Author Archives: Keya Acharya

Conference Project Post Mortem: Space

shadow Throughout this class, I have been drawn to triangles and black & white geometric shapes. I had a bit more of a plan for this piece than I had for my other animations. I knew I wanted to use black, white, and a blue shade. I began by making the first element, triangles with a black fill and gradient stroke. I arranged them all in the positions I wanted. I planned to make them fall into the blue background, but after listening to the music repeatedly, I thought it would suit the music to make the triangles fade onto the screen and then start dancing. After making these triangles, I made the thick white line repeater. I used an element similar to this in my Space Oddity piece, but I loved it so much that I changed the skew of the white lines to create a different angle. I duplicated this layer and played around in After Effects. I continuously remembered that I only needed about 3 elements and 3 colors. I tried really hard to stick with this. I ended up creating a white line repeater that has much skinnier lines. I loved this repeater even more. I thought about just using the skinny repeater, but realized I could use both. I then made the transparent triangle that comes in on top of the white lines. I intended to keep this transparent when the white lines fade off screen, but I found a light sweep effect, that created these incredible shadows. I found that it added an element to my piece that wasn’t there before.IMG_9220 Music has been a huge challenge for me throughout this class. I began this project searching for instrumental music. I found electric guitar music that I adored, but after feedback from the class, I learned that this music was too loud and fast for the animation that I created. The music was asking too much of me and I just could not keep up. Upon, Angela’s suggestion, I switched the music to a softer jazz piece. It works better, but the problem with finding music after creating the animation is that the animation is no longer perfectly in sync with the music. However, something I have learned is that animations don’t necessarily need to be in sync with the music, but use the music as something that enhances the piece. My other challenge was with the positioning of the triangles. They ended up overlapping, but originally I wanted them to look like a tile or wallpaper. I realize now I could have created a tile in Photoshop and then brought it into After Effects, but I do appreciate the imperfect nature of how it came out. My final challenge was the speed of the software. I loved the shadowy feel of the light sweep effect, but as soon as I added it to the triangle, my software started running incredibly slow to the point that I could not work in it. I would like to make another piece using the light sweep, but I need to do it on a more durable computer. k A theme throughout this piece is the idea of using an element from earlier in the animation by changing it slightly to create a fresh image. I used the black and white triangles 3 different times; the first in their original form, the second with the fill being half white & half black, and the third against a black background instead of blue. This structure and plan before-hand did help speed up my process. I’m proud that I was able to stick to 3 different colors and a few elements. At first, I felt like my piece was boring because it repeated elements, but it’s starting to appeal to me more now. Another piece that worked well for my was my attitude while rotating and positioning the white lines. I changed various values and had so much fun seeing what I could create, rather than stressing out about how I wanted this element to look. I saw it as a chance for exploration rather than something strictly planned out. Finally, my transitions in this piece were much more effective than in previous pieces. At the beginning of this course, I made the entire piece first and then worried about transitions, but I’ve learned that doesn’t work as well. When making each element, I thought about how I would transition from each. Sticking to a few elements and three colors also made transitions much easier.l I struggled with time management for this piece, because I was working on my kinetic studio prompt simultaneously. I spend significant more amounts of time on my kinetic text piece than on this piece. Part of me wishes that I balanced my time more, but another part of me knows that my kinetic text piece is much more personal, heavy, and heartfelt, whereas this piece was pure fun to make. My critique of not only this piece but all of my pieces is that I find it hard to work with one element for an extended period of time. My inclination is instead to move from one element to the next very quickly. We did an exercise of using one square and animating it for 60 seconds. I need to do more exercises like this, because, for example, I could have had the entire animation be renditions of the white line repeaters. I could have also rotated the triangles or increased their scale, etc. to have them continuously become new.

Kinetic Text: Grief

flashlights I’ve written poetry since second grade, it is the art form that comes most naturally and the one that I am most well versed in. However, attempting to convert a spoken word poem into visuals was the most challenging project I’ve had all semester. In some of the kinetic text videos we watched in class, I noticed that if I missed what some of the words said, it wasn’t a huge deal. It seemed like how the font moved and changed was equally important as what the word said. However, the poem I choose is a narrative piece. I had to figure out how to ensure that the continuity of the piece came through visually. Originally I tried to have lines that go together on the screen at one time, but after watching videos on google drive, I noticed that pieces with a lot of text on screen at once did not keep my attention. I felt pressured to read the text quickly, so I then realized I needed to give each phrase more time for the audience to absorb it. I cut out some parts of the poem but was limited in how much I could cut without losing the entire point and message of my poem. Even though I was careful with what text I cut out, a new piece ultimately emerged. In the original poem, the first few stanzas all begin with the line ‘I love’ and they describe various parts of my body. It means that the moods of the poem are a bit more balanced. The animation, however, comes across as much darker and depressing than my original poem. Eventually, I think I want to make a much longer video that contains my poem in its entirety so that the sense of coming to a place of acceptance with my body and my eyes comes through in the animation and the poem.IMG_9189 A constant theme throughout my process was struggling with how to turn a spoken word piece into a visual piece. At first, I wanted to re-create the poem I performed at the poetry slam. I planned on using the recording of my performance instead of music. However, since I drew out lines such as ‘I’ve surrendered’ in the animation, but not in the performance, the timing did not work out. I re-recorded my performance trying to speak the words in sync with the animation, but I didn’t like the sound. The song that I chose was a last minute decision. The song is utterly depressing. I like this at the beginning because it hints to the audience that even though the poem is not yet sad, it soon will be. However, I don’t see this poem as merely sad. It’s a complex piece that touches on various topics and feelings, so I think I need to find a song that better represents that. This change in plans ultimately impacted how I made the animation. If I had planned to use music the whole time, then I think I would have drawn out more lines in the piece rather than worrying about syncing the animation with my recording. Also, I could have sync transitions with the music. Ultimately, I realized that my spoken word piece had to exist as a separate piece of art from the animation of the poem. I couldn’t merely re-create art I had previously made. I had to think of this assignment less as turning a spoken word performance into an animation and more as merely animating text.A constant theme throughout my process was struggling with how to turn a spoken word piece into a visual piece. At first I wanted to re-create the poem I performed at the poetry slam. I planned on using the recording of my performance instead of music. However, since I drew out lines such as ‘I’ve surrendered’ in the animation, but not in the performance, the timing did not work out. I re-recorded my performance trying to speak the words in sync with the animation, but I didn’t like the sound. The song that I chose was a last minute decision. The song is utterly depressing. I like this at the beginning because it hints to the audience that even though the poem is not yet sad, it soon will be. However, I don’t see this poem as merely sad. It’s a complex piece that touches on various topics and feelings, so I think I need to find a song that better represents that. This change in plans ultimately impacted how I made the animation. If I had planned to use music the whole time, then I think I would have drawn out more lines in the piece rather than worrying about syncing the animation with my recording. Also, I could have sync transitions with the music. Ultimately, I realized that my spoken word piece had to exist as a separate piece of art from the animation of the poem. I couldn’t merely re-create art I had previously made. I had to think of this assignment less as turning a spoken word performance into an animation and more as merely animating text. IMG_9190 In addition to struggling with how go about making this piece in a bigger picture sense, I also struggled with the technical bits. I became really overwhelmed with text. Since I’m largely not a page poet, I don’t worry much about text, because usually my ultimate goal is to perform it out loud. Therefore, I type my poems in a default Word font. However, when deciding to animate a poem that’s really important to me, I wanted the font to reflect exactly what the poem meant to me. I tried so many different fonts. At one point I tried using a different font for each line, but it felt too chaotic. I settled on using one main font and then emphasizing particular parts of the poem with different fonts. drive I also was overwhelmed by the variety of text effects. I felt like if I used an effect on a sad line I couldn’t use the same effect on a happier line. I always tell myself I’ll stick to a few effects, but I never follow through because I become so interested in what each effect can create. I felt like I needed an effect or shape that I could use to mark the end of each stanza. I was worried that the audience would lose track of what I was saying and what lines went together. However, I later realized that if the piece was engaging enough, then people will remember the previous lines. I largely used transition effects to animate the text on and off screen, but I did use various other effects to go along with the content of the piece, such as the movement of the word ‘basketball’ and the glow and flashing-like effect on the word ‘flashlight’. hate In addition to text effects, I used changes in the background as a transition between the different moods of the piece. I used the white background with a noise effect to give the feeling of a hospital. I used the yellow at the beginning to signify joy and blue later on when the mood of the piece shifts. I was worried that my color choices were a bit too obvious. Red is such a cliché color for love and anger, yellow for happiness, and blue for sadness, but I think when paired with text that’s more ambiguous, it works, at least I hope so. Color might also be something that I go back and edit when perfecting this piece.

I revised my kinetic text piece as part of my conference work. For this revision, I made small adjustments throughout the piece and assessed the music that I picked. I took the ‘surrender’s’ off-screen more carefully. I changed the transition from ‘basketball shorts’ to the line about 8th grade so that if was smoother and just continued the bouncing of ‘basketball shorts’. Something happened with my software, so the bouncing is no longer there, but I will put it back eventually. This piece is still not completely perfected to how I want it to be, but it is complete for the purposes of this class. I took out the tile effect on the ‘baby dykes’ because I felt like it was too chaotic and brought too much focus to this piece when the core of this piece is not about being queer. After watching videos in class, I noticed the value of not filling up the entire screen and leaving time to appreciate each text animation, so I took of some of the lines in the stanza that begins with ‘I hate’ off screen and then put brought them on screen more slowly. Besides mechanical adjustments, I had some qualms with the music I chose for this piece. Many of these qualms came from wanting to re-create my spoken word poem. When I perform this piece, I feel so empowered because while parts of it are sad, there are other parts that touch on working towards a place of accepting my body and vision loss. The music I chose is incredibly sad, but my class thought that it fit the piece. I worried that the music didn’t fit the beginning of the piece when I’m talking about being a gay and wearing ‘boys’ clothes. However, I now like this music at the beginning because it provides a foreshadow and a warning sign.

Space Oddity

sunWhen beginning this project, I found John Whitney’s motions graphics that have triangles layered over top of one another. I love simple geometrical patterns. I then created a mood board. It included a lot of geometric triangular and square patterns as well as black and white patterns. When I looked over my mood board, it didn’t feel ‘space-like’. I went back to try and search for more space-oriented images. I was drawn to the magentas, purples, and blues of nebulas, but was worried about trying to re-create these images on After Effects. The combination of a lack of software experience and a prompt made me nervous, but the next day, I was staring at my phone case which has a sun on it. I immediately decided I would start with creating a sun. I wasn’t in love with this idea because I thought it seemed too obviously aligned with the theme of the prompt. However, I saw it as a starting place. sun My process revolved around sketching images that pulled from concepts in images online and then thinking about what tools in After Effects I could use to make my ideas come to life. I found an image online that had vertical black and white striped lines, so I sketched an image of a sun with vertical stripes on top of it. I figured I could use a repeater to do this. This idea later morphed into the kaleidoscope effect with the white strips on top. During the beginning of my process, I focused on using the tools that were required for my prompt such as a repeater, trim paths, a kaleidoscope, and a fractal. I used these as a base that I later built off of.  For example, originally, the sun wasn’t textured, but just solid color. I thought it looked too simplistic, so I added the Scatterize effect. Later on, I found the Starburst effect which was a pivotal moment for me. It looked just like the speckles of a galaxy. I figured this effect could be re-occurring and a sort of back up plan for if I couldn’t figure out to create a space-like feel in other parts of my motion graphic. However, it became something that wasn’t a back-up plan anymore, but something really intentional, and one of my favorite parts of the piece.kk   There are a couple parts of my motion graphic when motion completely stops. I’ve realized this doesn’t work. It seems un-intentional and glitch like rather than purposeful. The parts that work best are when I have a combination of different kinds of motion. There’s a moment when I have the Starburst effects in the background with the Kaleidoscope effect on top. They both move at the same time in different directions, making the images more dynamic. bk Art can be intimidating, especially a 3-6minute assignment after struggling through just 20 seconds, so I found it really helpful to give myself time limits. When my timer went off, I moved on to the next part of my video. I continued in this way until I had 3:00 minutes. I spend a solid few days on the first 30 seconds of the video because I wanted it to be perfect before I moved on. However, I found that it was more productive for me to create a rough draft of sorts the way I do when writing papers and then to go back and focus on specific parts of the video, perfecting that portion. After creating the base and making specific sections as perfect as I could with the time that I had, I worked on the transitions. I had really harsh transitions that I wanted to smooth out. I played around with opacity and scale to do this. I’m still not completely happy with my transitions, but I plan to continue working on them. While making this graphic, I realized that 1) transitions add time and 2) I don’t need a new idea for every second of the video. A good chunk of the video was a merely the kaleidoscope effect, I just altered the size, scale, opacity, and color. I learned that I could use the same shapes and effects repeatedly if I just altered one aspect of it. Like most things, starting to make a piece of art is the hardest part, but I continuously learn that I have to just see what happens, explore the software and click undo if I don’t like how it comes out. I’ve also realized spending less time imagining images in my head and more time actually in the software seems to be more effective.   Screenshot 2018-03-09 19.09.37

Digital Tools: The Art of the GIF

  TWEENED-polka-dot-gif-in-making I had nothing more than a few hours’ worth of Photoshop experience at the beginning of this course. Since creating an animated GIF was one of the first assignments, I had to spend a large chunk of time learning the software, becoming frustrated, and then attempting to learn it again. I am a complete perfectionist, but one thing that art assignments continue to force me to is to let go of my perfectionist nature and to instead explore what the software allows me to create. While making these GIFS, I found a few different brushes that I really liked, ones that if I enlarged, created patterns almost a stamp. This is how I created the Polka Dot GIF. For the Purple & Orange GIF, I used a wallpaper and tile that I made for previous assignments. The wallpaper began with a drawing. My sole goal with this drawing was to practice using the brush tool, but my professor advised me to select one piece of the drawing and create a wallpaper with it. I used this piece to create a pattern overlay which became a wallpaper. I wasn’t a huge fan of this piece of the drawing originally, but I love it when it’s smaller and repeated like it is in the wallpaper and GIF. TWEENED-flower I really did not have a plan for this project. I had a ‘just get it done’ mentality, which probably wasn’t the best thing, but now that I have more experience with the software and am caught up to the level of the rest of my class, I can spend more time with the details of my art. I can create pieces and then go back and revise them, but I think it took just completing a few assignments for me to be able to get to that place. My art-process for this class has been less planned out, which is completely out of my comfort zone, but I’ve learned that it works better for me to have maybe a slight idea of what I want my piece to look like, but then to be flexible and see what I can create digitally. It doesn’t always exactly match my vision but usually, I like the end-product better anyway.TWEENED-purple-and-orange Another part of my process was trial and error. I had to spend time just playing and experimenting in Photoshop and I had to learn what patterns and colors appealed to my eye. I prefer GIFs that don’t have too sharp of a contrast in color or pattern, which I learned by making a GIF that I absolutely hate. One layer of this GIF is blue & orange and the other is a layer from the Polka Dot GIF. The combination of a drawing that doesn’t appeal to me, two vastly different patterns/designs, and a completely different set of colors made this GIF one of my least favorites. On the other hand, I’m proudest of the salmon background GIF and the Flower GIF because the colors change slightly, while the pattern remains very similar. Through making the Polka Dot GIF, I also realized that I often like images that are symmetrical and have a sense of order to them.  

A Guide to ‘Sarah Lawrencing’ 2.0

fullsizeoutput_16f3My aim in revising this project was to receive a significantly increased amount of participation from viewers. I wanted this second version to be physically bigger in terms of font and poster size and in a space that would receive more traffic. I wrote ‘A Guide to Sarah Lawrencing’ in font size 600, and ‘Add Your Method’ in 500. I chose the yellow wall, a sort of hub in Heimbold because of its location next to the café. I hung up six copies of my poster, which I used in the first version, scattered throughout a section of the yellow wall. I put a piece of paper that gave further instructions right under ‘Add Your Method’. I hoped that placement would be natural for a viewer’s eye to read the titles and then look below to see the instructions. The cut-out letters originally were just because I did not have paper large enough to fit the whole title and I didn’t like the look of a bunch of 8.5 X 11 pieces of paper next to each other. However, I later realized that it added to the DIY nature of the project, made it arts & craft-like, and potentially convinced more viewers to participate because it was hand-made and not perfect.


  At first, I didn’t provide tape, sticky notes, or a sharpie due to the disappearing materials in the first version of the project. After a suggestion from the class, I put a sharpie and a roll of tape onto the string that I then hung up on a thumbtack. These materials never disappeared because they were much more clearly a part of the project. My peers have used everything from scraps of notebook paper, index cards, sticky notes, and even the tape I provided to write their methods. The texture of all these different materials is something else that adds to the DIY nature of the art and makes the project accessible. My peers were able to use whatever materials they had on them.


We’ve talked a lot in class and in conferences about ensuring that one’s art does not hurt the feelings of viewers. I was doing pretty well, until this version of ‘Sarah Lawrencing’. During the last couple days that my art was installed, I found comments such as “Take this down” and “This is mean! I don’t like it!” on the yellow wall. These comments do not feel directed at ‘Sarah Lawrencing’, but at my art. I panicked when I first saw them, severely worried that my vision wasn’t coming through in the installation. At the same time, my art is not original and does not come from me, in the sense that everything that I wrote on the poster, came from actions that I watched peers take. It came from a social culture at SLC. Maybe these comments were a defensive response to a reality that my peers do not want to face. Even if I had removed my installation earlier than I had planned (It was only up for a week anyway), ‘Sarah Lawrencing’ would still occur constantly on this campus. However, I also do not want viewers to see my art as mean or cruel, when in fact I see ‘Sarah Lawrencing’ as rude and mean, and therefore am attempting to combat it. There are clearly peers who do not understand my aim with this art, yet the majority of the sticky notes are positive, funny, and understand what I am asking and what my goal is. If the majority of viewers understand the art is that enough? I realize I cannot please everyone. However, there is a difference between someone not liking my art because it doesn’t suit their personal style versus someone finding my art offensive or rude. It was mentioned in class that in order to get someone to care about a serious issue, you must first make them laugh. I see this project as doing just that. Comments such as ‘Take this down’ seem to want me to speak about ‘Sarah Lawrencing’ in a serious manner, but I see that as the next step, not the first.


One viewer went so far as to post an 8.5 X 11 piece of paper on top of one of my posters. They wrote, “Can we love and appreciate and enjoy this community of awesome people rather than be petty and endorse negativity <3 for this SLC community”. The placement of their commentary intentionally on top of my poster, signifying that they see my poster as “endorsing negativity”. What this viewer is asking cannot happen until SLC combats ‘Sarah Lawrencing’. It’s interesting to see that these comments are less of an attack on ‘Sarah Lawrencing’ and more of an attack on my art. Do these viewers respond just as strongly when they witness ‘Sarah Lawrencing’? I highly doubt it. My posters were very clearly sarcastic and humorous. This commentary is all part of working in public space. Since, I am asking viewers to engage, it is at their discretion what to put up.


There are still other viewers who put up messages on the polar opposite side of the spectrum. They wrote comments, such as ‘Pretend like I don’t care about y’all, cuz I don’t’ or ‘perhaps you shouldn’t take something as minor as not being “seen” so personally’. However, being seen is imperative to fostering community. My art was part of a much larger conversation on campus climate and social life.


A Guide to ‘Sarah Lawrencing’


This project began with a poster that Andrea Gibson created, listing ‘Things that Don’t Suck’. They bring this poster to their poetry shows, leave sticky notes next to it with a sign asking audience members to add their own items to the list. I wanted to hijack this idea of a list with sticky notes. I settled on the idea of a project centered around ‘Sarah Lawrencing’, which speaks to the broader social climate on campus. I’ve complained about ‘Sarah Lawrencing’ and the broader social scene since I I started at SLC. I noticed that almost everyone I spoke with hated this culture also. I kept questioning why it still existed if some many students found it to be so negative. I felt that the idea of ‘Pillars of Support’, which is in Beautiful Trouble, spoke to this. The premise that large numbers of people comply with systems, forgetting that they have the ability to withdraw their consent from the system at any time. Virtually everyone I know, including myself, has ‘Sarah Lawrenced’ someone at least once, and yet we are the same people that complain about it. We complain about the action, yet we simultaneously comply with the action. I’ve noticed that once individuals enter a space, they mimic the social norms of that space and ‘Sarah Lawrencing’ is just another social norm.

Claire Bishop describes Tiravanija’s communal Thai meal exhibit, which he says only becomes art when viewers actively engage with the food and the artist, and other viewers. His main goal is to create a relationship between himself (the artist) and the viewer, so when the viewer is passive, this goal fails. This idea of collaboration and viewer participation was something I wanted to include in my art. I was nervous to create something that was completely reliant on other individuals, because the chances of the project failing were higher. However, I knew that if viewers did not engage with my art, then it would only speak to the very culture on campus that I was trying to change.


Originally, I wanted to be direct and serious. I planned to ask viewers straight-up, “Why do you ‘Sarah Lawrence’ your peers?”. I did not have any intentions of using humor, but after receiving feedback, I understood that this might turn viewers away. I planned for the entire project be made up of sticky notes, but during conference it was suggested I draft a poster to center the project. I attempted to make the poster as ironic, humorous, and ridiculous as possible. I also wanted it to emulate Sarah Lawrence marketing. I used the same font and colors as official SLC pamphlets, and I put a picture of Westlands as the background.

I hung the poster near the T.V. that is next to the yellow wall. I had copies of the poster (flyers), sticky notes, and a sharpie that I placed on the ledge below the T.V. I put a sticky next to the poster that said ‘Add your own method for ‘Sarah Lawrencing’, and another one next to the flyers that said ‘Take one please’ with an arrow pointing to the copies of the poster. The next day, the sticky notes and sharpie were gone. After talking to members of the class, I realized that my peers read this sticky note as an instruction to take any of the items on the ledge, rather than just the flyers. I went back and wrote ‘Do not take any items off this ledge. They are part of an art project’. This had better luck but a couple days later my items once again disappeared.


My peers did not participate in my art as much as I hoped for due to the location, disappearing materials, and ineffective communication. First, my installation space was not intended for art pieces. The ledge that had my materials is a space for functionality. It is where my peers place their laptops, books, etc. The wall is a space for posters, but my art was not just a poster, it was a poster that required participation. While this installation location did not spark participation, one advantage to this space was that people read my work as a regular SLC poster. My artwork blended in which further perpetuated the idea that this poster was one that a department of the college made. One individual even hung up another poster that overlapped with mine. Second, for the majority of the time that my project was up, the materials were gone. Third, even when the materials hadn’t disappeared, my peers did not understand what I was asking. My instructions were on sticky notes so they blended in with sticky notes that my peers had written on. Also, viewers would only know how to participate if they were less than a foot away from the poster due to the size on the font, sticky notes, and paper. While many of my peers did not add their own methods, I did see them take pictures of the poster or laugh at the poster.

A Reworking of Aunt Jemima aunt-jemima-logo I first heard about the racist history of Aunt Jemima in Alwin Jones’ Black Life Matters lecture last year. This year, Komozi Woodward also brought up this history in his lecture. He explained that the advertising used was that of a ‘slave in a box’. After brainstorming a list of possible images, I settled on Aunt Jemima. Originally, I wanted to remove the smile and pearl earring, swap in a wig, and change the coloring of her face so it wouldn’t look so light and glowy. The lighting made her appear like she was wearing makeup. I wanted to alter the image to create one more closely aligned with the realities of slavery. My second idea was to take an image of Georgina, one of the lead characters from Get Out, and make that the new Aunt Jemima image. This option felt like the easy way out, the way to get around using Photoshop, a program I had no previous experience with, so instead I returned to my first idea. I spent hours trying to learn the tools of Photoshop and apply them to my photo. I would often try to use a tool and the result would look nothing like the tutorial I had learned it from. I emailed the image to myself but lost layers of the photo in the process. I eventually learned from a friend that I needed a flash drive and I needed to save the image as a tiff. 1 The next class was coming up quickly and I did not have an image I was satisfied with. I had a vision in my head, but I could not figure out how to make my idea appear on my computer screen. Two days before this class met again, I realized that if I were to go through with my first idea, I would be creating an image that already exists. I would be exchanging Aunt Jemima with the image of slavery that you would find in a Black history textbook. Both my original and second ideas relied on a pre-existing image. I realized my first idea was just another easy way out. At this point, I had removed the pearl earrings, and all of Aunt Jemima’s hair (in preparation for a wig). I had eased some of the ‘smile lines’ and turned the image into Black and White. I planned to leave my image as is and ask for assistance from the class. I saw the current version of my image as pure trash. In fact, I almost deleted it before class. Shockingly, I received overwhelming amounts of praise from the class, so I made some minor changes, and then decided it was final. I printed the image onto sticker paper and cut them out by hand with scissors. I then went to a few different stores including CVS, True Value Drugs, and ACME. I couldn’t find Aunt Jermima products at the first two, but I placed the stickers over the original Aunt Jermima images at ACME. Aunt Jermima’s image is on two different spots on the box of the pancake mix. My sticker was a bit too small for one of the spots but fit perfectly on the other spot. 2     I was heavily inspired by Shephard Fairey’s Sticker Art and Mark Vallen’s critique of Shephard Fairey. Although I appreciated the replicability and accessibility of stickers that Fairey described, I lost respect for him after reading Vallen’s critique. My impression was that Fairey was quite self-absorbed. Vallen described that after Fairey was busted for plagiarism of a White Panther image, Fairey made a joke about it and said “I wish all my busts ended that well” (Vallen, 6). Although Fairey alters images to create something new, he begins with a pre-existing image. Fairey for example, took an image advocating for the liberation of Puerto Rico, took in out of the context of Puerto Rico and into the context of the Obey slogan. This isn’t inherently plagiarism. This is similar to what I did in altering the image of Aunt Jemima. However, Fairey does not give credit to any of the original artists. Fairey’s view on race and graffiti culture also rubbed me the wrong way. “I was somehow convinced graffiti was something you had to be born into, like a Black or Hispanic mafia” (Fairey, 2). The use of the term mafia seems like an insult. Fairey fails to mention that graffiti is a part of Hip-Hop culture which is a piece of Black and Hispanic culture. If he is going to engage in graffiti culture, which some would argue he should not be doing at all, then he must understand where that culture comes from. Also, it makes sense that he does not feel like he will fit into this culture, because it is not his. I hijacked an image that mocked the conditions of slavery. I did not use humor in my image, because the original image used humor and it did not work. It is what made the image so offensive. Another reason I rejected my original idea was because the image of slavery is shown so often that individuals become desensitized to it. It is also not my place to put that trauma on display. Additionally, my final image, which peers described as ‘ghostly’, better communicated my message which was that individuals need to re-think the implications of Aunt Jemima. The ghostly nature drew on inspiration from Get Out, but did not steal a pre-existing image. Throughout this project, I had to figure out which of my ideas would communicate my message while maintaining originality.