Feedback from critique & reflection

Video felt apocalyptic due to the sound rising in volume and pace, and how the clips sped up
Video also felt voyeuristic because of how I filmed these symbols - like filming someone in their home without their permission
Interesting contrast of desolation in a busy city - many of the shots had no people despite London being busy
To some viewers it felt like an interrogation of how we ignore these symbols on daily basis
The clip where I filmed my feet walking over symbols on sewage covers reminded the viewers that there is a person filming behind the camera, interesting to see the person’s choices
Video felt unnerving because viewers were watching these symbols and being part of the experience but not knowing what these symbols meant
Viewers liked the ending because of how it changed the entire narrative and regained control from previous chaotic shots & sounds
Viewers liked how the ending panning out and the symbol erasing itself was done subtly, easily unnoticeable and mild to contrast previous chaos
The ending seemed like a release in the end - a desperate attempt to find some logic within the indistinguishable?
Video reminded viewers that we are outsiders to the symbols and their meanings
Viewers liked how the audio felt “creepy” and fell in and out of being audible - starting from a low drone
Watch John Smith’s “Girl chewing gum”

If I could develop this further:

More shots from more locations
Better quality close ups
Film in optimum lighting so no areas will be overexposed or underexposed
Reduce background distractions in the shots by choosing better locations
When building up to the climax, shots can be even closer up to feel like its bombarding the viewer with the visuals
more Static shots
more intercepted shots of my involvement (walking across, as sort of a subliminal image to remind the viewer they are watching my observations)
Ed Ruscha

Artists to look at:

- Francis Alys

Conceptual Belgian artist born 1959
Observes and engages with both everyday life and politicized situations.
In “The Loop”, 1997, he has taken a roundabout trip threading the United States-Mexico border to highlight the increasing obstacles imposed along the border
In “Paradox of Practice 1 (Sometimes Doing Something Leads to Nothing)”, 1997, he pushed a melting block of ice through city streets
In “(Untitled (Sign Painting Project)”, 1993-1997, he hired sign painters to make copies of his works
He filmed an attempt to enter the center of a tornado in “Tornado”, 2000-2010
He trailed a leaking can of paint along the Israel-Palestine border in “The Green Line (Sometimes doing something poetic can become political and sometimes doing something political can become poetic)”, 2005
He also orchestrated hundreds of volunteers to move a sand dune for “When Faith Moves Mountains”, 2002
many of his projects were filmed

- Ed Ruscha

American artist born 1937 associated with the pop art movement
The way he paints, prints and photographs architecture is similar to how I captured some shots of the symbols

Photography & time based media