurable energy. If I had had gold glitter, I would have soaked the painting in it.  I took the photo on the black asphalt driveway, which gives some deeper perspective.

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I was struck by the purity, clarity, and delicacy of this piece of writing and responded to it as a joyful celebration of nature, friendship and new beginnings. I immediately gravitated to making a very small, 'tight' barely there, painting with few brush strokes on white watercolor paper. I focused on the after the rain smell of lavender and bubbles from limeade soda. I also knew that I wanted to present it held on a pair of tweezers, that feels like cheating! I hope it's not, as this adds another non-painted dimension to my response. My goal was to show a small, delicate glimpse of the future, after this current 'storm'. I have thought many times during this period of social distancing and isolation of the lyrics from a song by Gary Allen, "Every storm runs, runs out of rain". This piece of writing celebrates the end of a rainstorm, this felt significant. The tweezers represent caution and perhaps newfound care and appreciation for simple joys and pleasure. Like a stem or two of lavender crushed gently to release the scent.

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I chose life force as my essence and tried to convey

that in my painting by using an energetic color like orange.

I used red to show the determination of life force.

Like salmon needing to spawn, returning to where they were

born to reproduce. The cycle continues.

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For my painting I let my essence of weather guide me. I pulled the colors from the poem and what it would feel like to be trapped in a tornado. Tornados are mysteries that move through spaces and you are unsure what will be swept up in its path or left behind. I feel like that is how the girl feels in this poem. She has been swept over, captured, only leaving behind the scent of perfume.

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This portrayed the poem to me because it’s wilderness, with a frozen lake in the middle.

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I chose to draw this because it felt like it was going to be good in it or bad, as the boy is smelling or staring at the puffy sweat smoke. the candy is stuck in the middle, is it gonna fall or is it gonna float and the candy rapper is making a song.

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I saw a plastic bag dancing through the air as the wind took it up and down on a city block.

I wanted the painting to be white on white. The paint is very, very thick squeezed from the tube, pushed around with a palette knife and dabbed at with an actual plastic bag for the texture.

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To me, the essence of this piece is the struggle between order (the boy)

and chaos (the demons within himself)

We try to sleep, but our fears come out and challenge us--

especially during Covid. It is only when we call upon our inner

super heroes, whatever form that takes, that we conquer our

fears and can finally rest.

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When looking at this sculpture I focused on the needle. The tangle of emotions happening behind it that was leading it to rise and point so aggressively at the pins. But then I started to focus on the pins. How they held their ground but were leaning away. The uncomfortable moment of what was happening. I related this to the moment when you are having a tough conversation or a strong internal feeling and are trying to keep face. Stay graceful. Be the bigger person. But all you want to do is run. Sometimes you do. But I find that even when running away from an aggressive person or tough situation you still find yourself in the summer hail storm. It's unexpected, random, and very uncomfortable. So maybe we just face the situation instead of running?

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I got a poem about love because I got a real big vibe of being loved, red makes me think of love. And the roses contribute to that as well. I don't know what some of the things in the image are, but I saw sticks, and got that love was being broken off, so I thought of a broken heart.

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The picture reminds me of a ghost lost in the woods, trying to find its body and soul but for some reason it just keeps on going in a circle over and over again, searching for people but they can’t, wondering around he soon finds people but when they want to talk or interact with them, they just looked away and never saw the lonely ghost, all alone with no one

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The sculpture is such a joyful, happy one that the image of what I wanted to write about popped immediately into focus and I couldn't shake it.

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I always get a sense of comfort when I see all the colors of rainbows! (Especially when it is in order. Or close to in order...) This statue instantly made me think of yesterday. It was raining a lot and then the rain stopped and I saw a double rainbow!! I think seeing that made a huge impact on my essences because the rainbow statue made me think of the BEAUTIFUL double rainbow in the sky.

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Person: Lucille, my friend Duncan's voluptuous drag persona.

Sound: Car alarms and pulsing house music

Sensation: Panic at not being asked to dance.

Smell: Mingled beauty products in a hair salon.

Taste: Frozen peach daiquiri

Place: A large and seedy but popular club in the West Village in the late 80's, NYC

Texture: Sweaty, squeezing spandex.

Animal: Giant Millipede

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This was a strange experience with this piece. A lot going on. I know that is a tiny Chewbacca Lego toy, but after some time, it was also a 2001 ape, a Neanderthal stepping out into the vast unknown

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I began by mixing up my Essence responses to tell a story in response to this curious encounter of a sculpture. I wondered if I felt that the sculpture had a sinister undertone, what else might be buried there? Overall this piece flooded me with familiar feelings the wheels were old, worn, comforting, and whimsical. My Essences led me straight to thoughts of my Uncle, an incredibly smart and inventive man who never had an opportunity to develop his many talents. He was a self-described Jack of all trades master of none. I aimed to capture the old worn, familiar qualities of this sculpture into this collection of words.

I used a rubber stamp to create the words 'He Will', I liked the wobble, lack of precision emulating old text, perhaps from a jumpy typewriter. Perhaps a ransom note. I wrote with words with a fiber tipped calligraphy pen adding a decree like quality to the piece, and in contrast to the stamped words. I affixed it to an old window and photographed it through a sheer curtain. As though being read by someone who's contained, currently feeling trapped, foggy. Inadvertently I returned my thoughts to the more sinister element of the sculpture.

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This sculpture brought me to a trapped beautiful soul. A woman who has been silenced and made invisible, maybe by men in her life. I got a strong image of being in a small elevator with her and her beautiful floral perfume reaching out to me while she cannot reach out to anyone else. In her mind she escapes but is still tortured. We only smell her perfume and hear the rustle of her clothing.

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The movement reminds me of someone thinking and thinking and can't stop. it also reminds me of someone getting poisoned and hypnotized, that's why I added the green stuff, the lights mean  color in the rubber duckie.

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The movement is one of curiosity, fluidity and admiration. I made my sculpture to reflect the prickliness of the cactus softened by the red warmth of the flower. The colors draw from the brick and terracotta. I set them in a cylindrical glass form to emulate the curious viewing and sinuous flow of the movement.

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My sculpture represents the paint book because it’s a rainbow flowing out of the center.

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I got lucky in my process. To "bring up" and old memory I decided to look in my cellar. I came upon a lot of gross old things, like large antiquated hardware, covered in cobwebs. Then I found the drawer of old wooden casters. Skateboards. I don't get lucky often. At first, I wanted to create either a mobile or some sort of upside-down construction, but I struggled. The casters are heavy, and nothing short of welding would attach them as precariously as I wanted. I was standing outside in my garage with them, wondering. So, I planted them. When I studied the patch of casters, it worked for me in terms of a memory that is still accessible and not in any way traumatic or tragic. Just childhood in the distance.

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I chose restless as my essence and tried to convey that by creating a kinetic sculpture using tissue paper. If it were in a gallery, I’d want it positioned near a window to allow for a natural breeze or some other way to keep it moving.

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I decided to make this sculpture because the falling o the liquid reminded me of rain. The color reminded me of mud so I thought of a swamp. At the end of the video when the feet slide around in the liquid, it makes me think of stepping in to the mud.

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Having watched the movement piece several times I began by gathering red and pink feminine objects; the shoe, lipstick, flower pin, drapey scarf, and vintage handkerchief. The movement piece spoke to me of a person who had lost their anchor and I wanted to respond with traditional symbols of femininity and domesticity and perhaps provide an anchor (constraint?) in response. This piece is evocative of a tight, 'floral art' arrangement governed by rules and personal appearance expectations that might appear on the pages of a 1950's Good Housekeeping magazine. The piece is photographed on top of an ironing board, this was incidental but adds another layer of domesticity. I used the tree roots to signify a life, this life, as it is now uprooted and unmoored. The knitting needles add height and their points perhaps mirror the turmoil and uprightness of the movement piece. The wooden end is visible on one needle offering the eye symmetry with the pearl on the shoe tie.

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When seeing this movement, it felt like a moment where you just do not have control of the situation. So, you just stop and watch it swirl in front of you until you just let it go. You stop chasing after it. When I went to make my sculpture, I thought of a fizzy drink exploding when you open it. You desperately want to fix it but finally just laugh knowing there’s nothing you can do to get it back into the can. I laughed when I found this can in my fridge with chickens and white flowers on it. It was just too perfect!  The name of the cider is “Nature of Things''. So, I believe that's what the piece represents. Sometimes things explode out of control but that's just the nature of things.

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The sensation I kept getting with this movement was "pins and needles" and then thinking about the nature of "passive aggressive" and how it's so annoying and unpredictable, like you're on pins and needles with a person, or the idea of being jabbed by a needle- passive aggressive is like death by a thousand small cuts, hence pins and needles. I am also a HUGE Alexander Calder/mobile/suspension/wire and metal person when it comes to execution of ideas with sculpture, so i liked using the small thin pins and needle with the thin wire (culled from garbage bag ties. I wish my camera was able to really capture the detail and thinness of the wire. I tried a few different backgrounds, but black made the steel disappear, and red stole from the image. The manilla envelope yellow sort of lends a nice 60's Calder feel anyway.

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I wanted my sculpture to be balanced carefully and have tendrils falling off of it. I wanted a very loosely woven fabric similar to burlap but found wire screen and Kaos cloth.  The base is sort of visible through the tangle and there are some sharp points. The base is made of a paper that has a texture similar to fine sand paper and it is worn. It feels old, worn, mysterious and tired.

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The sound brought me to a bit of haunting lore, campfire story of someone who didn't quite get out. The movement has two qualities: the fast movement of the flutter of the fringe and the slow moving presence beyond the veil. There is an intention of a sense of blinking or falling in and out of consciousness. Purposely filmed in black and white and edited in a filter to make the grain fuzzy and contrast darker. There is also an intended sense of "where are we" not quite seeing the whole picture, only glimpses of a room. Is someone under a bed hiding? There is a manipulation of tempo a few seconds near the end before it all goes black...

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I was so interested in the child. When there is a person in a photograph of course I focus on the person but this child is so much more interesting than most people in pictures. I don’t know if they are boy or girl. I can guess their age in a range but they have an older countenance of wisdom. And then there is the position, the stance, the posture. They are in the bushes where they can’t be easily approached, but are they alone? Are they looking off in thought or looking at someone, or something? Their expression is decisive – they know something.

But I am an adult, and what if this child needs something? What if they are not okay? They aren’t hiding but they are not approachable either. Should I get their attention? Should I call to them?

I decided that to call to the child I would need something subtle, like a flute. I don’t have a flute. I tried teaching myself other ways of producing whistling calls. But what I recorded first, for just a second or two, was the air conditioner, because it meant something to me that there was also a brick wall and a somewhat urban building in the background. This meant that there were ambient sounds around this child as well.

I did try including ambient sounds of the street, but when I played it back, it didn’t make sense. So I decided to just call to the child. As I called though, the child’s voice took over, and began to call to me instead.

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The girl in my photo is one of my best friends. I took a picture of her surrounded by flowers because when I thought of the phrase, the scent of flowers came to me. I took a picture of her from far away because I wanted her to look sad and like she misses someone. I also didn't want the photo to look happy so I changed the color of the picture by using a brown filter.

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I felt an immediate and uncomfortable hostility to this sound. Upon listening further I likened it to a well-crafted portion of a movie score, powerful enough to flip your viewing experience in an instance and create an intensity that didn't exist a moment earlier. The image of a sharp and pointed precision tool came to mind, not a kitchen knife. I aimed to create a clear and transparent block of ice (not entirely successful). In response to the icy, sterile theme of my Essense responses. The knife trailing and freely moving over the ice, precariously tethered on rough string emulates the hostility of the sound and the projection of unexpected uncertainty. As I sat with this thought it resonated with some of my feelings about living in the midst of a global pandemic, although that wasn't my initial intention.

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Mood: unsettled desperation of being trapped in an unfamiliar, moist, putrid cellar

Color: inky black found inside an abandoned, mausoleum
Texture: rotting, moss covered vegetables found in the back of a refrigerator left unattended after a hurricane
Adjective: fearfully disconcerting
Taste or flavor: ageless spiderwebs
Sensation: sweaty and nauseating

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I accepted the first taste that came to mind and a story started to form. Turkish coffee led to dates, which led to a cave which led to a yellow hot desert and the deep North African sky. These essences didn’t surprise me, but the immediate entrance of a person caught me off guard. I saw my ancestors, or one of them.

I thought I would have to recreate a whole cinematic environment to get my idea across. When I went outside and walked around, I found an existing cave-like environment and then I worked with the light and texture I found there. It turned out not to be so important to incorporate the colors, but the dates and the garment were essential.

When I was done I found that a phrase which initially meant nothing to me now had private meaning, as if I’d written it myself.

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Trying to find a way out.

The sound/music that I received gave me an anxious feeling.

The bass sound that was created was mysterious and the treble sound

of tapping had no pattern. It was random and unpredictable.

I wanted to create an environment of anxiety with no way out and trying to escape that

feeling. It was almost as if you were in a dream state and wanting to wake up.

The dream would end with you "landing" in your bed after a bad return trip home.

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I like the depth of this photo, what's in the shadows, further back... are those sharp edged rocks or some kind of carpet fill... and what's in the dark? I wanted the music to have a sense of foreboding and echo, like entering a cave, and crossing that point where the outside light isn't going to penetrate into the darkness and you are in the dark. A repetition like drops from the roof of the cave to the cave floor, rhythmical pitter pat, and the echo of it from somewhere. The bass tone is to establish a sense of darkness and unknowing.

“cave”

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Distance is a subjective measurement - items that are seemingly small and near each other can still be far apart.  Being apart is simply being distinct from others.  The world is made up of microscopic details that are vibrating near each other - they are influenced by the surrounding vibrations, but each element is at the same time separate from the other parts.  Our bodies are made up on atoms, molecules, protons, neurons, electrons - all completely separate but connected.  Separate items that work together and support each other while fulfilling a particular role... like the legs of a wooden deck.

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When hearing this sound it reminded me of the calming music of a carousel, amusement park or old movie soundtrack. Places that always make me smile. But the more I listened I realized that while these sounds are supposed to make you feel relaxed after a while they become a harsh plinking or a melody that is annoying and stuck in your head. So when I thought of a movement I thought of how my cats ears twitch as they sleep. Constantly aware of what is going on around them, unable to fall into a deep sleep. Which led me to my final movement. When you're in bed and you think you have just fallen asleep but something wakes you. A thought, a tune stuck in your head or just how loud the silence is. You toss and turn trying to ignore it but finally have to give in to the fact that you are now awake

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The sound that I have created utilized a broken piece of a treasured music box that belonged to my Mother. Alzheimer's Disease had broken down and diminished her as a person to the point of infancy. She broke the music box that she had forgotten she loved, all that was left was its song. When my mother had forgotten how to speak she could still sing the words of songs. I remember the music box in its heyday, intact much as I do my mother. In order to produce a sound from it, I used a pair of pliers to turn the nub that was once a polished little brass crank. I deliberately left this sound in the recording. I placed the broken piece in a bowl that belonged to my mother to amplify the sound and make it a little more piercing. I then placed the whole thing in front of a whooshing AC unit. I did this because I wanted to dilute the sound. I thought of idling car engines perhaps stopped at a traffic light close to a cemetery, creating a hum or drone, Sometimes it's me driving my own car, with little thought for the lives, sacrifices, and passions of those laid to rest there.

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This quote gave me a sense of distance, and imperceptibility, something there that is not quite tangible, but possibly once had a presence. It is a cool, not cold, feeling and quiet space. The cemetery is a place of quiet, reverence, reflection, and contemplation. Cemeteries are reminders of our ancestors, our past, and the miraculous chain of events that brought our own individual existence into being.  We are one small part of something much larger, but our time is finite, and we all come to the same end. I wanted to capture a sense of "many" at rest, together in one place, and all the individuals and families together here, and the many many lives that are shared and saved in the cemetery. The overcast day gave the cool feeling, and the trees provide that sense of nature and shelter and suggests the movement of a breeze, the only sound in this quiet space.

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This video represents the song to me because while the song is sort of solemn, I also interpreted it as turning over a new leaf, so I used a hose to start a new river.

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The piece starts off with an introduction of contemplation.

In my mind, I see a woman standing on the beach at dusk

staring at the ocean wanting to escape our current world,

longing for a better place to be. Some believe we came from

the sea. She's not suicidal, but just yearning for peace.

Yearning-

Lyrics:

I 'm returning to the sea,

I am yearning to be free.

No longer can I stay here

With hatred and violence and fear.

Take me back where I can truly be.

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This led me to think on a larger scale and made me want to capture peering out of an observatory at the night sky, but in an inaccessible way. The quote "We are afar but not apart" also speaks to how I live my own life. All of my relatives and many lifelong friends are thousands of miles away in the UK, afar but not apart. The reality of this would weigh heavily on me if I did not believe that to be true.

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The movement and the sound really relate in my point of view because when she hums at the start and the end it's like fading away and when those color strips they fade away too.

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When I looked at this picture I felt calm. I could see the support not only of the bridge but the hand holding it. As I went through my essences I started to imagine a conversation. The moment when you are the supportive ear someone is speaking to. Mostly you nod and say things like “mmhmm”. I however am always monologuing in my head what I would say in return or trying to figure out the best advice. My sound response is this moment. It starts with a hum that represents the “mmhmm” moments of the conversation. Consistent. Then comes in a new hum with more of a rhythm. This is the inner monologue trying to find the best advice. The hum is saying “I don’t know if I have the answers but I am her to support you.”

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Because I couldn’t get to the GG Bridge today, I had my husband hold a tiny replica in his hand up against a blue sky from our deck. His hand represents to me that while our country is struggling, we must have hope that we can bridge the gaps with one another. Bridges connect people who would otherwise remain separate. We are stronger together.

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: I wanted to create the idea of a small child playing with a toy and being lost in the child's own thoughts while listening to the sound around it. The rubber duckie represents the spinning motion of life as a child...full of wonder and joy. I slowed it down to capture the details because life spins so fast and it is important to capture the little moments.

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I interpreted this picture as someone resting, or asleep, so I used one of those wind up music boxes to portray sleep.

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This saying to me was a memory. It is a distant thought in my mind but it is not lost. They come back at random moments. Filled with different emotions. As I read through my Essences I started to day dream. I thought about a trip to London where I saw so many birds flying in the sky. Right now, we are unable to leave our homes and go on these adventures. So I placed a photo from my trip on top of where I do most of my dreaming. The blue of my wall blended with the blue of the sky. It is hard to tell where the memory meets reality. This picture represents how I currently feel. Lost in my thoughts, waiting for the next adventure.

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This sound was slightly uncomfortable because of the white noise/hum underneath. There is a lot of depth to this sound. There is a close up, a middle ground and a far away. I get a feeling of reaching for something in the distance. Something almost intangible, something like clear glass.

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When I first say this picture, 2 ideas came to me. The idea I decided to stick with was isolation and worry. Before making the sound or the picture, I wanted to make a small background story: a girl is home along. suddenly the sunny sky turns cold and gray. A sense of worry creeps onto the girl's face. She prays for her father to return unharmed from the terrible storm. in my sound I made a noise imitating rain hitting glass, hard and in the background, very high notes play, creating suspense.

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It is a close up of my daughter's face. We are afar in age, ideas, experiences but she is a part of me and I of her. I chose a close up, abstract image in black and white so as not to focus on every detail but to allow for the essence of her self to shine through with her eye and mouth.

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This song to me felt very straightforward and strong. I thought a bit of what it reminded me of and the first thing that came to me was cactus.

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I see the picture as something going high to low.

For example, it's blooming in a way.

when the flower stem is really thin it rises up to a bud then to a blooming flower!

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This portrays afar but not apart to me because the dandelions are joined together at the bottom, but are growing apart.

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I wanted to do whatever this would be in bright sunlight, but by the time I could work on the piece, it was cloudy, then severely stormy, with hail and flooding. It wasn’t anywhere near how I felt about the piece. I knew I wanted something gold, and lighting that would suggest spiritual formality, but I also felt that something very earthy about the sound, as a Cathedral made out of forest.

I finally gathered some stone tiles and placed a semi-circle of lighted candles on them. I only let the reflection of the flames into the picture, though. I dropped gold paint onto the tiles and then brought in the earthiness of the piece, represented by a foot that cannot help but disturb the delicacy of the drops. I listened to the original sound through headphones while I created the film, to give choreography to the movement. The sound was played out, though, by the time the foot came in.

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the music I close evokes the feeling of synergy. Synergy in sound and nature. The bee is quietly getting along with its work and a serene and beautiful way. The chimes are a happy collection of sounds, like the photo is a happy collection of nature.

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I picked this image because it represents a bee, a flower, and a jar of honey all threw the process of working together. they are not the same exact thing but they make something into a whole, for example honey.