v o i c i e s t m a v i eC A R L Y F O X

v o i c i e s t m a v i eC A R L Y F O X

A G E N D A

a. thesis b. work & process -photographic overlays -projection & l ightbox -audioc. contextd. planse. questions

a . t h e s i s

multimedia instal lationwith a nonlinear narrative

about my mother

1 . how objective can I be?

2. are memories haunting or comforting? what about objects?

3. is detachment or attachment a better coping mechanism for loss?

4. is forming an archive a way to make sense of loss/memorial ize someone?

C E N T R A L Q U E S T I O N S

curating, cataloguing, manipulating

precious yet ephemeral family history

b . w o r k & p r o c e s s

process: organizing moms things on wall in my studio

overlays of my mothers paintings with cancer cells, many specific to her type of cancer, found within the universitys databases

photos of my mother and I in middle school/early HS

digital overlay of 2 previous images

moms painting overlay of mom, me & her painting

double exposure of photo I took of my mother & her wedding phototaken ~30 years earl ier

superimposition of mom with grandma, and pattern from my moms skirt

overlay of my grandmotherwith photo of my mom & my childhood self

young mom & middle-aged grandma with moms jewelry

young mom & young grandma with moms gloves

double exposure of mom & grandma with house I grew up in

overlay of young mom & mewith house mom grew up in

process: prints on transparency film

photo of my mom I took in our old house, inspiring exploration with l ighting

p r o j e c t i o n

using overhead projector

and transparency film

l i g h t b o x

using layers of 11x17 digital prints

on vellum and transparency film

sketches of what I want the final instal lation to look l ike

photos of my momI took in my old room

inspiration for final instal lation

a u d i o

overlapping mothers, grandmothers, and my own voices intersecting time and place to create a narrative, showing nonlinear nature of grief and memory

c . c o n t e x t

La Traverse de la Vie , 2015, 32 printed veils, 12 l ight bulbs, electric wire, 70 9/10 90 3/5 in

CHRISTIAN BOLTANSKI

The Reserve of Dead Swiss , 1990photographs, electric lamps, fabric, and wood, 2834 x 4725 x 270 mm

CHRISTIAN BOLTANSKI

Family Tradition , 2008Acrylic on Injet, 20 x 20 in.

SARAH ANNE JOHNSON

Left Behind , 2013Photographs, archival images

JENNIFER LOEBER

Radiant Human Series , 2015Polaroid photography

CHRISTINA LONSDALE

d . p l a n s

overlapping mothers, grandmothers, and my own voices intersecting time and place to create a narrative, showing nonlinear nature of grief and memory

NOW : experiment with material , make overlays, compile mothers photos & objects

LATE DECEMBER : document & visit place where mom grew up, discontinue collecting objects

JANUARY : develop audio & visual pieces to integrate into instal lation & decide which pieces to show

FEBRUARY : design catalog for show, get extra materials

MARCH : finish written thesis, finalize & print for show

t h a n k y o u

1 . does it make more sense to overwhelm or comfort the viewer in the final exhibit?

2. should I cut down my aspirations for the final exhibit (choose between projection, prints on l ightboxes, audio, and my mothers physical objects)?

3. is a shorter audio cl ip more eective than a longer one, since I wil l l ikely have several other visual pieces at my show?

Q U E S T I O N S

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