This week I am facing the fourth one of those Challenges I found into Tanner Christensen’s book “The Creativity Challenge”. As what did for all previous experiments, I will try to provide a photographic interpretation of what asked so to challenge myself twice.
For this attempt, I randomly selected page 105, “Create a Mood Board”.
Activity’s description: “Consider the different elements of inspiration in your life and think of how you might gather and combine them in a digital or physical way. Grab photos, quotes of inspirations, colors, even sound bites or videos, and anything else you can use to inspire your brain, then combine them into a board you can reference for future ideas” (Christensen, 2015).
According to the Author, “Anything can spark your imagination” (Christensen, 2015) and this is why I decide, once more, to connect the experiment to my Major project at Falmouth.
“Mood Board”, snapshots. Slideshow. ©Dayana Marconi 2017. Copyright for this gallery photo belongs solely to Dayana Marconi. Images may not be downloaded without her permission.
I have to admit that I interpret the word “Board” quite literally, as a wooden plank, but it was the most immediate way to display those objects and images I wanted to portray.
My Mood Board’s composed by three Polaroid films, from my project “I can hear you now – Objects and details”, that are part of a series I named “Rage on Polaroids”, created by directly scratching, rubbing and manipulating a package of eight expired Impossible Project’s films. Those images has been created out of my big frustration and anger in seeing that they were not working as they meant to do. Surprisingly, what sorted out was a perfect analog interpretation, in shapes and colours, of my feelings at that time: this is why I decided to include them into my work, somehow.
The object above, is a sculpture I own and that I portrayed for one of those mentioned “Details” photographed for my work: it represents who I am, what I feel and the fact that even if we have to handle a burden, it doesn’t mean that that “situation” can’t become a piece of Art itself.
Into the centre of the composition, there is a hand-made doily. My beloved grandma used to create many of them, and each time I see those handcrafts, they immediately brings me back to my childhood and its rare moments of true happiness. They recall in my mind those clumsy attempt to learn the technique she was using, her patience in teaching me and my amusement in trying, even if I used to fail all the times. I didn’t care. I was doing something with her: this fascinating and lovely woman. She was proud of each one of those deformed and ridicolous things (there is no other possible definition) I used to produce.
The three small images around that doily are small prints collected during the Paris Photo Fair. The one on the top is Jungjin Lee’s “Everglades #18 (Black Bird)”, the bottom one is Masao Yamamoto’s “#1027. Série Nakazora” and the one on the right is Ingar Krauss’ “Sans Titre, Jena”. These images have been created by artists who, for different reasons, have worked as inspirations for my project and that always can touch my soul each time I observe their productions.
On top-right of the “Board” there is a my phone, previously used to photograph page 71 of the French edition of Ransom Riggs’ “Miss Peregrine et les enfants particuliers”. In that image there is an hand-written inscription “Pour Jacob Magellan Portman, et les mondes qu’il lui reste à decouvrir”, that translated in English means “To Jacob Magellan Portman and those words he still have to discover” (Riggs, 2011). Into the book, this dedication was written by the protagonist’s grandpa and I feel it very close to my personal story, because I am sure that if my grandma would be still alive, she would wish me to go on discovering the beauty of the world. Moreover, this book has always been truly inspirational to me, since I would like to create something similar for my project by using those “Behind a scream” images I am currently creating.
The last object is a small old turnip pocket watch I bought in Hong Kong while living in China. Hong Kong is a place I constantly miss a lot, because, during those long two and a half years in Asia, it was the only place it always made me feel at home. Being a manual charge turnip pocket watch it’s not very useful to be used every day, of course, but still it has its importance in terms of “memories”: vital elements for the creation of my imagery.
Boni Maurizio, Untitled, Handle on Rock, 2016, Sarzana, Liguria, Italy.
Christensen Tanner, The Creativity Challenge, 2015, Adams Media, Avon, Massachusetts, USA. pp- 105.
Krauss Ingar, Sans Titre (série “Garten”), Jena, 2014, related web page on ParisArt website http://www.paris-art.com/garten-nature-morte/
Lee Jungjin, Everglades #18 (Black Bird), 2014, project on the Artist’s website http://www.jungjinlee.com/everglades/
Marconi Dayana, I can hear you now – Rage on Polaroid Films, project created in November 2016.
Riggs Ransom, Miss Peregrine et les enfants particuliers, 2011, French Edition, 2016, Librairie Générale Française, Paris, France, EU. pp 71.
Yamamoto Masao, #1027. Série Nakazora, 2003, limited edition, in sale on Artsy website https://www.artsy.net/artwork/masao-yamamoto-untitled-number-1027