Final Project (Final)

❣ Chile in a Photography ❣
d e v o n
wallacepolsom
macklin celebrini has autism
todays bird
"I'm Dorothy Gale from Kansas"

No title available
sheepfilms
occasionally subtle

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Monterey Bay Aquarium

★
No title available
he wasn't even looking at me and he found me
No title available
we're not kids anymore.
𓃗

JVL

@theartofmadeline
NASA
seen from Malaysia
seen from Philippines
seen from Malaysia

seen from Belgium

seen from United States
seen from Italy
seen from Australia

seen from Malaysia

seen from Malaysia

seen from Türkiye

seen from Malaysia
seen from Maldives

seen from United States
seen from United Kingdom
seen from Bangladesh
seen from United States

seen from France
seen from United Kingdom

seen from Japan
seen from United States
@tracededhaiti
Final Project (Final)
Final Project (Draft 3)
Final Project (Draft 2)
For the second draft of this project, I spent time testing 3 different free platforms that would allow me to build and publish an interactive website without having any prior coding experience. I experimented with CodePen, Glitch, and CodeSandbox to see which felt the most accessible and best suited the kind of interaction and visual pacing I was aiming for. Finding these platforms was an important step, because once I did, I could finally start playing with how the project would actually function rather than just imagining it.
As I tested each site, I focused on how easy it was to make changes. Watching the code run in real time brought a lot of clarity to the project. Being able to see the animation sequence unfold helped me better understand what felt right and what needed adjusting, and it pushed the project closer to what I originally envisioned. This stage felt very exploratory.
I ultimately decided to use CodePen because it was the simplest to work with and allowed me to focus on the site itself rather than struggling with maneuvering the platform. During this process, I used ChatGPT as a tool to help generate an initial draft of the website code. I had some reservations about this, since the project is very personal and I did have the moral dilemma that my AI usage would somehow take away from my authorship.
At the same time, I feel that internet-based artists have always relied on external tools, references, and digital systems to realize their ideas, and AI exists as a tool similar to those. I also researched a bit about using AI to code and it seems that many professional start with AI generated code and then go on to revise, test, and edit after. So I’m treating it as a starting point.
Proof of work:
Final Project (Draft 1)
For the first draft of this project, I focused on establishing the conceptual foundation and visual language of the work. I created a series of pixelated stills using Procreate to visually map out the animation that would appear upon opening the website. These stills function as a storyboard, illustrating the sequence of interaction before the user submits their secret. Although the final project will be interactive, these frames demonstrate how the experience unfolds as a linear animation.
I also developed a mood board to establish the aesthetic direction of the project. The visual language draws from early 2000s internet design and pixel-based graphics, utilizing white pixel text and imagery against a black background. Pixel fonts, cursors, chests, keys, and “poof” effects reference early web interfaces and video game visuals, helping communicate secrecy and deletion using simple, recognizable forms.
During this stage I researched a couple places I could make an interactive website and am still not happy with the choices. I don’t have any coding skills thus why I also did the animation, to see if the website idea doesn’t work, that i’ll have a good shot at making a good end product regardless.
Proof of Work:
Final Project Outline
Idea 1:
“Just Say It…” would be interactive website where users type a secret, confession, or personal thought. Once submitted, the message visually “leaves” the user: it fades into an open chest, which then closes/locks, and the key flies off and disappears in a puff. I want to highlight that no message is saved, every secret exists only for the fleeting moment of interaction.
This work explores how the internet has increasingly replaced human confidants, highlighting the loss of real-life connections where intimacy, empathy, and trust are reciprocal. While people often share their most personal thoughts online, unlike a friend, the internet does not offer empathy or truly hold those secrets, it simply observes. It reinforces the metaphor that unlike a real friend, the internet cannot be trusted to hold your secrets safely; in fact, it often exploits them. The ephemeral design emphasizes intentionality, care, and resistance to digital exploitation.
The inspiration for this artwork is the increasing trust in technology, whether through asking Google highly intimate/potentially incriminating questions, or sharing vulnerable moments, such as posting videos on platforms like TikTok. In contemporary digital culture, the boundaries between reality and online experience have become increasingly blurred. This piece serves as a critical reflection on these dynamics, functioning as a reminder that digital interactions, no matter how frequent, cannot replicate the depth, empathy, or authenticity of real human connection. Also, i drew inspiration from net-art, storytelling, and interactive art pieces.
Tools:
I am not tech savvy but will attempt to use website builders like HTML, CSS, JavaScript and will use procreate for animations. I plan on sharing the website on my personal social media pages asking people to go and interact with it (share it also).
Internet Culture Art Assignment (Final)
This series examines how internet culture has pushed all of us into a gradual descent from genuine lived experience into hyper-constructed, image-driven performance. I built the artwork as a three-stage progression, where each step moves further away from reality and deeper into the aesthetics and pressures of digital self-presentation.
The first image, my draft, is a simple photo I took of my sister outside under a tree. Nothing is staged beyond the moment itself. This stage represents what documentation used to be: capturing a memory for ourselves. Yet even here, I pixelated my body in Pixlr, signaling the early signs of digital influence: privacy, self-editing, and the need to control how we appear.
In the second piece, I altered the same photograph using MoshUp, applying the “mirror bottom” effect to create a surreal symmetrical composition. I then used “color invert” to distort the natural palette. These edits reflect the middle stage of our cultural descent: reality is still recognizable, but heavily manipulated into something more visually striking, aesthetic, and optimized for online attention. This mirrors how social media encourages us not to capture life, but to enhance, filter, and perfect it.
The final artwork represents the most extreme stage of this shift. I imported the MoshUp image into Procreate where I used the “Warp” feature to reshape the entire landscape into a flower-like form. At this point, the scene barely resembles real life; nature becomes a digital material that can be stretched and manipulated. This final distortion symbolizes how the internet has forced us to transform our lives into curated, performative, and often exaggerated versions of itself.
The trilogy visualizes the slow disappearance of authenticity under constant digital influence.
Internet Culture Art Assignment (Draft)
For this project, I created a series of digital artworks using photographs of myself, friends, and family at the beach and outdoors. I chose personal photos because they reveal how none of us, myself included, are exempt from the pressures of internet culture and how it has changed how we capture our lives. Today, taking pictures is no longer about preserving a memory, but a performance. Even moments that appear “natural” like standing in front of the ocean, walking through trees, and smiling with friends are usually posed with the expectation of being posted, liked, and perceived favorably. The images become curated rather than lived, and the people inside them begin to feel less real.
To express this idea visually, I pixelated the bodies in each photograph using Pixlr. Pixelation typically signals low resolution, censorship, or digital distortion, so applying it to real people turns them into symbols of how identity becomes flattened online. Their presence in the landscape is fragmented, glitch-like, and incomplete. Although their surroundings are calm and organic, the pixelated figures reveal the digital pressures beneath the surface of an “authentic” moment. The contrast between natural scenery and distorted bodies exposes how internet culture interrupts even our most peaceful offline experiences.
To push the work further beyond a simple collage, I could try warping the natural landscapes themselves into almost storybook-like spaces. These warped environments would reflect how digital platforms reshape reality into something 2-D, curated, and less grounded. The goal is not to replicate nature but to show how it is altered by the lens of “documentation” culture.
Appropriation Artwork
For my appropriation artwork, I created a 1 minute video which collages together short clips of people from different cultures dancing their traditional dances, all set to a konpa instrumental from my home country, Haiti. The piece integrates appropriation not only as a technique but also as a key aspect of its conceptual framing. By placing culturally specific dances within a new musical and visual context, the piece comments on how cultural expressions circulate, interact, and influence one another without being disrespectful. Konpa is a fusion genre, blending Haitian, Caribbean, and jazz influences, so using it as the foundation of the video reinforces the idea that culture is always in motion, mixing, and evolving.
To create the piece, I first converted the youtube video of the song "Something Going On" by Kaysha to an MP3 to upload it into iMovie. Then, I screen-recorded several YouTube "shorts," cropped them, and arranged them in sequence matching them as closely to the konpa beat as possible. I attempted to edit the clips so that their movements match the music. So even though the movements/ dances aren't the same they still "work" with the song. The way different cultural dances can move naturally to a song from another culture shows how easily cultures can blend and immerse into one another. This turns the clips from separate cultural sources into a cohesive, rhythmically aligned multicultural sequence.
The juxtaposition conveys the artwork's key message: cultures are distinct but connected through shared rhythms/expressive practices. The video asks viewers to consider how easily cultures intersect in the digital age, and how the difference between respectful cultural exchange and harmful cultural appropriation comes down to intention, credit. and context. In this case. my intention was to emphasize connection, interconnectedness, and the universality of movement across cultures. I also added an end sequence listing the YouTube channels of the creators whose clips I used, acknowledging their authorship and ensuring that the work remains ethical and transparent.
Using konpa deepens the meaning because I am not only borrowing cultural material; I am also contributing my own cultural identity to the mix. Situating myself within the artwork protects the piece from becoming exploitative and reframes the montage as a cultural bridge rather than an act of cultural appropriation. If l had more time, I would obtain higher-quality or directly licensed footage from cultural organizations. I would also, do a better job at connecting the videos whether through the movements or seamless transitions. Another one of my goals would be trying to make stronger connections between the dancer's movements and the beat in order to make the video more aesthetically pleasing. The opening and closing screens and transitions would also be polished and add more depth to the dance sequences as well.
Glitch/Datamoshing/Distortion Artwork
I began creating this artwork by choosing one of my most aesthetic photos as the base image. The bright mix of colors immediately inspired me to take the piece in the direction of queerness. From there, I started collaging different facial features: eyes, ears, and a nose using both fruits and symbols connected to the LGBTQIA+ community. For example, I used pixelated passion fruits as the eyes, a slice of watermelon as the ear, and a rainbow placed as a septum piercing.
I also wanted to reference my race, so I incorporated an afro and added aluminum foil as the teeth. The hands reaching out to touch the afro represent the ongoing exploitation and commodification of both Black and queer culture in our current political climate. After assembling the collage, I applied glitch effects to distort the image further. This caused the portrait to lose some clarity, so I layered a quick sketch on top to define the different facial features and keep the figure readable.
If I had more time, I would continue experimenting with the textures of the distortions. At one point in the process, certain glitch patterns started to resemble fabric or clothing, which really intrigued me. I would love to push the portrait further by trying to recreate a mixed-media or fiber-art look digitally through more advanced glitching and distortion techniques
Process:
Base photo.
Base photo warped/distorted on MoshUp.
Added “facial features” and iconography.
Glitched that image on Pixlr.
Added sketch on top to redefine features.
Brought back the rainbow flag septum ring as I thought it made the message clearer.
GIF Artwork Assignment
In the first GIF, I filmed a friend dressed in all black standing in front of me. They face the camera for a moment before turning their back, and the position of their clothes and hair makes it look as if they instantly disappear. This sudden vanishing reflects a specific kind of loss of connection: one that feels abrupt, unexpected, and emotionally jarring. When someone turns their back on you, it can evoke feelings of rejection or abandonment, capturing how some relationships end without warning, explanation, or closure. The second GIF shows a different version of loss. Here, my friend runs up a small hill and disappears as they move down the other side. Unlike the first GIF’s sudden break, this one represents a gradual drifting apart. We see the distance increasing in real time: the person becomes smaller, farther, less reachable. This symbolizes the relationships that fade slowly, where you sense the separation coming but still can’t stop it. Even with warning, the loss of connection still leads to someone entering a space you can no longer access. The third GIF is a six-frame sketch animation of a stick figure pulling a black box out of the frame until it disappears. This piece shifts from depicting the loss of connection to coping with it. The box becomes a symbolic burden, something heavy, emotional, and tied to the grief that follows loss. Once the box leaves the frame, the loop resets, and the figure begins the process again. This repetition reflects how grief is not a single moment but a cycle. Over time, emotions fade, return, and shift, reminding us that even grief itself is impermanent. Together, these three GIFs explore loss of connection from beginning to end: the sudden break, the gradual distancing, and finally the internal work of releasing what remains. The looping nature of GIFs reinforces how these experiences repeat throughout life, but also how each cycle eventually softens, making room for renewal.
If I had more time, I would continue exploring this concept by experimenting with color as another way to express connection and loss. One idea I’m interested in is creating a GIF where two separate color fields, like blue and red, move toward each other and only form a new color, such as purple, when they are perfectly aligned. The moment they slip out of alignment, the purple disappears and the colors separate again. This idea mirrors the fragile nature of connection: something new and meaningful can form between two people, but it only exists when both sides meet each other in the right place and at the right time. When that alignment shifts, even slightly, the connection can fade, change, or dissolve entirely. Working with color in this way would further emphasize the themes of loss and impermanence already present in the series, showing how relationships are created, altered, and undone through subtle shifts.
Process:
My process for creating the first and third GIFs involved photographing each individual frame, then uploading the stills into imgflip.com, where I arranged them in sequence to form a looping animation. The process for the second GIF was slightly different: instead of still images, I started with a finished video clip and uploaded it into imgflip.com to convert it into a loop.
Viral Interventions: Process
Mugshots:
Stencil:
Viral Interventions: Final Index
1. Viral Interventions: Read
2. Viral Interventions: Identify
3. Viral Interventions: Compose
4. Viral Interventions: Present (Final)
5. Viral Interventions: Mel Chin QCQ
6. Viral Interventions: Propose
7. Viral Interventions: Final Proposal
8. Viral Interventions: Tasks
9. Viral Intervention: Timeline
10. Viral Intervention: Budget
11. Viral Intervention: Process
12. Viral Intervention: Final Documentation
13. Viral Intervention: Final Artifact
Viral Intervention: Final Artifact
Viral Intervention: Final Documentation
INTRODUCTION:
The Petal Vandals: Fatigued and Disturbed Acts
In 2024, they banned women’s right to abortion. We responded with plants—symbols of autonomy—spray-painted in places women will see. Each herb carries a history rooted in women’s fight for control over their bodies. This is personal. This is our resistance.
2. THE FAKE GOVERNMENT WEBSITE & OUR MUGSHOTS:
Each mugshot and each fabricated charge reflects the absurdity of criminalizing our bodies and choices. This site blurs fiction and reality, mirroring how laws reduce acts of resistance into offenses against the state. What was once a deeply personal act—exercising control over our own bodies—is redefined as criminal behavior. Through these false charges, we challenge the notion that resistance can be confined to legal definitions. We’re asking why the state’s control over our lives can be protected, while our personal autonomy is branded illegal. By creating this mock government record, we not only question the validity of these ‘crimes’ but highlight the dissonance between what is labeled as criminal and what is simply an act of reclaiming power and agency.
https://viralinterventions.wordpress.com/
3. MY BOTANICAL HERB:
Each graffiti piece features botanical herbs—rue is mine. Mugwort, Thuja, Queen Anne's Lace, and Safflower are the others. These are plants historically used by women to take control over their bodies, particularly for reproductive health. Rue, in particular, has long been associated with women’s autonomy, often used in herbal remedies to regulate menstrual cycles and induce abortions. Its symbolism is deeply tied to resistance, representing both a tool of personal freedom and a quiet defiance against oppressive control. In the context of abortion bans, rue becomes a powerful symbol of reclaiming agency, reminding us of the long history of women resisting restrictions on their bodies. By using these different botanical herbs in our graffiti, we’re not only calling attention to its medicinal history but also making a statement about the right to choose. And our resistance against laws that seek to deny us that control today.
4. THE INTERROGATION VIDEO:
In the post-arrest interrogation-style video, we present our truth. Each of us answers questions about our actions—not as criminals, but as individuals acting in response to an unjust system. The interrogation serves as a platform for us to assert that our resistance is not a crime, but a statement of personal and collective autonomy. We don’t seek to justify or deny our actions; we make it clear that reclaiming control over our bodies is not something to be criminalized.
5. THE INSTAGRAM PAGE:
We made an Instagram page to document and archive our work. Each post serves as a record of the graffiti, the herbs, and the message behind them, allowing the work to reach a wider audience. This account is more than just an online gallery—it’s a platform for our collective statement and an extension of our resistance.
https://www.instagram.com/petal_vandals/profilecard/?igsh=aDk1em9udm54bWE3
Viral Interventions: Budget
Viral Interventions: Timeline
Viral Interventions: Tasks