In this second draft of my self-portrait, I wanted to continue with the idea that the two places I have lived (New York and New Jersey) have had different (but equal) influences on me. However, with the help of crit and conference, I realized that my first map was more of a collage of the different aesthetics of these two locations, rather than a map of these place’s influences.
In order to make this draft of my self-portrait a map rather than a collage, I added rough, hand-drawn sketches of my bedrooms in each location to represent a sign system. There are multiple locations (and therefore multiple bedrooms) because of the amount of times I have moved within both states. The size of each sketch is relative to the amount of time lived there (which happens to coincide with the amount of influence the place has had on me). “UNKNOWN, NY” is a glimpse toward the future, as I know I am going to be moving apartments within New York City in the next few months. This unknown location is already slightly affecting some of my life choices, therefore influencing me in the present, despite the uncertainness of the place. The text within each room are words that represent my feelings towards that place and how they have affacted me.
The connective system shows which places are related in the terms of “moving house”. In the period of the last six years, “home” has been multiple locations at once, and the lines of pictures that cross between the rooms represent which houses I moved directly to and from. The pictures that make up these lines are representations of each place, what I think of when I think of each individual location.
The background of the map is how one is intended to differentiate between positive experiences of moving and negative experiences of moving. The darker the background gets, the more sad or traumatic the loss of a home/house was. For example, the move between Galloway, NJ and Manhattan, NY was a time of sadness due to the relocation to a new place from a childhood home.
Ideas that were discussed in the class readings, such as the fact that maps give us a type of reality that allows for a deeper understanding of specific individualistic ideals deeply influenced my own self-portrait. The idea that maps give us a sense of identity is an important aspect that I wanted to portray, especially because of the quote “mapped images have become essential to our sense of the world, to our place within it, to much of our identity” and “even our sense of coming from a particular place. . . to our sense of who we are, of what we’re doing, of where we’re going”. The aspect of a place’s importance in relation to an individual is something I wanted to show accurately. This self-portrait is a map because it proposes the idea that the relation between various locations are negative or positive/neutral in a personal sense. The map discards geography and time in order to make a statement about the influence of movement from one place to another. Through the display of specific rooms the represent different towns, and color-coded connective lines, the map makes the journey of movement between various places within NY and NJ (through my feelings toward these experiences) visible.
Artist References: Monica De Miranda-In the back of our hands and Jeannie Thib- Georaphia. In addition, the class guest speaker provided inspiration for the idea of mapping out rooms in houses:
While conceptualizing my second iteration of my map, I chose to focus on the way in which idea/memories are filtered, curated, and relegated into the projecting ones decisions into the future. The way in which, one reflects or applies hindsight to decisions, writes most of the equati on for how their future is shape, this is true besides for the element of chaos which in unaccountable in life.
I wanted to use the idea of a growing viral body as my map. The virus breeds and certain of it s offspring grow bigger, and others lay dormant, described in white circles, the bigger the size just means the amount of time spent in consideration, the density of these ideas describes the
I decided to make a semi natural background, using tones which can be found in nature to translate this effect. I then assigned connective paths which are pointed into infinity. Then I have three separating boundaries which stem from the map boarder and are on the closest plane to the viewer.
The boundaries are “Out of Consideration”, “Experiential Boundary”, and “Perception LIne”, each of these separators define the actual decision to see or not see, or choose not to include ideas and experiences in future decisions.
The map is then broken up into another level of separations: “Future”, “Past”, “Present”. I wanted to add this axis for analysis to provide another aspect of my own thought process, and what weighs in on the actual decisions I make towards the future.
My map proposes a way of considering ones linear history and experiences in a new manner, one which is personal to me. The negation yet proclamation of my important past emphasize something personal about me; my tendency to avoid specificity, which is certainly clarified by the white circles. My map makes visible this very contradiction in my own persona/ality. Being human is about revealing clear contradictions within self. Mine is that I know what I am doing, yet still doing it.Woods, describes the function of clustering and connecting seemingly disconnected aspects of a map. I also appreciate her notion of a system of signifiers. The artists who influenced me from the readings: Emily Ginsburg and Jane Lackey influenced me most. Their use of minimal color and creating abstract patterns with underlying narrative maps, gave me direction. “Both used ideas of the invisible, ephemeral, unseen, and cerebral in the creation of a map”, as I said in my first post.
My self-portrait is a representation of the division between the places in which I have experienced increased growth, without taking into account the amount of time spent living at each location, as time or longevity is irrelevant in regards to influence of place. The two locations (Southern New Jersey and New York City) have completely different aesthetics: one is consumed by green foliage and marshland, the other is made entirely out of concrete and lights. The influence each place has had on my interests and personality has been incredibly different and frequently contradictory. This is the reason each location is represented as separate limbs, both being displayed on an arm and a leg. The difference between the two is clear when analyzing the map, and the significance of each site located on the outer body parts indicates this division, one that pulls the self in different directions. The head is filled with imagery of both locations as a representation of the combined (yet still separated) influence and the slight chaos that is felt because of it. The connecting system is the fruit strewn on the street which is an indicator of the constant travel between the two places and a representation of the fact that despite their differences, the two locations are connected on both a personal and geographical level. This connection system is a representation of the incorporation of the more natural vision of S. Jersey slabbed across a New York City Street. The middle of the body is left blank in an attempt to display the fact that these two places have not entirely consumed the individual and there is room for growth.
Ideas that were discussed in the class readings, such as the fact that maps give us a type of reality that allows for a deeper understanding of specific individualistic ideals deeply influenced my own self-portrait. The idea that maps give us a sense of identity is an important aspect that I wanted to portray, especially because of the quote “mapped images have become essential to our sense of the world, to our place within it, to much of our identity” and “even our sense of coming from a particular place. . . to our sense of who we are, of what we’re doing, of where we’re going”. The aspect of a place’s importance in relation to an individual is something I wanted to accurately show through this map. In addition, this work is categorized as a map due to the fact that it was made the same way many other maps are made; works that are used for people to “discover their minds and to connect themselves”. This self-portrait links two geographic locations in addition to providing a more individualistic and personal example of specific influence, which automatically gives it authority over the various territories it discusses in relation to the individual. My map proposes that the two locations are directly related through myself, the individual, due to their simultaneous influence and geographic proximity. It shows this relation as well as the chaos that ensues because of the vastly different aesthetic properties and the intensity in which each the two places display through their various forms of expression.
Jeannie Thib- Georaphia
The separation of the gloves while still showing a consistent terrain was an important influence in my self-portrait, as the separation between place through the body, or body-like objects is something I attempted to convey in my own work.
Monica De Miranda-In the back of our hands
The aspect of a map being represented on a hand (or a body part) was an influential piece to my own self portrait because it shows a direct relation of a geographic location to the human body, through the eyes of the individual artist.