breif3 change to 4b (fashion style) -- it is the only one that can be -- by wummi

brief 3 -- the plastic gun is very powerful

brief 3 -- shadow one --> like watering? contrast from brief 5

In modern society, the relationship between humans and the environment is becoming increasingly strained. We shape the world with artificial materials, yet we are simultaneously trapped by them. Plastic pollution has become a symbol of environmental degradation, blurring the boundary between nature and human existence. Shadows serve as a visual metaphor—representing both presence and the lingering, often invisible impact we leave behind.

Through this project, I aim to explore the interconnectedness of light, shadows, plastic waste, and human activity, questioning how we influence the environment and, in turn, how it reshapes us. This is not just a documentation of pollution but a visual narrative that confronts how deeply embedded artificial materials have become in our existence. We are not just surrounded by waste; we are part of it, consumed by the very things we create.

“Interwoven”

A tree branch casts its shadow on a human arm, symbolizing the initial harmony between humans and nature. This moment of unity foreshadows the gradual intrusion of artificial materials.

“Bound”

A foot is trapped inside a plastic bag, framed by metal bars. This image hints at an impending loss of freedom, illustrating how plastic subtly begins to entangle human existence.

“Plastic Assassin”

A figure wraps their hands in plastic and mimics a gun gesture, transforming an everyday material into a symbol of violence. This absurd yet unsettling image questions how deeply artificial materials have infiltrated our perception of power and destruction.

“Suffocation”

(4a) A human presence is implied through plastic and tree branches, creating an ambiguous yet tense dialogue between artificiality and nature.

(4b) A figure sits under a plastic umbrella in a moment of quiet despair, contemplating their fate. The umbrella, meant for protection, now symbolizes suffocation, reinforcing the overwhelming entrapment of humans within synthetic environments.

“Ensnared”

A model leans backward in a dense forest, surrounded by towering trees that resemble prison bars. Their plastic-bound hands and wrapped head intensify the sensation of suffocation and helplessness, serving as the culmination of an irreversible entrapment within an artificial world.

In the process of shooting, I will focus on detailed close-ups, emphasizing the connection between the human body, nature, and artificial materials. For example, by zooming in on close-up shots of the eyes, lips, and hands, I can make these parts the most prominent in the image and then collage them with natural objects and shadow manipulations. This approach will visually strengthen the relationship between the body and nature, while also imbuing each detail of the work with significance. This is not just about surface collage but about creating a deeper dialogue between the body, artificial materials, and nature, demonstrating how identity is continuously shaped and reconstructed through the external world.

FIRST ATTEMPT

_{'I photograph nature – the macrocosm. The surface of water, grass, tree bark, dry leaves. I combine the two images, looking for converging lines, textures, similarities in layout, and analogies in composition between the microcosm and the macrocosm.}

_{By combining images of the human body and elements of nature I am trying to show that we are inter-connected and that our separate existence is impossible.'}

Further developed before my first shoot

Midway, Message from the Gyre (2009-2013)

Rather than physically altering the human body, I could experiment with projecting shadows of people that are distorted, fragmented, or merged with objects and natural elements. For example, if a shadow appears to have animalistic extensions—perhaps elongated hands resembling claws or a human figure blending into tree branches—it suggests a merging of identities between human, nature, and external materials. This technique would create an organic form of identity reconstruction, where identity is not reshaped through physical manipulation, but through the illusion and transformation of presence itself.

Within this theme, I aim to depict how plastic has become an extension of the human body. Alicja Brodowicz highlights the connection between human skin and natural textures, whereas I want to introduce plastic into this contrast, making it a symbol of reconstructed identity. I envision photographing bodies wrapped in plastic, close-ups of plastic adhering to skin, and even surreal depictions where plastic appears to “grow” on human flesh, creating an atmosphere that feels both intimate and unsettling. These images won’t just capture the presence of plastic—they will question how it alters our understanding of the body: Is plastic a protective layer, or is it a suffocating restraint?

At the same time, I have been influenced by Joakim Möler, whose work explores the fragmentation of identity through collage and reassembly. In my project, plastic is not just a pollutant—it becomes a material for reconstructing human identity. I want to experiment with cutting, reassembling, and layering images of human body parts with plastic textures, interweaving skin, plastic, and natural surfaces to create a surreal and almost post-human visual. If plastic becomes part of our body, does that mean our identity has been reshaped by it? Are we still organic beings, or are we becoming artificially manufactured?

Beyond the direct visual representation of plastic, I also began considering how to express its impact in a more abstract and metaphorical way. This is where I found inspiration in Dominic Dähncke, who extensively uses shadows in his photography to represent objects, creating a blurred interplay between reality and illusion. This made me wonder—could I use shadows to portray the invisible yet omnipresent invasion of plastic into both humanity and nature? Shadows have no physical form, yet their shape and presence are undeniable—just like plastic pollution, which may not always be visible on the surface but leaves an irreversible impact. I could experiment with casting shadows where human figures and plastic intertwine, creating the illusion of bodies being consumed or reshaped by plastic. I could also manipulate the shadows of discarded plastic waste, making them appear parasitic, as if plastic is creeping onto the human body, forming a striking visual metaphor.

Ultimately, I aim to deepen the discussion on plastic’s role in both nature and human identity by integrating Chris Jordan’s environmental critique, Joakim Möler’s deconstructed identity, Alicja Brodowicz’s texture contrasts, and Dominic Dähncke’s shadow metaphors. Plastic is no longer just waste—it has become a part of our living environment, and perhaps even an extension of our very being. Through this series, I want to raise an unsettling question: When plastic’s shadow has already covered our bodies, when nature, artificial materials, and shadows blur into one another, can we still distinguish which world we truly belong to?

I see Jordan’s work as a reminder that identity is not formed in isolation. Just as the albatrosses’ bodies have been reconstructed—literally filled with remnants of human waste—our own identities are also shaped by what surrounds us. This realization drives me to rethink the relationship between plastic, nature, and the human body in my own photographic practice. Rather than simply capturing the contrast between organic and artificial, I want to depict a more intricate fusion of the two, much like how Jordan reveals the integration of plastic into the natural cycle of life and death.

Furthermore, Jordan’s Midway series forces me to consider the concept of inevitability. His work does not show direct human intervention; instead, it reveals the long-term consequences of human actions. This makes me reflect on how plastic, once created, becomes an eternal part of the world, incapable of disappearing. This idea of permanence versus impermanence intrigues me, especially when thinking about identity as something constantly reconstructed yet permanently shaped by its surroundings. I want to explore how plastic, as a seemingly indestructible material, metaphorically mirrors aspects of identity that become ingrained in us over time. Just as the birds carry the remnants of human excess, do we, too, carry the weight of artificial influences, even when we are unaware of them?

Incorporating this into my project means moving beyond simple juxtapositions of plastic and nature, or plastic and the human body. Instead, I want to create a visual language that expresses entanglement, inescapability, and transformation. Inspired by Jordan’s approach, I could focus on symbolic imagery—perhaps capturing human hands tangled in plastic debris, faces partially obscured by synthetic materials, or organic forms altered by artificial elements in ways that make them indistinguishable from one another. I also want to experiment with found objects, incorporating real pieces of discarded plastic into the photographic process, much like Jordan documents the physical evidence of human presence within the natural world.

Capture the interaction of the person's shadow with natural elements (such as branches, stones) to convey an abstract emotion through the shape and position of the shadow

Some Visual references for each briefs

See buildings and plants outside through Windows or holes. Natural frames (Windows or holes) are utilized to focus the viewer's gaze while creating a sense of depth, with each hole acting as an independent "window" to a different world.

Through the dislocation and overlap of shadows, these photos achieve a transformation from actual objects to abstract meanings, exploring the relationship between man and nature, thus providing a profound visual and conceptual expression of my "man and nature" theme

Two photos that have a certain connection are juxtaposed and compared with similar forms: the first group combines environmental issues with human images, and the second group shows the forms of natural elements in different environments, both of which realize the transformation from one visual language to another.

A Dialogue Between Humanity and Nature

(Open-ended Narrative – Coexistence & Reflection)

In this shoot, I will use natural sunlight to cast the shadows of tree branches onto the model’s arm. This composition symbolizes harmony between humans and nature, emphasizing their interconnection. By using light and shadow, I aim to create an organic portrait where the boundaries between the body and the environment blur, reinforcing the idea of coexistence.

Brief 2: Framing the World (Out of Frame – Limited Perspective)

For this concept, I will shoot through small openings—such as a soda can’s pull-tab or any circular hole—to frame my subject. This technique aligns with the “out of frame” requirement, challenging the viewer’s perception of reality by introducing a confined viewpoint. By selectively revealing only parts of the scene, I want to explore how framing influences meaning and perception.

Brief 3: Metaphorical Transformation (Change the Meaning – Environmental Destruction)

This shoot will utilize metaphor to depict the process of environmental destruction. Instead of showing direct pollution or damage, I will use symbolic imagery to subtly suggest how human actions harm nature. My goal is to create thought-provoking visuals that shift the meaning of ordinary objects, encouraging viewers to interpret the hidden consequences of human impact on the natural world.

Brief 4: Shape and Substance (Symbolic Comparison – Human/Nature vs. Plastic)

For this concept, I will create a series of diptych-like comparative images where different objects share similar shapes but differ in material or origin. This juxtaposition will emphasize the relationship between humans, nature, and plastic—highlighting how artificial elements have become deeply intertwined with our environment. Through this visual contrast, I want to question whether plastic has become a permanent part of our world, mimicking natural forms while simultaneously replacing them.

Brief 5: A Dialogue Between Humanity and Nature (Open-ended Narrative – Coexistence & Reflection)

In this final image, I will stage a symbolic conversation between humans and nature. A person will be partially hidden behind a chair, with one hand holding a plastic-wrapped umbrella and the other holding a natural element such as a flower or tree branch. This composition represents an open-ended discussion between humanity and the environment, emphasizing that they are equals in this dialogue. Rather than presenting a conflict, this image offers a moment of contemplation—exploring how humans and nature might work together to create a better future.

REFLECTION from FIRST SHOOT

AND Wummi said I can start for printing final works this week!

SECOND ATTEMPT

Some visual references

REFLECTION FROM SECOND SHOOT

To construct this concept, I cut a large plastic bottle in half, ensuring it was just the right size to cover a face like an oxygen mask. For the tubing, I repurposed the plastic packaging from multiple bottles, cutting and taping them together to form long, flexible tubes. I retained the original concept of "oxygen intake" but replaced the plant-based oxygen source with a plastic-filled airbag, made by inflating a plastic bag.

This concept aligns with my overarching theme by illustrating how plastic pollution has infiltrated even the air we breathe—turning life-sustaining elements into contaminants. The work highlights the paradox of survival: while oxygen is essential, in this dystopian vision, what’s being inhaled is plastic waste. This transformation challenges viewers to consider the invisible ways in which pollution seeps into daily life, questioning whether we are unknowingly poisoning ourselves.

THIRD ATTEMPT

Some visual references

REFLECTION FROM THIRD SHOOT

OUTLINE OF ALL POTENTIAL BRIEFS

(1)

• Brief 1: The selected image depicts shadows of tree branches cast onto a human arm by sunlight, symbolizing a state of unity between humanity and nature.

• Brief 2: A photograph captures a person's feet entangled in a plastic bag through the bars of a railing, suggesting an impending event and evoking a sense of entrapment (aligning with the out-of-frame requirement).

• Brief 3: A person stands beneath the shelter of a plastic umbrella, seemingly preparing for suicide. This image alters the meaning of the original story—while direct in its expression, I believe it effectively conveys the intended message.

• Brief 4: A contrasting set of dialogue-based images shot in different natural settings.

  • Brief 4a: Features a hidden figure holding a plastic umbrella and tree branches, subtly suggesting a presence without making the human subject overly visible.

  • Brief 4b: Depicts a person with a plastic bag over their head, sitting opposite a flower placed in a plastic bottle—here, the human figure is clearly present, emphasizing confrontation.

• Brief 5: The final image serves as the climax of the story, evoking a sense of suffocation and entrapment. It alludes to the inescapable and deeply intertwined relationship between humans and nature in the age of plastic pollution.

Through this sequence, I aim to depict an evolving tension—starting from harmony, shifting toward entrapment, and ultimately culminating in an overwhelming sense of irreversible damage.

With the Plastic Assassin as Brief 3, the shift in my project becomes much more apparent. Initially, my sequence focused on the slow entrapment of humans by plastic, but now, there is a distinct moment of aggression introduced earlier in the series. This image no longer portrays plastic as something merely surrounding or suffocating the subject—it becomes a weapon. The gun gesture, formed with plastic-wrapped hands, adds an element of absurdity while emphasizing the destructive potential of artificial materials. This visual irony strengthens the Change the Meaning brief, as plastic transforms from an everyday object into something threatening. Compared to my original choice for Brief 3, which depicted a more passive and internal struggle, this new image introduces direct confrontation, marking a stronger turning point in the sequence.

Meanwhile, my previous Brief 3, featuring a person seeking shelter under a plastic umbrella while contemplating suicide, has moved to Brief 4b. This change reshapes the emotional progression of my project. Where Brief 3 now introduces a moment of active violence, Brief 4b follows with a sense of resignation. This shift makes the theme of suffocation even clearer—rather than a direct attack, this image reflects a quieter but more profound struggle. By placing it in Brief 4b, I also reinforce the contrast within Brief 4 as a whole. Brief 4a features a more abstract interaction between plastic and nature, while 4b presents a deeply human moment, where the figure is no longer just entangled but completely enveloped by artificial material. This contrast highlights the different ways humans experience plastic—not just as pollution but as something that defines and dictates their existence.

For my final project, I extended an idea I briefly explored last semester and delved into a much broader topic: environmental pollution. I’m honored that I was able to approach this project in an artistic rather than purely documentary way, as this marks a significant breakthrough for me. One of the things I enjoyed most was the freedom to shoot entirely outdoors this semester, without being confined to a studio. While I wouldn’t give myself a perfect score, I still believe I did a great job, and I want to take a moment to acknowledge my own progress as the semester comes to an end.

I never expected my final project to bring about a drastic change—such as stopping plastic pollution altogether—but my goal was to spark concern and reflection in those who view my work. If my project makes even one person think about this issue, then I have achieved what I set out to do.

Next semester, I’ll be working with color digital photography, which is something I’m both excited and eager to explore. I hope to continue progressing steadily in my photography journey, growing more confident and skilled along the way.

I also want to express my deepest gratitude to Wummi and Kristy for all their guidance, both in class and on the technical side of this project—without them, I wouldn’t have been able to complete this work. Next year, they won’t be teaching us anymore, and I will truly miss them. I’m also incredibly grateful to my classmates, whose support and the positive atmosphere in our class have been a constant source of motivation. If given the chance, I would love to continue learning and collaborating with them in the coming year.

Thx for everything — see you all next semester!