linking my art to others, Senior Studio


When i was creating the motion graphics piece “The Klees” for Amanda’s class, i was making a intro for a fictional TV show. In it i wanted to put in a lot of queer themes because I myself am transgender and as a content creator and a consumer of media, always welcome positive LGBT+ representation. I was going to put two women embracing romantically in one scene and a very obviously butch couple in another. Heck, the main character was a trans man, a fact that was going to be hinted in in the original trailer. All of this was cut though for the same sad reason. Relatives.  Quite similar to the people put in charge of the Censorship Bureau established in the early 1900’s, my relatives have made clear that if I didn’t want to get shit from the higher ups, I would have to self censor the content i was creating. But, much like the directors and actors of the 50’s, I found a way to sneak around these restraints and put in some underlying queer themes that are obvious if you know what your looking for. Things like making the two female silhouettes face each other in a picture frame portrait that at that time was only taken of couples. Or have a woman standing at a window stare longingly down at the patio when a man and woman are talking. If you didn’t look carefully you might portray the scene as the woman looking jealously onwards at the man entertains another woman, but the artist (my) intention was the woman’s attention was focused not on the man, but the woman he was talking to, seething in jealousy at the casual ease with which he was able to flirt with her, free of fear.

Everyones art is the result of the collective knowledge of the time (diaspora), that’s why my art style has changed so drastically from when i was a kid to now, its what i was exposed to. you can tell just by looking at some of my art what parts of other people’s work have touched me (steven universe, kingdom hearts, assorted anime) Martin Heidegger said it best when he compared art, more specifically drawing, to not etching pencil to paper, but to obtaining water from a well, or “drawing” from the collective knowledge to create something unique. Art doesn’t come from nowhere and no matter how abstract you work gets, and no matter how vehemently you purport the complete originality of your work, that idea didn’t come from nothing. It may be embarrassing to look back on your old art and see with painful clarity what fad influence your rash of anthropomorphic monstrosities when you were twelve, but I like to see them as a nice point to compare my art of today to.
my work has improved in terms of both more believable proportions to incorporating more fluidity and movement in my figures due to this distribution of collective knowledge, which is what i would hope is any artists wish for their work, for it to grow better with time and experience
i would say that a lot of my work spawns from a need to please, not only other people but also myself. i can say with full confidence that the whole purpose of me making art in the first place is to make  other people happy. this might stem from my own insecurities and past traumas but that doesn’t make it any less of a noble pursuit in my opinion. In highschool, art was my identity. Much like Warhol, I was a quiet, socially awkward kid so the only way it seemed i could get people to notice or interact with me was if i showed them my art. People who didn’t even know my name knew that i was the art kid, and it was a title i embraced with pride, because it was one people gave to me out of a place of happiness. Me and Warhol alike used art to connect with people in a way that we couldn’t do with our mouths.
The whole reason i want to become an animator in the first place is to inspire in other people the same sense of excitement and joy that was instilled in me by work of the artists before me. I believe there is no more noble pursuit than using what you’ve been given to try and make the world a bit of a better place. That’s why my dream in future is so lofty, because i thinks can do it. Therefore it is my responsibility to try.
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Senior Studio Journal 8: Schedule update

due to sickness and procrastination, I have revised a newer, tighter schedule for the project involving mixing final animation efforts with the rough animation.


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Senior Studio Journal 6: animation roughs update

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Katie Waugh’s Gallery Show talk

Listening to Ms. Waugh talk about her work contributed a significant amount to the appeal of the artist talk I attended last friday. Her enthusiasm and ease of speech helped to sell the authenticity of her photography and sculptures, a trait she admitted she had picked up from teaching.

The show consisted of a variety of different mediums, predominantly film photography but also sculpture and video. She has a very acute fascination with the sky and clouds that appeared in the sky near her home in the Finger Lakes, focusing on how brilliant but ephemeral they were. In fact, that was a them throughout her entire show, the concept of time and quick fixes. One of her photo pieces featured a decaying dock that was slowly being eroded and consumed by the lake it bordered. It was not structurally sound and therefore had lost its purpose, which Ms. Waugh connected to her photography shots of clouds.

She mentioned the word frantic more than once during her talk and upon me asking her about why she used that particular phrase, she tied the word into the overall theme of the show. Her sculpture on the floor was purposely made in a haphazard and unplanned way, using silvery grey shims to prop up her frames, an act which she described was to allude to the way in which some people in the government tend to try and fix things, by frantically manufacturing some quick fix which looks fancy and effective, but in reality only props up the situation instead of fixing the integral structural problems which are the cause of the trouble in the first place.

My favorite piece in the show was on the left back wall as you walked in and for all intents and purposes, wasn’t the most impressive piece in the gallery. It was a simple black and white photo of some jagged pieces of wood stacked neatly on top of each other. The reason why i liked it so much was probably more for the technical skill rather than any implied meaning behind it. i know the number one rule when you go to a gallery is to NOT TOUCH THE ARTWORK and i usually adhere to that rule enthusiastically, but the image i stood in front of was so crisp and the lighting on the wooden pieces were so interesting in texture i found myself willing my hands down to my sides before they could make contact with the paper. Its human nature to try and use all available senses to try and make sense of something if one sense alone can’t fully understand it, and I guess that’s why they have that rule in galleries in the first place, so i had to resist the temptation and simply look at it from different angles to determine if there was any texture on the surface of the photo. There was not but I guess that wasn’t the point.

At any rate, Katie Waugh was a delight to witness and her skill and enthusiasm was a much appreciated addition to the Llewellyn Gallery’s growing repertoire.

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Senior Studio Journal 5: animation roughs update


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Senior Studio Journal 4 : Calendar storyboard and first roughs

I’m happy to have made my first few steps in this monster project! Started off with a completed storyboard, a work schedule and now on friday the first rough as detailed in my work schedule.




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Phototaxis Foley sound list

wind noises

anime leather grip noise

heat noise?????

zoom out noise????

shoes crunching on sand

wave plastic fern

Musca’s exclamation



hand rustling in bag

beetle getting up uhhh sand crunching noises

exoskeleton cracking




Heavy distant breathing

fabric rustling

deep growl

sharp inhalation


bug fly noise

feet pounding on pavement

snap noise for jaws

whip noise

distant yelling

air whooshing

air cicada noise

muffled crying

fabric flapping in wind

distant roar

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