#mirroredimage

[hypnotica-ships]

T̶̢̡̡̢͎̤̳̠̻̼̜̳͍̗̰͈̰̺͋̈́̉̆͊͛̓̆̄́͊͐͒͐̔͘̚̚͠͝͝Ḙ̶̡̢̢̧̟̜̱̜͔̭̮͓̙͕͚̺̲̲͙̥͍̥͙͇̮̹̭̗̟͉̻̪̃͂̾̈́̓͋̀͘ͅM̸̨̖̙̪͍̦̻̞̪̗̖͓͈͉͒͂͑̐̑̈́̅͗̋̄̄̅̔̈̋̌͋́̓͆̈́͜P̷̨̠̰̬̤͖͎̣̜̯̩̘̪̱̮̥̈́̋̏̍̃̇̋̌͒́̆͆̆̽͒͌͊̔̾̈̔̊̾̈́̀̓͂̍̒͛̂͆̄̕͜͝͠Ǫ̴̨̡̧̨̧̜̠̥͇̤̲̝̘̣͖̠͚̜͈̠̮̮̩̜̞͉̺̤͚͍̲̖̦̜̟͚͓͇̲̅̆̃͐̚͘̚ͅͅŖ̸̧̧̡̛̭̞͈̠͓̺̯̰̠͖͕͍̺̦͚͕͔̩̫̬̪̳̜̮̩̬̘͓͚̰̹̪̦̣̟̻̞̲͍̄̀̒̀̾͗̾͑̌̅̏̌̅͆̑̒͂̚̚͜͝͝ͅͅͅͅA̶̧̢̢̘̺͙̮͕̰̪̪̠̠̻̘̰͔̮̟̺̳̩͚̥̙͙͇͕̼̖̼͕͇̮̤̳͈̟̬̺̬̒̀̓̊̂̇̿̌̉̔́̚͜͠ͅR̵̢̢̡̧̗͖̥̜̘͈͚̪̳̺̱͚̝̩̪̹̹̭͉̹̯̫̬̯͉̥͔͎͍̗̖̈͆̈́̽̀̍͐̈̽͌̒̂́̏̀̅́́͂̏̃͂̊̆͛͑̎̇̔̀̚̚̚̚̚̚͜Y̶̢͓̫̞̻͖̥̘̬̠͍͚̪̪̜͔̻̰̘̥̭̮̺͍͍̥̱͔̭̲͇͇̱͕̍̎͒̈́̃̐͊̓̀̑̋̐͜͝

[photojojo]

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[hypnotica-ships]

This is them, that’s it.

The idea wouldn’t leave me alone until I did it real quick. Ref under cut as well.

[ummaannex]

Sprite of the Mirror (New Orinse)

This piece is on display until March 5, 2018, as part of “The Mirrored Image” installation, located in the basement of UMMA. 

Saitô Kiyoshi Sprite of the Mirror (New Orinse), 1956 color woodblock print on paper Gift of the artist, 1958/2.38

While it may not appear so on first glance, this woodblock print depicts a mirror surrounded by a sea of darkness. Defined by light and dark contrasts, the face in the mirror directly confronts the viewer from suspicious black eyes. However, as Saitô Kiyoshi only depicts the top half of the figure’s face in the reflection, the focus of reflected attention in the print remains unclear. Identifying a ‘sprite’ or spirit in the title, Kiyoshi seems to allude to the existence of ever-present life forces which define one’s identity and perception of self. Who do you think is object of the spirits gaze? Kiyoshi divides the print into interlocking layers of red and black. Both are punctuated by streaks of black or grey, a technique of adding texture which Kiyoshi uses in many of his works. Does this particular use of color and contrast change that way you feel about the sprite in the mirror? 

By Evan Binkley

[ummaannex]

The Mirrored Image

Students in the UMMA Student Engagement Council have the opportunity to create an installation each year. This year they began by thinking about identity and the self. As they discussed the theme and looked at art in the collection, their ideas evolved. They began to target works with reflections, actual and implied, thanks to some suggestions made by Amy Passiak, Mellon Academic Outreach Collections Assistant. Talin Tahajian, an SEC student involved in this project summarized the journey to the current title. We realized that we were thinking about kinds of reflection and perception. We noticed that many of the problems we had been considering could be brought together under some notion of the mirror—doubling and doubles, ways and means of looking, literal reflection and refraction explicitly rendered in the art. We found that this kind of imagery—the literal reflection, the mirrored image—could get us to the tight and compelling visual conversation about issues of identity, the "self," and intro-/extro-spection that we had been searching for the whole time. We hope you enjoy this installation which will be on display until March 5th.

[hypnotica-ships]

Ok before I forget, I haven't fully explained it, but I've hinted at it. My S/I was born with shadowmancy powers. He had to learn to use it by himself since it didn't come with a handbook. He's gotten pretty great at it, but he knows he's not using it to its full potential, but he's fine with that.

I feel like Punk was trying to mess around a bit and accidentally cloned himself. He figured it'd be kinda lame to kill his clone, to which Charles responds with "It's not like you could be able to fully kill me anyways."

I like to think that Charles, along with his duplicated shadowmancy powers, also got technomancy powers, you know, since he started out as a glitch anyways. However he knows exactly how to use the shadow powers to its full potential, but not his tech. In fact he barely even realizes he has the tech powers until he walked by a computer once and the whole screen started to freak out.

TLDR; Charles is far more powerful than Punk, and he knows it, for the most part anyways...