From my latest development of idea from identities of myself through my life events to identities through my own possessions such as toys and dolls, I also explored identities around daily objects around myself.

For some time, I have been collected daily-used packages such as tissue paper boxes, tea bags, fruit plastic boxes, milk cartons, etc. I questioned whether are there relations of these object to my own identities.

However, I turned my question around to finding out ‘identities from these objects’ instead inspired by my reading of Jan’s Svankmajer regarding the act of ‘listening to an object’ in his method of work.

Below is my quick response to such question playing with a milk carton.

Instead of jumping into any narrative, I gave myself a pause and look at the package for any given information. I looked at the design of the opening of the cartoon which is positioned in a tilted angle at the top of the box and reminded of a posture of a human opening their mouth asking for something.

I then improvised from such instant narrative and put in objects around the table such as a coin, a nail or a pen and put them into carton through the opening just to see what happened. I developed the story into the cartoon turned itself some kind of creature which wrote a note reading “feed me”.

I took a frame by frame photographs with an iPhone and also videos in between. I edited the visuals through Premiere Pro and added sound later both from the video recording and from my own voice-over recording. The voice-over sound inserted into the film made me question whether do we perceive such information from the carton as if the carton produced the sound itself or whether it was used only to pass my own sound which lead to the question who own the sound?

This film turned out to be a formation of identities of an object which could be created objectively and subjectively. Objectively, the identities of the object could be from its appearances which changed over time from only a carton into a cartoon with more objects attached on its side. Also, it could be perceived from the sound produced from a fallen object inside of the carton.

Subjectively, it is from my own interpretation of such begging posture of the carton leading to a narrative of the box interacting with objects put through its mouth. Since the carton itself is actually a milk carton which is supposed to contain liquid and used to pour the liquid, by letting it speaks the word ‘feed me’ is obviously an act of imposing imagined personality into it

I concluded from this experiment that I still need more understanding of how can I really extract identities out of an object. And, for the issue of whether such identity is related to me or not becomes my second priority of the investigation.

This is a quick post just to get the juice flowing for this new year of 2020 of my updated planning table for this week for Realise Project. Thank you.

On yesterday, we had a 1-minute pitch of our concept for Realise project. I had developed an A1 sheet to visualised my concept according to my previous written Statement of Intent.

The first version was created with various self-portraits which were selected to represent multiple identities of myself. Some represented myself as given by others like the one I wore my student uniform which also had my name and the institution logo on the shirt. Some showed myself played with fashion with pink hair. Some could also be myself as a drawing. I placed a portrait of my young self at the bottom and did a collage with cut-out ‘identity element’ from other images. This is a metaphor in saying how my identities have been form upon myself since young.

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Then, I thought of developing a more time-based approach that played also with space and come up with the second idea. It interpreted my multiple identities into different kinds of walls. Again, I selected photos which represented myself in various identities, from a student in London, to a cookery student, to a graduate from Computer Engineering faculty in Bangkok, and to a member of my family, and lastly to my young self, which for me, represented the time where I might have felt mostly free of any labels.

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I’m still figuring out which term should I use for these multiple identities since each of them has quite different qualities. For some identities like for me as a son, I might not call it a wall, since it’s not that I’m hiding behind my family. For an identity like myself dying my hair into a pink color, I could portray this identity as if it was separated from the others by a theatre curtain since it wasn’t created in order to avoid people, but instead it’s more about to present myself as if I’m a performer on a stage.

Also, I need to consider how each identity is formed and how to represent it either straightforwardly or metaphorically. I also need to think about in which aspect do I want to share this story to the audience, is it about my discovery of multiple identities that are layered onto one another?, is it about ’embracing’ each identity?, or, is it about inviting the audience into finding out what lies deeper beyond each identity.

I presented above A1 sheet to the tutors and fellow colleagues and received feedbacks as shown below,

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The comments were related to points as follows,

• Most people seem to be satisfied with my presentation, so I think the concept about revealing one identity after the other deeper and deeper is somewhat successful. However, there are also some concerns on how would I transfer this performative presentation and its physicality into an animation. For this first remark, I thought of also naming my project as a ‘theatre of me’ to even strengthen the concept. For the concern of the physicality, since I also plan to create this project with a three dimensional stop motion animation, I believe I could be able to retain the sense of ‘going deeper through spaces’.
• There are questions around the audiences like how could my work become more universal, how can I connect to them, what will they get from the work and basically what is my intention for them. For this, I would like the audience to get to know me through my discovery of my multiple selves, and ultimately, to also invite them to discover their own identities as well, in order to embrace themselves, to make friends with their past.
• There are mentions of other relatable subjects or objects that I can research further such as Babushka doll, Laure Prouvost’s exhibition “ordinary & extraordinary”. These are interesting in terms of how I can find inspiration from other medium such as Russian dolls. It made me also realised the possibility of looking at identity as something playful as well.
• There are also mentions about ‘memories’ which I found interesting. One audience asked me will there be any ‘key memory’ or not for example. I further thought about this and question whether how identities and memories are related. If we forget some experience of ourselves in the past, does that mean that identity of us could also disappear?
• There are also mentions about the duality in folding/unfolding or revealing/concealing that happened from my presentation. This gave me an idea of not only try to open or reveal but I could also emphasise the action of closing and concealing as well.

After going through comments from audiences above, I revisit the SOI and made some changes or additions which are underlined as follow, the category of ‘audience’ is what I tried to incorporate into the thinking process more this time,

1. What is the concept/idea?: It is about a journey through layers of experiences that have been accumulated by genetic, choice or chances. Sometimes, those life events turned into thin walls with unlocked doors. Sometimes, they become thick wall made of steel with no doors that seems impossible to break. Sometimes the walls might be constructed and placed not chronologically. What is unique about it?: It tells my life story.
2. What are the aims and objectives of your project?: To connect myself to my audience by becoming more open. This could invite the audience to also reflect back to their own life history and discover their layered identities as well. I may experiment with ways to represent the protagonist of the story in order to make it relatable to the audiences. It could be me or some made up character.
3. What research will you undertake? How does this research relate to your development practice?: I would research into subject around identity. I would like to also research about the Russian Dolls, the artist, Laure Prouvost, whose works I found surreal and might give me some inspiration onto how to input surrealism into my work. I would like to also research about how to insert ‘physicality’ into animation.
4. How will your experimentation from the previous project become a resolved body of work?: I need to develop a longer story for the film which could be able to also communicate a message.
5. How will you develop the project? I would like to create walls according to each experience with materials or techniques that match with the story. For example, using ink and brush to paint a wall visualising myself as a Japanese passionate. Since even for real life experiences that became my past already, I feel as if they could be considered sometimes as dreams, I would like to incorporate aesthetics or ideas drawing from the Surrealism movement into the process, for example, juxtaposing contrasting materials together. I would like to also test my work with my friends as audiences as well.
6. How will you achieve your aims? When the audience could understand what I try to convey. And, when the audience started to also question about their identities.
7. What will the final outcome be? a 3-5 minutes experimental/documentary animation.

Below is a time plan which also included tasks and research tasks during Christmas Break,

Section 1 – Background

So I believe currently I selected concept of Memememe to be my main concept for this project of realisation.

Section 2 – ‘Realise’ Project Proposal

1. What is the concept/idea?: It is about a journey through layers of experiences that have been accumulated by genetic, choice or chances. Sometimes, those life events turned into thin walls with unlocked doors. Sometimes, they become thick wall made of steel with no doors that seems impossible to break. Sometimes the walls might be constructed and placed not chronologically. What is unique about it?: It tells my life story.
2. What are the aims and objectives of your project?: To connect myself to my audience by becoming more open. This could invite the audience to also reflect back to their own life history and discover their layered identities as well.
3. What research will you undertake? How does this research relate to your development practice?: I would research into subject around identity.
4. How will your experimentation from the previous project become a resolved body of work?: I need to develop a longer story for the film which could be able to also communicate a message.
5. How will you develop the project? I would like to create walls according to each experience with materials or techniques that match with the story. For example, using ink and brush to paint a wall visualising myself as a Japanese passionate. Since even for real life experiences that became my past already, I feel as if they could be considered sometimes as dreams, I would like to incorporate aesthetics or ideas drawing from the Surrealism movement into the process, for example, juxtaposing contrasting materials together.
6. How will you achieve your aims? When my audiences started to embrace with their own life stories.
7. What will the final outcome be? a 3-5 minutes experimental/documentary animation.

Section 1: Background

Identify successful work from Project 4 that you wish to develop.

• I considered the concept of Memememe the first choice that challenged me the most in terms of the subject matter since it involves pushing my out of my comfort zone. I also received quite some attention from the audiences which made me curious about finding out more about what caught their interest.
• The concept of ‘OCD’ is also interesting since it drew inspiration from my own personal story which relates to fear and mind.
• Then, I also have a thought back to my artistic statement which is around ‘mindfulness’ and the Buddhist teaching about the three marks of existence which are impermanence, unsatisfactoriness and not-self and tried to link my experimentation to the statement.
• I found the part of ‘not-self’ or ‘selflessness’ could be a reason behind my pursue in the experimentation. How I questioned about my self and identity in various projections or how I incorporated my voice into the work. How my mind is sometimes obscured by its thinking of unsatisfying happenings as I termed it as an OCD could also relate to how I form my identity around the mental activities.

Section 2: Realist Project Proposal

1. What is the concept/idea behind your proposed project? What is unique about it? : The concept could be about ‘selflessness’. I want to communicate to the audience how we might find solution to happiness by becoming aware of our establishment of self, how we see ourself in the society. I might need to scope down on which aspect of identity I would like to focus; gender, nationality, profession etc. The uniqueness about it is that from myself being a Buddhist, I might be able to offer some perspective that is from within the religion itself.
2. What are the aims and objectives of your project? : The aim is to communicate to people one gentle invitation into considering our sense of self. The audience could be people who are experiencing depression and anxiety regardless of their religions or beliefs. I wish for the audience to become more open and curious after seeing my film, to question whether identity is actually flexible or not.
3. What research will you undertake? How does this research relate to your developing practice? : I will look into books around Bhuddism teachings particularly on the subject of selflessness. I will also look into artist, animator or creative practitioners who have done works around the subject as well. So far I’ve delved into this book called The Places That Scare You by Pema Chodron, a spiritual teacher, which shares wisdom from the Tibetian Buddhist that I found helpful when I faced with depressing emotions. I would also look into books that focused on the subject of self or identity or the lack of both but from animation context, for example this title I found, Identity in Animation by Jane Batkin which analysed animation as famous as Disney to Japanese works from Studio Ghibli. Even thought I found the text doesn’t speak particularly about the subject of ‘selflessness’ I think it’s a good start to be exposed to how self or identities work in animation context.
4. How will your experimentation from the previous project become a resolved body of work? : I could draw more personal stories which I found stemmed from or related to the sense of self.
5. How will you develop the project? : I would like to also draw inspiration from Surrealism, the notion of the blur between the conscious and the unconscious as a tool to represent how fluctuating or unfixed our perception towards a subject or an object is. I would like to merge live-footage which I could also be starring in the film with inanimate objects in order to create absurdity juxtaposition that might encourage our perspective towards any particular preconceptions of things.
6. How will you achieve your aims? When my audience becomes more open to the idea of flexible identity.
7. What will the final outcome be? An animated film that runs around 3-5 minutes.

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I posted here for the last concept of Project 4 which was around documentary approach that drew inspiration from true story from my family.

My sister and her daughter

The first piece was drawn from an experience with my older sister who likes to share about her children lives in a chat messenger application on mobile phone. The selection of this story together with the technique of using a recycled coffee cup to draw the images with an ink was intuitively done. For further project, I could have create more connections out of these mixture to discover any more possibilities.

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I experimented with drawing in layers onto the previous painting in order to experiment with how much can we tolerate the readability of a given form. The use of coffee cup is my recurring theme of being environment-friendly in my practice. I suppose if the story is telling about my niece helped collecting recycled objects, that might make the film becoming more making sense which somehow made me question about its necessity. The use of the cup also was intended to experiment on the surface that doesn’t have edges. The story might look like it doesn’t have a starting and an end.

After painting with the ink and a brush, the technique reminded me of Japanese calligraphy which led me to another future idea of apply this technique to stories around Japanese which is a culture that I have a passion with as well.

I extracted the messages from my sister about the happy moments she picked up her daughter with Photoshop and added them into the film in Premiere Pro. I used the chat notification sound from the application to represent my feeling when I got the messages notified. This film could be a light-hearted comedy telling about the love of a mother to her child or it could be about how our society today share our lives through the use of social media.

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My father and his recycled bottles

For this project I drew inspiration from my father who regularly visited a national park in Bangkok for discarded bottles to collect them, sell to the factory who buy them for recycling purpose and then he donated money to hospital.

Below is my father’s answers in Thai when I asked him via Line, a mobile chat application on iPhone, to share his experience about plastic bottles and recycling habit of his.

“เก็บที่สวนลุมจันทร์ อังคาร ศุกร์ เป็นขวดและกระป๋องอะลูมีเนียม คนชอบวางทิ้งไว้บนเก้าอี้ พุ่มไม้ หลายครั้งไม่ กลับมาเอา ต้องให้แน่ใจว่าเขาไม่เอา รอจนสวนลุมปิด ไม่มีคนกลับมาเอาอีก วางบนพื้นก็มี … พ่อรีไซเคิลทุกอย่าง เช่นอะไหล่รถเสียแล้ว กระดาษลัง กล่อง นสพ. นิตยสาร แกลลอนนำมันทุกชนิด แกลลอนนม เอาของเราเอง ไม่ได้ขอจากใคร …”

“เอาไปขาย3-4 เดือนครั้ง ขายพ่อค้าทำธุรกิจรีไซเคิล แล้วพ่อon top ยอดเงินเท่ากัน เช้น1000กลายเป็น2000ให้มูลนิธิบำรุงราษฏร์ช่วยเด็กยากจน มีลิ้นหัวใจรั่ว มีคนถามพ่อเอาไปทำไม พ่อตอบแบบนี้ เขาดีใจ มียามช่วยเก็บให้พ่อด้วย นานๆที บำรุงราษฎร์สมทบเงินด้วย หาหมอผ่าตัดทำลิ้นหัวใจ valve ใหม่”

which could be translated as,

“I collected bottles and aluminium cans every Monday, Tuesday and Friday at Suanloom Park. They were found left on benches and bushes. I would make sure no one needed them and waited until the park was closed. Some even laid them on the ground … I recycled everything for example, broken car parts, cardboards, boxes, newspapers, magazines, gasoline gallons, milk gallons, these were ours, not from others…”

“I would sell them one time in 3-4 months to recycle businessman. I would pay it on top for example from one thousand to two thousand baht and donated to Bamrungrad Hospital Foundation for poor children or some with leaky heart valve. Some people asked me why would I picked those things and when I told them about this, they were happy. Sometimes a security guard also helped me. Sometimes, Bamrungrad hospital also donate their money as well to fund for a doctor who operate for the leaky heart valve patients.”

From the story above, I combined it with plastic bottles that I have been collecting from my use in London but chose to tell it in a more comedic and light-hearted manner. I also tried using a green screen for possible future editing test incorporating backgrounds into the film. I improvised again using materials I got at the moment and came up with an idea of the plastic bag was trying to keep the bottles from jumping off and running away. I also combined live-footage of myself collecting that bag just to see how the aesthetics of the film work with mixed-media approach of stop-motion animation with found objects and live-action film. For the sound, I finished filming the animation first, then played with the bottles and record the sound onto my iPhone to be combined in Premier Pro later.

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Since the plastic bag is from John Lewis, which is a department store brand, this element made me thought of consumerism or capitalism. I think the sound when the bag is collecting the bottles could be more matching with the action to create further excitement. I also would like to try insert some background onto the green screen as well in the future. The zooming in at the end could be done more smoothly also.

There are a lot to say for this post, first of all, let me update all the practical works I’ve done during the last week up until the end of Project 4.

Exquisite Corse Concept Revisit

I pushed it further for this concept of playing with the random or unexpected mix of an image, this time with collaboration as a part of the process. I would like to test out collaboration in order to break away from my usual working habit doing everything by myself. I simply took a my own portrait and sent to my close friends via mobile phone messenger application. They would be given only a part of my face as a starter and asked to fill in the blank with my face drawing from their own memories.

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The result became somehow expectedly unexpected with different style of interpretation from my friends, some of them only drew my head, some of them used colours and some of them drew with multiple lines as if they were sketching.

This process revealed how I could apply designing characters in a new approach, with input from the people. This idea also revealed again my interest in the idea of identity, of how my friends perceive me and also how their memories might distort their perception. I have combined these still images into a very short document-liked animation below.

Me Me Me Me Concept Revisit

After a critique with Mariana Sameiro, one of our visiting tutors. I was challenged to project my animation work of my portraits onto screens outside of my own room. I felt interested with the advice in order to become more comfortable exposing my works in public space. However, I gradually pushed my comfort zone by projecting the film in my studio room with some friends also watching.

After some watching, I thought about the theme of ‘narcissism’ since it was as if the film forced everyone in the room to pay attention to me and listen to my singing. However, the theme could also be around ‘identity’ as well, since the film explored multiple versions of a portrait in different poses and colouring techniques. Also, my singing voice also was done in different notes as if investigating which one is suitable for my my representation.

I also tested the film in a staircase hall as shown below. The test that projected the film onto only the staircase part was interesting to me since the visual could be read differently depending on the angle of where you look at it. The projected visuals were split onto multiple panels as if they were shown on stacking screens. This experiment showed possibilities in using ‘space’ not within the film itself, but ‘beyond the film’ in order to become a part of the film language.

I kept playing with the staircase as a screen using my body as a movable part of the screen distorting the visual shown. This resulted in the working becoming more of a performance art rather than a film.

Besides using photographs of my own self-portrait, I also experimented with another version using a liquid pen drawing on newspaper. I picked advertisement to draw upon in order to communicate how I would like to call for attention from the audience. I recorded myself dancing in my bedroom as a reference for my drawing.

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Toy Story Concept Revisit

For this concept, I took an advice again from Mariana about my previous animation, Toy Story, being too predictable hence the film might lose its attention. I omitted inserting narration into the story and rather let the characters narrate themselves. I want to stir more curiosity to the audience guessing what is going on with the film.

With also an inspiration given by an Estonian filmmaker, Anu-Laura Tuttelberg who filmed her porcelein sculptures in a forest in Mexico, at first I thought of using the Conservatory in the Barbican which is although an indoor location but is planted and decorated all around. However, the place was closed on the day I visited so I improvised the plan to using a part of the building I found aesthetically interesting instead. The bare concrete of the wall and the rounded corners reminded me of natural shapes which I found could be a substitute for my initial plan.

I let the narrative came out piece by piece using materials I had which were toys. These toys could represent also myself in the work since they are all toys that I love. I came up with an idea of all the toys running for a race as to also practice working with various walking pace for each character. The result wasn’t much satisfying in terms of the quality of the images since I still needed more knowledge and experience working with a DSLR Camera, for this case I used Canon 5D Mark 3 camera. There were some shots that were blurry. I could not focus a hundred percent with the work working in a public space since I was afraid of my precious belonging as well, that also affected the process of the work.

I also thought the piece could become more interesting with some sound of the characters talking to each other which could be some gossiping or murmuring sound as well. Also, I might need to be more selective of the reason behind each toy in the future since it could imply any judgement given on the work. Additionally, the face of using the Barbican could also become a part of the message of the film as well. With also an advice from Isabelle from the latest critique, I could also touch on a theme around capitalism as well which I agreed, since merchandises made from popular culture characters could be an important part in driving the economy.

On past Friday, we had an inspiring lecture session from Dr. Ekua McMorris who shared us about her practice in research. It was inspiring in terms of how even though her subject of interest drew inspiration from her own personal experience, like the theme around memories and how she experienced it through digging into her family photo albums, it could be felt really relatable.

One tip from her is to visit the library regularly. It made me think about why would that help, and then I came to realise that actually when we find any books with the same subject of our interest, it is as if at least we could be able to reach out to one person, the author of that book. It could be something about collective human experience that books can act like bridges for us.

We then also had this workshop that wisely made use of ‘time’ through an ‘object’. I selected three items to represent my past, present and future. For my past, I thought of drawn images Maihua, my plant characters, that were designed for an animated sticker to be used in a mobile application. They were chosen as a key to introducing me to animation. By only reminding myself of these drawn images when some time has passed, looking back at the pieces, it gave me already new perspective or impression towards the works. I could imagine myself revisit them again with possible new interpretation and hence became more appreciated with works from my past.

For my present, I chose a Tapir toy which was used at the moment for my experimentation towards creating narrative story playing with toys. Even though the toy was chosen for that present, it had been registered in my life for quite long time as one of my favourite figure model, this too also blurred the line between what counted as past and present for me which became really interesting as well.

For my future, I chose a modelling clay, due to the fact that my latest interest in artists who work around puppetry or clay stop motion animation that inspired me to start playing more with 3D sculptural models rather than only 2D drawn images. The similarity in terms of the dimensions from the 3D models to the human world also began to fascinate me into understanding the reasons behind my fascination towards stop motion animation.

One of the task asked us to play with the ‘timeline’. It was about choosing an object from the present and traced its story back from the past and connect it to the future. I created an animated video that showed the journey of the figure from it being bought from my friend in Japan to my country, Thailand. Then, lastly was brought with me to London.

I intended to show how time also influenced how I worked with my practice. I started with a tapir drawn in sharp and rigid pen line for its first stage. Then, it became more loosely drawn with a little less ‘perfection’. Lastly, it became more experimental with using mixed-media of collaging and real object for stop motion animation. The result is interesting in terms of using time as an ingredient in creating stories or any creative interpretation into the work.

Another task that I found really interesting was by using the modelling clay, my object that represented future to foresee its future. So I incorporate the clay onto the toy creating a story that inclined towards surreal and imaginative arc of transforming a tapir into a sheep. It was interesting in terms of by only giving a new ‘input’ into our mind, telling it a new prompt to work with, for this case, to imagine a future and realise it in the present, it in turn, even only just a little, created that future possible in front of you.

I would like to update on my latest experiment this time with toys. I guess the inspiration came from my latest exploration into the work from Jan Svankmajer which involves using objects and puppets in his works. I also would like to explore animation that dealt with narrative approach.

The experiment was also done in an approach of being creative with the resources available, so I use the toys I have in my room and also the location of a little garden near my school campus. Also inspired by an Estonian artist, Anu-Laura Tuttelberg, I would like to explore working with a setting in more of natural environment. The result made me feel of the work more natural and realistic. The natural light is also something I feel inspired from Tuttelberg’s work and used it in my work.

It was my first time using a camera for the shots for stop animation which offered a really good result in terms of how the depth of focus worked. I need to further learn more about manually adjusting the function of the camera to be able to play more with it.

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I composed all the photos into animated frames in Adobe Premiere Pro, and used its voice-recoding function to do a narration over the film. I intended to use Thai language, my mother-tongue language, to test whether how the film would end up be. I feel like the work became more genuine to myself. I also added subtitles since I would like everyone to understand what is happening for this piece.

In terms of the narrative structure, I started with the toys I picked with random interest and formed some rough idea along the way. I inserted some twist at the end with some sense of dry humour since I believe it would create the awkward moment so that the audience might feel bewildered and pause to ponder into my work a little bit more.

For the selection of the toys, I tend to be interested in characters that have strange figures, some characters that is not seen in ordinary days. For example, I found tapir to be a very interesting animal with its color in black and white like a panda, its trunk like an elephant and its body like a pig.

For further step, I thought of incorporating more of surrealism into the film, pushing it further the blur line between reality and dream in what we perceive. I also would like to find a message that is more catered to adult audiences, it could be about consumerism or capitalism referring to my own consuming habit of character merchandise or collectibles.

My latest experiment was inspired from my personal mental issue with Obsessive Compulsive Disorder, OCD, which has been with me for a few years already. The issue isn’t considered severe since I’ve been used to it already and it doesn’t affect my daily life that much, only some time wasted. I would encounter some strange habit such as when I feel like my hands are dirty and I would continuously checking on my hands, scanning all over to see whether they are clean. I would also repeat the action many times to make sure of the cleanliness.

At first I thought of scanning as a comparison to a UFO scanning for human lives on earth so I sketched a rough storyboards as follows,

I felt it was a bit too straightforward and also too unrelated or not so I did not continue with this idea. Instead, by accident, I found these unused threads from fashion student studio and thought of using them as a metaphor of blood or dirtiness I imagined seeing on my hands.

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I used stop motion animation with Dragon Frame to show my hand as if it is being investigated which for me felt similar to what my experience in scanning my hand is. I started with darker light and then turning more light after some while passed to increased tension of the film as it moved forward.

I used Garage Band to produce simple music which was picked from a Chinese instrument set. The rhythmic sound create an atmosphere of a ritual of the scanning.

I also used hand gesture to represent my mind during the experience of OCD which was me trying to escape from the process of scanning but failed and needed to succumb to my own mind. This mix between something imagined and reality reminded me of Jan Svankmajer and surrealism which are my recent influences and would like to push it further on how could I apply lessons from them into my work.

I also recorded a video of a zoomed version of my hand at the end when it was consumed by the thread to keep it as my usable resource in the future experiment. I want to also learn how to use a camera to pan on a surface of shooting footage. The complex weaved structure of the threads and also its various colours represents the difficult mental experience I face during my encountering with OCD symptom.

I still would like to adjust the film to better synchronise the moving image and the sound, especially at the end when the hand is consumed by threads.