muschimaedchen

When I started putting together my first mockup-magazine I realised that it is a really long and complex process to get to your final piece.  Only concentrating on my Research and I actually believed that I could just put together the magazine in one day to have it ready for the presentation. After I had to desperately look for imagery that I could use for my magazine I had to confront the truth. I didn't do enough for the past few weeks and especially lacked photography. In my proposal I wrote that my final outcome would be a visual documentation, after experimenting with film in the first few weeks I decided to make a magazine since photography was my strength and I wanted to produce something you could physically engage with.   When I presented my magazine in the crit and my tutor for the first time the most noteworthy comment was that my photography was much stronger than my collages, therefore I decided to make my magazine solely a collection of editorials that would inc

After changing my customer my work and research were based on 48 to 55-year-old women. Still, I wanted to produce a magazine which actually suits much better for my new customer. The group crit outcome was positive and they said that there is a narrative I couldn't agree as I felt lost in my own work.  Talking to my tutor I realised that all my work was based on my family story and also it's presence. Of course, not everything is directly linked but in a way, it's either related or memories build up towards the ideas.   The updated concept for my magazine is, therefore "my family after the war". Still aiming for a better communication between all three (mainly my parents and my generations). To process and understand my families history and traumas. The magazine will include photography as a response to customer surveys (for example the orange man) and research on topics (for example Meret Oppenheim, Bauhaus) they are interested in.  Customer Profile 

Throughout the beginning of my project, I researched my own family history. One matter was repeating in all stories and experiences I record: Exclusion. My family has always worked in the meat industry. It is a tough business, they worked hard in order to feed a big family. 50 years ago people were going to a butcher to get good meat, supermarkets rarely existed. After setting up a party-service the family expanded and the business became more lucrative. Portait of my mum's family In the village, everyone knows each other, people talk about each other. Constant tensions and rumours about everyone. My family became wealthier but they still had the same reputation of being "simple" people. They were not expected to be sophisticated or educated. Throughout the years they expanded more and more, moved into a giant house, bought new cars and expensive clothes. The people in the village started talking, were jealous and treated my family really badly. My grand

For this project, I've infiltrated daily to-do-lists but having ADHD just makes me write more and more until I start losing the overview on my lists until they get lost in my little book.  Learner planner really help me to create targets for the whole week that I will be able to meet. It's easy to split them up into daily doses that I can literally tick off now.  Therefore the first and most important thing this week is to meet my timeline of targets and constantly checking if my final piece meets my customer (via Q&As)  Learner Planner for this week

Vergiss mein nicht (forget-me-nots/myosotis). This little shooting is part of my Bauhaus research, especially inspired by its photography.  M ost influentially by László Moholy-Nagy who was a lecturer at Bauhaus 1923 to 1928. He was the universities media genius, experimenting with light, film and photography. Later on, he was together with Walter Gropius founding the New Bauhaus and its successor the American School of Design which is today part of the Illinois Institute of Technology (IIT).  "The enemy of photography is the convention, the fixed rules of 'how to do'. The salvation of photography comes from the experiment."  - Moholy-Nagy He was shaped by  shaped by  Dadaism ,  Suprematism and   Constructivism, a  modernist and a restless experimentalist.  By going through the book "Photography of Bauhaus" I discovered his work, especially inspiring to me was his use of shadows. Shadows of objects on bodies but also bodies which shadows t

  For my FMP I decided to utilise my room as a visual diary, being constantly surrounded by my work really helped me to make connections between research topics and responses. Not being limited to a certain scale also increases the volume of things that can flow into it because you’re not forced to edit the raw imagery or encounter. The wall doesn’t only have to be 2D, technically I can include absolutely everything. I prefer having themed corners within my wallboard, so it almost works as a jigsaw. As an example I recreated one page in my sketchbook that shows all the things I collected within one day, all (coincidentally) religiously themed. When we left the house a priest gave us those prospectus, at the car-boot sale I found a dia from the last supper and after lunch I found this rather bizarre sculptured of a capitalised Jesus. Making all these connections is like  training for research, really inspirational and helps me to organise my work.