I THINK IT WAS ALSO A COMPROMISE FROM A WORK THAT I REALLY WANTED TO DO WITH AN ARTIST BUT FIGURE OUT THAT FOR PERSONAL RESON IT WOULD NOT BE A GOOD IDEA.
SOMETIME IT IS IMPORTANT TO KNOW WHEN TO SAY NO TO ART IN ORDER TO PRESERVE OURSELF.
That is a huge evolution for me, because I use to not be capable to say NO to myself or to people for art.
At the end I have a great result, probably better then the one i could of have. I OWE Hugh Big time because he is always so helpful, I love working with him, things a easy and nice.
So for our summer project about Trybe, I got interested about what I called « Fashion Gigolos», people who go to all the fashion party's and try to hang out with famous people for the glamour and to be in magazine. Trying to get the attention of people with what they wear.
But I did not want to make a documentary by going to these event and taking pictures of them, ( as there are already so many photography of this kind of place and event that we can find in magazine such as Vice). I wanted to make an artificial portrait by choosing a model that I knew I could guide into creating the look I needed. So after figuring if my friend was available and ready to pose for me, I wanted to get him to wear shoes from a shoe designer called Terry de Haviland with who I had contact before that started a men shoe collection.
I needed the shoes to be from a famous designer otherwise my concept could not work, because I wanted the shoes to be the reason why the man had the kisses on him.
Then I wanted the make up to be done y a make up artist and not by myself anymore as after my internship I realise there is a lot to learn by collaborating with other and also I wanted it to look very sharp. The advantage to be in the University of the Art London is that we can easily have access and meet people in other department to help and learn from each other.
It's so important and a blessing to meet people with who you can work with, trust and understand each other, and I'm happy that I'm finally starting to find that in London with Hugh, Kamila...
So we did the photoshoot in 2 hours make up included, Hugh was hangover, and I was filming at the same time, quite proud of our job!
This project was self initiative installation that I made at LCC where I practice to direct model and people to help me with the setting.
I took pictures and filmed at the same time. I practice Final cut pro with the rush. I did a first editing that didn’t work very well, as it was a frame after an other that suggest there is a logical order to it, but it help me to select the best part of it, to bring it to an other level.
I realise that in directing a video there was something very similar to a choreographer of a dance, make people moving around a space.
I watch the movie about Mesrine called Instinc de mort, and was very inspired by the introduction.
During my internship, I had the opportunity to learn about editing, but most of all I was able to look at how to produce and direct reportage and commercials.
So it made me realise how I should work if I want to improve my work.
Organisation is crucial, as the more organise you are the cheaper, easyer and smother the filming will go.
I was also able to notice that it is very important when you direct people to know what you want from the people involve in the project has they need this guidance, and to get people who are good in a domain to help you.
The other helpful part was to learn how to direct an interview, preparing the topic and the questions are important but also knowing how to guide the person you interrogate. Like making them repeat the first part of the question if the journalist will be cut out in the editing so it’s understandable.
Looking at many rush filmed professionally help me understand about filming framing.
Lighting was the hardest part for me to process, in this way I understood what I was not good at and should let other do it.
I noticed that making the staff feel comfortable was also an important part of directing as there are very demanding production, and it’s easyer to get the best out of the people.
During this month in United State I learn sooo much about gallery business,
For gallery I understood that I had to get my ass out if i want to make a living out of these crazy surealist pictures, the more time I pass over LCC the more I realised that the year I spend in paris at Glaciere is grave into me and there is no way i can come back to it. I am not a designer, this is just not the way my brain fonction.
I have nothing to loose
BUT: I LIKE TO HAVE FUN WHILE I WORK!!!!!!
I passed a personality test
quite happy about the result, don't know if i should though; apparently I am:
ENFJs are the benevolent ‘pedagogues’ of humanity. They have tremendous charisma by which many are drawn into their nurturant tutelage and/or grand schemes. Many ENFJs have tremendous power to manipulate others with their phenomenal interpersonal skills and unique salesmanship. But it’s usually not meant as manipulation -- ENFJs generally believe in their dreams, and see themselves as helpers and enablers, which they usually are.
ENFJs are global learners. They see the big picture. The ENFJs focus is expansive. Some can juggle an amazing number of responsibilities or projects simultaneously. Many ENFJs have tremendous entrepreneurial ability.
ENFJs know and appreciate people. Like most NFs, (and Feelers in general), they are apt to neglect themselves and their own needs for the needs of others. They have thinner psychological boundaries than most, and are at risk for being hurt or even abused by less sensitive people. ENFJs often take on more of the burdens of others than they can bear.
The dynamic nature of their intuition moves ENFJs from one project to another with the assurance that the next one will be perfect, or much more nearly so than the last. ENFJs are continually looking for newer and better solutions to benefit their extensive family, staff, or organization.
