Stephanie Janyk, studio class

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I think about vulnerability a lot, being vulny [1]. To be vulnerable, is to feel compassion. And to feel compassion, is to feel along with others, to feel and understand another's emotional state, which allows us to be sympathetic. Maybe if all embraced the Vulny within them our world state would be something quite different? This is not necessarily being emotional or over dramatic (unless it is for entertainment). Vulnerable is about an opening up to another space of existing one that exposes an honesty about the qualities that unite human beings. We all get a little Vulny sometimes...

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Installation piece Aitken, Doug

I enjoy putting myself in situations, in which I may be judged for how I look or what I'm wearing. This is one way I attempt to make myself vulnerable to others because fashion, a lot, for me is showing your inner feeling or spirit through clothing, on the outer part of your body, rather than just keeping it inside. I guess it could be seen as a type of public performance. When I wear something strange, Uber fashion forward, paint my face while in public, push visual boundaries it seems to expand peoples thoughts of what could be the norm. It is important to discuss the fact that I do this in the Chicest! way possible. If you look kooky but with an eye for detail and presentation many will seem to except your look as the norm, next thang ya know everyone of all ages is painting whiskers on their faces, everywhere ya go. As an example, and in regards to "kitten Face", last year I filmed a piece in which I painted my face as a kitten and immediately afterwards, had to meet up with friends in english bay. We were filming in a park and I had nothing to wipe my face of with so I rode a slightly busy sky train with a kitten face in and a vintage fur coat. That day was a delightful day! Nothing like acting like nothing is a matter, while wearing a kitten face by yourself in public.... and seeing how many people can't help but crack a smile.

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Fashion Freaks. Inspiration http://www.youtube.com/watch?v=nWKTfqivbRQ

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Test: Hedge - walking shot - character POV

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Test: Hedge - Main walking shot

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Test: Hedge - spooky in the dark - Character POV

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Test: Close up of Hedge - Looks like lace.

Love & fashion. Obsessions. Objects if desire. Men as objects of desire. Writing towards a script...

We seem to spend much of our time in movement with other people, on our way to work etc...so we are constantly performing ourselves, enclosing ourselves and fashion is a massive part of this interaction because much of the time when we get dressed it is in order to go out into the public sphere, so this is how you are choosing to be portrayed, this is why mirrors exist, we are everyone is aware they are being seen if we rely on this one and only true love of another for survival life somehow looses all it’s fun.

We never own one another we are entrusted, that’s how it is with beautiful items of fashion they are themselves their own being, loving fashion and men are actually very similar they are both beautiful specimens whom are entrusted to us and we to them, but it would be much easier if one could purchase a beautiful man like a very expensive pair of beautiful Prada sunglasses, you would save up for them for a long, long time and all the hard work to get them is worth it, when you put them on for the first time, they feel fabulous, unique! Chic! Un-real but love is not like this it does not sit on your dresser wait for you to take it out for the night it is frequent sometimes... maybe a curious glimpse from a stranger on a train? or sometimes it is full and long lasting and beautiful but for now that is too much complication, i’ll have it if i want it, love is people, moments, moments that a many times are effected by what you wear and how you wear it.

This is about desire, objects of desire, fashion items as objects of desire they are meant to create the same desire one feels for a lover. like an outfit that one desires, I wish I could say “yes, today I will wear those trousers, that blouse, that ring, those shoes, and that man! now wouldn’t that be nice. but alas this is not so but if one looks much deeper in fashion they may find that unlike many men or women (depending on preference), fashion will love you back. cashmere sweaters are just like a warm hug, maybe loving fashion and being a fashion freak is foolish and immature, but it is the most wonderful escape from reality, fashion is political, artistic, historic, inventive, insane! rude, abrasive, scary and absolutely beautiful. there is no better palate than your own body, it's about composition, the transformation of the body through clothing,


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Thinkin bout this...


Oh, ok I see, you think this has nothing to do with you. You go to your closet and you select, I don’t know that lumpy blue sweater for instance, because you’re trying to tell the world that you take yourself too seriously to care about what you put on your back but (breathe in) what you don’t know is that, that sweater is not just blue, it’s not turquise, it’s not lapis, it’s actually surullion, and you’re also blithely un-aware of the fact that in 2002 Oscar De La Renta did a collection of surrulian gowns, and than I think it was Yves Saint Laurent, wasn’t it who showed surrulian military jackets, I think we need a jacket here. and than surrulian quickly showed up in the collections of eight different designers, and than it filtered down through the department stores, and than triclked on down into some tragic casual corner where you no doubt fished it out of some clearance bin, however that blue represents millions of dollars and countless jobs and it’s sort of comical how you think that you’ve made a choice that exempts you from the fashion industry when in fact, you’re wearing a sweater that was selected for you by the people in this room, from a pile of stuff.




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Spinnin in circles, Think I just saw Steve Urkel, My favorite color used to be purple, In the harsh light of the club, We all look like thugs, Of the night, Hold on tight, This might, Be a bumpy ride, I’ll confide, So complete your lies, I’m all smiles and sighs, You’ll treat me like a prize And I’ll spread my thighs, Conspiracy theory, Feelin so weary, I fear thee, But hear me, Behind closed doors, Women they call whores, Sometimes in threes and fours, But more importantly, For you to see, With your own eyes, Stop flippin fries, At the local burger king, Ring ring, Wake up, Have a cup, Of coffee, And think, Would your morels sink? Just one link, Away, Pay, Here is where I cannot stay, Always distracted by the need to get laid, Lust or bust, But I concur that I must, Not trust, But make a fuss, Wishin it could be enough, Fluff, Your hair, Never too aware, Stare, Bare, All, They’ll make you fall, But stand tall, If I recall, You are not small, Complete the call, Believe in it all.



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NEW BLOG POST. MY FASHION BLOG. HOLLA. http://comparisonends.blogspot.ca/2012/04/denim-day.html


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THE LONGER I LIVE, THE MORE I REALIZE THE IMPACT OF ATTITUDE ON LIFE. ATTITUDE, TO ME, IS MORE IMPORTANT THAN FACTS. IT IS MORE IMPORTANT THAN THE PAST, THE EDUCATION, THE MONEY, THAN CIRCUMSTANCES, THAN FAILURE, THAN SUCCESSES, THAN WHAT OTHER PEOPLE THINK OR SAY OR DO. IT IS MORE IMPORTANT THAN APPEARANCE, GIFTEDNESS OR SKILL. IT WILL MAKE OR BREAK A COMPANY… A CHURCH… A HOME. THE REMARKABLE THING IS WE HAVE A CHOICE EVERYDAY REGARDING THE ATTITUDE WE WILL EMBRACE FOR THAT DAY. WE CANNOT CHANGE OUR PAST… WE CANNOT CHANGE THE FACT THAT PEOPLE WILL ACT IN A CERTAIN WAY. WE CANNOT CHANGE THE INEVITABLE. THE ONLY THING WE CAN DO IS PLAY ON THE ONE STRING WE HAVE, AND THAT IS OUR ATTITUDE. I AM CONVINCED THAT LIFE IS 10% WHAT HAPPENS TO ME AND 90% OF HOW I REACT TO IT. AND SO IT IS WITH YOU… WE ARE IN CHARGE OF OUR ATTITUDES. — CHARLES SWINDOLL


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Raps...


fo-get it this time, this love i got for myself, it ain’t no crime, so listen to me and listen real good, I know I’m not straight up out the hood, but ma shiats tight, I mean look real good, in a button up shirt and some dark ass lips you betta treat me right or i’ll Voodoo you bitch! I got hard knox stories tryin chase ma dreams, so if it seeems like I’m gonna run and scream, think again, I got crazy rings as big as yo face, come at me if you wanna taste, of this luxury, cause I’m sure you do, lookin tight while I’m out hangin wit ma crew, in stiletto shoes, While all them other bitches outfits make me wanna take a snooooooooooze!


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This is my blog...a new post... http://comparisonends.blogspot.com/2012/01/2011-memories-part-two.html And this is my tumblr http://personalitybegins.tumblr.com/

Both full of thoughts and inspirations...


My plans for the future of my work has for a long time now been focused on fashion and wardrobe. Being able to tell a story with interestingly styled garments is the element that film adds to my pieces. I haven't yet and may never will, achieve the visions that are in my mind but I would like to continue to attempt. Within this class I would like to create a work that involves a focus on walking specifically the runway walk. The walking would take place outdoors and the physical space would acts as another important element of story. these moments of movement would be in between close up shots of someone putting on rings, bracelets, necklaces, watches, doing up buttons etc. The narration along with the close up shots would discuss a characters particular POV on what getting dressed means to them. The detailed shots with slow calm talking paired with dramatic shots of a strutting model in elaborate attire will create a soft/hard contrast, which are elements that interest me greatly along side each other. What interests me maybe most about pairing the soft and hardness fashion can take is playing with the masculine and feminine qualities. Ones style and how they portray themselves in public is like putting on a costume. It is interesting to me how one can effect peoples perceptions so greatly by the clothing they choose to put on their back. Playing to, or rejecting stereotypical gender roles of masculinity and femininity within ones fashion is an element I want to explore further within this piece and in future pieces. Although there is more meaning to the piece than simply the visual elements, the clothing and accessories are a focal point. I want to be-able to portray the beauty of the flow of the material or the colour, shape, texture of a ring, capture the close attention to detail one takes when dressing with refinement.

Images to come... But here's a link to my blog... [2]

The idea of experimentation, for me is quite simply the willingness to try something new and fail. In this case it seems almost anything could be experimental as long as you weren't being guided by some sort of set of instructions that had been tested previously. Others could argue that experimentation could involve exactly the opposite, to follow some sort of instructions exactly, which I guess when I look closely experimental practice could be any combination of these meanings. It seems that as soon as you try to define the act of experimental types of work they no longer become experimental. With this further observation it could be that the quality of being an experiment is experiential! The viewer is a key factor in the delivery and reception of a piece; one might find a narrative within an abstract form and if so, is this no longer an experimental piece? If the filmmaker takes these factors into mind the vast amount of possibilities becomes endless. I think this is similar to dressing oneself. When one does not understand clothing they must follow trends or advertisements that advise them on what to wear but if one is aware of the possibilities in colour, texture, shape and layering there is no limit to the number of interesting and different ways one can dress.


As an example, the experimental designers in fashion are usually the designers on the so called cutting edge. Alexander McQueen was seen as experimental in the fashion world, at one point staging a fashion show that doubled as an inclosed asylum like structure that held the models inside. The audience at the show was able to see the models but the models were not able to see out, they were only able to see their own image reflected back that them. This fashion show created by McQueen, was maybe playing with the way we look at ourselves, the way in which sometimes we can only see ourselves and not others. Most of all this show played with the typical idea of what a fashion show should look like.

Two excerpts from the McQueen show...

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And like fashion in the world of art, film animation etc. what is experimental is always what is on the cutting edge, therefore this will always be a relevant practice. The people creating these works in my mind are the people creating the trends not following them.


Yvonne Rainer Film About A Women Who... (1974) [5]

This piece as an example of experimental work questions norms within the visual and it’s connection to sound. Both the arbitrary noises layered at the beginning of the film and the narration throughout do not follow the conventional way sound is used in film, in that they do not cause us to make sense of the visual. Along with the unconventional sound scape, the way the shots in the film are framed play with the visual norms within film as well. Subjects in the foreground appear very large and are cut to only reveal part of the figure at times and are contrasted with very small subjects in the centre of the frame. This experimentation with size and visual perception within the film directs the eye to the outer peripheries of the frame. these outer spaces like unspoken territories of the frame place the viewer in a situation they most likely will not be used to. This uncomfortable space for the viewer creates more question and thought than that of your average blockbuster film, which is one of the reasons this work can be seen as experimental. Unlike most films where there could be internal dialogue as well as narration Film About A Women Who... plays with narration and potentially unrelated imagery. This combination causes the viewer to make connections between the imagery and the story being narrated even if the two make no sense together naturally. In a particular image with a women on a beach the story talks of a interaction between a man and a women. You are led to believe only by the placement of both the sound and image together that the women in the narrated story is the women in the film, it is assumed due to the mere fact that both exist simultaneously.