It is evident that this is one of Gillian's best projects. The project, however, had its shortcoming especially in its development, For instance, the transition from photography to the film is quite difficult, and some of the scenes might not work quite well. This is evident in the scene with the woman eating chips in her car. Three shots were required for the film; two of them were a success, but the camera did not come through as perceived in the last shot. Framing is also an important aspect of the work. It is evident that individuals have a choice in the picture that makes them feel good; something referred to as editing. Getting a good frame was essential for the film required the use of a big lumpy camera that lacked the quality of lightness of a still camera. Gillian tries as much as possible to ensure that her work remains more of a photographic shoot rather than a film shoot.
In the snapshots, the artist attempts to separate the imagery at the beginning of the filming and make it more aware of the actuality. The aim of the artists was to ensure that each of the displays looked different from the other. When it comes to the decades, Gillian develops a strategy to ensure that each specific time is well characterized to ensure that it does not show the same individual feeling different things; the emotional aspect of the scenes are well constrained to display of a certain emotion per individual in the scene.
From the view of the shot of the film, it is evident that they have a daily, average characteristic with an added twist of a documentary feel to the scenes. This is because of the snapshots, without focusing on the aesthetics, involved choosing images that are quite nice. The intention of the artist was to capture individuals in their best moments and to accomplish this, he had to make sure that they were in a good mood. Hence generating the best snapshots for Gillman's work involved making an observation on people's mood.
According to Gillian, she envisaged her final work on the free standing wall, on plasma screens covered with frames around them. Her work at one point seems like they connect yet at another point they don't. This is because each of the images portrays an image of a woman that is in isolation; this is in exception of the one image of the woman with the baby which also lacks other characters in it. Moreover, photographs are quite intriguing and interesting in such that when they are displayed all together, you get a chance to view them all at once. At this point, it is possible to concentrate on certain pictures more than others. The really interesting part about Gillian's work is that you can look at her photography over and over again and still not get the entire story behind the picture. However, despite not getting the entire concept or story in her photography, the relationship depends on how one compensates and constricts the situation or the story around the edges to fill in the missing gaps.
This piece of work is quite ambitious as seen by the artist during its creation. We see Gillian's brilliance in her artistic work. Gillian uses visual art to contribute to the process of identity discovery. She portrays the different story, different themes in her photography and as earlier said, it is interesting that one cannot figure out the entire story from the photography. The piece does achieve its main goal of portraying loneliness. The transition from photography to the film is also splendid especial the use of voice over which further emphasizes on the concept of loneliness.
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