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INTRODUCTION

 

To the second part of the year that we have till may 12 we have to produce work within groups. The project is divided into 3 different briefs and within those groups we will be put to our own collaborative group of 5 people. For this project, I have chosen to do connotation as the brief reads how we could collaboratively conceive of a publication that responds to the perception of these words: Place, Migrant and Refugee. And will explore personal responses, meanings, guides, prompts to the same. As outlined on the brief, we are working to produce a publication.

 

We're looking at development of publication and how we can interact with it with a strong manifesto. I'm quite excited to explore this project, as I've always had quite a keen interest in publications - Publications include all forms of expressions endeavored by artists with potential multiplication in mind, released either by the artists themselves, that is, through self-publication, or by a publisher using automated production methods. I have always enjoyed knowing more on how this plays in the real world just never had as much of an opportunity to explore this in the past! I'm also looking forward to working in groups again. 

MIGRANT – PLACE – REFUGEE

 

After the presentation on artists responds on refugee on the first day of the project. I was more intrigued about the topic place migrant and refugee along with the development of a publication within a group in my mind.


I started recalling a lot of things I knew or could connect to the topic I had read about previously. First thing that came to my mind listening the word refugee was the book I read recently “the lightless sky –my journey to safety as a child refugee” by Gulwali Passarlay. The Lightless Sky is a heart-rending read that illuminates the trouble of unaccompanied minors forced to leave their homes and loved ones. It is beautifully written with the help of the journalist Nadene Ghouri in simple, accessible text. Rarely does Passarlay display self-pity and his fierce intelligence is apparent throughout. He also sheds light on the evil world of the smugglers who treat their human cargo with so little compassion. This book highlighted basically on a refugee’s long, hard road to a new life.
By this time, I was very excited to start my research on such a delicate topic and know more about it.

Richard Mosse

 

Richard Mosse. Image from Incoming, a book of still frames derived from Incoming, 2015–2016 – a three screen video installation by Richard Mosse in collaboration with Trevor Tweeten and Ben Frost. Courtesy of the artist and MACK.

 

I was quite taken by the Richard Mosse’s documenting The Migrant Crisis -new show at the Barbican. Work by Irish artist and Deutsche Börse Photography Prize winner Richard Mosse. Richard Mosse teamed up with electronic composer Ben Frost and cinematographer Trevor Tweeten for Incoming, a striking video installation capturing the experience of refugees and migrants.

Using innovative weapons-grade technology which allows the user to track heat generated by human bodies over 30km away, Richard Mosse has built a powerful, human insight into the refugee crisis across the Middle East, Europe and North Africa in locations including the Aegean Sea, Libya, Syria, the Sahara and the Persian Gulf.

 

By producing these images through a military telephoto camera, Richard Mosse forces his viewer to “see” human bodies in the same way as missiles would. In a critical essay in Incoming, the book which accompanies the exhibition published by Mack, the artist notes that “the camera carries a certain aesthetic violence, dehumanizing the subject, portraying people in zombie form as monstrous, stripping the individual from the body and portraying a human as mere biological trace.”

 

Richard Mosse’s Incoming at Barbican was really interesting to look at for this project.

WORKSHOP – 3 IMAGES 10 MIN SKETCHES CHANGE IN OUR LIFE WHEN WE HAVE MOVED TO A DIFFERENT PLACE

 

With the presentation on artists respond on refugee we had a small quick workshop of 10 min where we were asked to produce 3 10x10  quick sketches of our representation of 3 major change that we have faced when we moved to a different place. 
 

Being an international student has been a major highlight of my life till now. Listening to what the workshop is asking us to do I had a lot of things running through my mind. A lot of things came and passed in these 3 years of me living abroad. 3 things that majorly captured my mind with cultural differences was:

 

  • LABELS– Living alone in a new city, different country sounded very scary at beginning. I started my education abroad by living in London for my foundation degree. I still remember how I was really scared to travel to university alone for the first time. But unlike my home country I found signage and names to street and direction quite easily and reached where I had to before time. Having to find places living here has been quite easy and has made me confident to explore alone.

  • FOOD –  Other major part to the change of place to me has been food. Being a vegetarian and having to adopt to new place includes its food. Fish and chips and western food has also been a focus.

 

  • WEATHER -  one new and funny thing I noticed was British people love to make conversation about the weather because it can be so variable and unpredictable. everyone in the UK should be prepared for all weathers in a day.

FOREINGER

 

John Radcliffe Studio

 

Foreigner: Migration into Europe 2015–2016 is a photography book that documents the lives of people at various stages of their migration to Europe. The book is divided into three sections, focusing on migration to Italy from North Africa, migration to Greece and through the Balkans from the middle east, and the migrant camp in Calais known as ‘The Jungle’.

 

Alongside the photography, written texts serve both as a context, and a means to share the stories of the people we met during the project.

 

The book was created in response to the imagery used in the media to discuss the issue of migration, which we felt was sensationalist, alarmist and was not giving people the time and consideration they deserved. We wanted to approach the subject from a calmer perspective, using medium format portrait photography as a means of meeting the people at the center the crisis face to face.

 

This book examines the relationship of citizenship, ethnicity and international relations and how these three aspects of the State, its people and its neighbors relate to one another. It studies the wide issue of international relations, citizenship and minority discrimination through stating examples of such.
 

Topics of interest were divided into how we would start our research for the first week. Kieran was looking at IRA, Lily at 1960 India and migration taken place then Emma was looking at Suffolk stories, Connie at WW2 migration and I was looking at personal experience stories by refuges themselves about their journeys and how they reached where they are now.

Art exhibit depicts stories of immigration, what it’s like to live between two worlds -  Laura Marcus Green

 

While reading about migration art I came across this picture that took me to a discussion between a reporter and laura marcus green who co-directs in Building Cultural Bridges, a national initiative to and on encouraging interdisciplinary support for refugee and immigrant arts and heritage through publications and community-based workshops. The came across some interesting bits from reading the article. In Santa FE, New Mexico “If Latin Americans are called ‘wetbacks’ for crossing a river/Then what are your ancestors called for crossing an entire ocean?” – Mildred Rodriguez

That provocative question brought up the closeness of a 16-year-old Santa Fe girl’s poem which is just one of the displays intended to invite comment and discussion at the latest exhibit in the Gallery of Conscience at the Museum of International Folk Art.

Asking people for example, what they would take with them if they had to leave their home only with what they could carry. Many answers seen one day mentioned family photographs, while a couple said they would take their cat with them.

Another display asks “What kind of food makes you feel most at home?” Answers written and drawn on paper plates, and pasted on the wall show apple pie à la mode next to Thai Tom Ka Gai soup, spaghetti under “Gramma’s red chile enchilada,” kimchi next to a grilled hot dog, borscht alongside Japanese Teka Ma Ki rolls.

Camurdino Mustafa Jetha’s sculpture “Refugiados”

(Refugees) depicts his countrymen fleeing his native Mozambique during the country’s long civil war. (Eddie Moore/Albuquerque Journal)

 

Camerdino Mustafa Jetha of Mozambique had a soft sculpture that showed his countrymen fleeing their country, bundles of belongings balanced on their heads. “For six years, we endured a civil war that threw my people out of the country,” he said. “This depicts refugees in the search for a home.”

With restoration of normality, his country had worked to set up places of refuge for people fleeing troubles in other countries. He mentioned that his work is intended to “pay homage to not only the people who fled, but to those who gave them succor in times of need.”

 

 

The purpose of this exhibit was that the artists themselves were being brought together to talk about issues of immigration, with the possibility that some of them might collaborate on new pieces of art. And discussion groups were being set up for people from different parts of the community in which they can have a “safe space” to talk about the frequently divisive topic.

The second part of the workshop was to discuss within groups and decided what we wanted our manifesto to be. We all agreed to one final thing and decided our manifesto. Manifesto: "Contextual and social histories of refugee crises, speaking about how the environment that surrounds individual’s conditions ways of thinking"

                                  

To this by the tutor asked us to although we are looking at different aspects there still needs to be an umbrella idea that connects to them and there needs to be a purpose to our publication with a clear message of what we are communicating?

 

After this we knew we had to narrow down. We thought that we should have the umbrella idea of the contrast between the individual connections and views older generations that compare to the connected, generalized, homogenous view that our generation have on the definition of refugee and migrant. This probably meant changing our plans for research before Tuesday where we were going to present.

The group had been in contact with a protestor that has contacts with a refugee camp in Greece which could be useful. Maybe talking to a couple of the Aleppo and Syrian Norwich protestors about our generations view on the crisis would give us a start on what we really were looking into.

 

I decided to do a survey, asking our generation and an older generation some basic questions on this topic. We decided to ask whomever we interview what they would take with them if they had to move like the exhibit in New Mexico. We also decided to take photographs and draw them. Deconstructing them to material and information of where it's front etc.

 

The group had been looking into the IRA, where I watched this Ross Kemp documentary on Ireland explaining the troubles they have over their, regarding bombing, protests etc. Also this made me look into Northern Ireland and the 6 counties. Kieran shared a story of how his granddad came to England from Northern Ireland on a boat that I thought was quite interesting. 

Manifesto at until this time had changed to : To investigate place, refugee, migrant throughout different personal environments

 

 

At this point We had made quite a bit of progress as a group and had started to refine and really think about what we are putting into the publication, we had decided upon three things

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1. Refugee objects

2. Our interviews objects- that they would take with them if they had to leave

3. Famous objects- more of an introduction to how the reader thinks about objects with something they would know.

 

We had kind of planned the format of the piece and were considering the flat plan. We were now probably going to spend the time separately collecting the information recently explained as well as experimenting more with dummies formats to see what works better. I started to look at illustrations as from now everyone had to make a visual contribution rather than having two illustrators. Over the weekend we decided to share each other's work to communicate our drawing style and preferred colors etc.

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Heather day

 

Heather day usually expresses her unusual childhood, during which she moved frequently, ending up in various cities across the United States and even at one point living in Japan. Through her life experiences and changing environments, she finds ways to allow her unique relationship with people and places to manifest in her work.With an optimistic attitude and look to the future, she plans to explore her aesthetic through potential brand collaborations, while vowing to continuously push the boundaries creatively. She described abstract art as "I find it very interesting how abstraction tends to be something people are intimidated by, or they don't know how to talk about it. My goal recently in social media has been to share my work through simple, yet personal posts. I think abstraction is very similar to our reaction to people, painting has a lot of layers just like our relationships with people. You can get as literal or as physical about it, but painting has a unique relationship with colors and textures, and when you look around a little more you begin to see abstractions in everyday life." 

Colour Pallet 
 

We decided to just to put it out and keep the process flowing what colors would we like for the book cloth of the hardback cover. We chose this pallet because it has links to ocean colors as well as the general tone of refugee photography and material

The next step was the name of the publication. We decided to have publication called fabric as it is the connected to the possession we were researching. However, we were happy to discuss if we wanted to rename it.

 

At this point we started to think about structure and format. We had an idea of embossing the title on the hard cover. Although If the embossing is a bit too costly. We could maybe look in to stitching the title in to the cover cloth.

We were just developing flat plans, materials and techniques ready to show on Friday. It was all mostly at rough stages. 

We decided to choose Emma's dad's answer about his iPad as it reflected the general comfort that we have compared to a refugee. The impracticality of it but also the technological advancements made it a good summary of our non-relatable position in the crisis.

 

We're looking at the tablet for the interview section, shoes for the refugee section which Connie is mainly looking at, and the in-between section that folds down is more to do with the idea of fabrics and cloths. Where we decided to have illustrations around those three topics.

Initial idea was that the title inside will also meet the title on the cover. That means us working together so that the "F" fits in to the story on left which was done about the shoes and the "c" fits in to tablets's story on the right. Unless all title only stays on middle. We also thought what if we display different stories of fabric through a comic book like layout on each fold that comes down from the publication

 

We just had to think of how we could possibly make it work now, we thought it'll be easier to have it on the middle bit as well for now and then play around with the idea later. I liked that, so we have an example of the fabric as well as text to go with it. It was going to be like a story of how a purely aesthetic fabric is used, a practical fabric is used and a fabric used specifically for refugee crisis.

Its basically there to show the meaning of the object to us and the refugees therefore showing a comparison between two worlds.

 

I was going to design my endpapers over the weekend so that the pencil effects can be seen while screen printing and so that it fits on A2 screen and is separated in to color and outline layers.          We penciled in Wednesday evening for screen printing, but this will be a test run and I think we need to print content on one side to then screen print on the other. We can book another Screen-printing later one after Easter to print on the actual publication. Things were going really well. we decided to bring in book binding stuff when they arrive and then we can spend the weekend making the actual content through talking to each other.

We experimented and played around with belly band to see how it looks. This was an experiment where some people were happy and some where still not sure how it will work out and will the hard back really be able to take the weight or not. 

Interview about the Tablet

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Where did you buy it from?
John Lewis, the one in Norwich, that’s my favourite shop, I buy all my stuff from there.

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What model is your tablet?
It’s a Samsung S or something, I can’t actually remember… It’s got a 10inch screen though; I think it was called a Tab S or something like that. It’s an android one, not a windows.

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When did you get it?
I got it for my 50th birthdays, which is a few moons ago now, but when I got it, it was top of the range, you know, and it is still better than Melanie’s (his wife), I can’t believe how old it is to be honest, perhaps it’s time for a newer model, mind you there is nothing wrong with this one still so perhaps not.

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Can you list all of the things you use your tablet for?

 

  • Googling

  • Browsing

  • Shopping

  • Emails

  • Photos

  • To check the time

  • Calculator

  • Weather Forecast

  • Football Scores

  • Satnav

  • It reads to me

  • Music

  • News

  • TV Catch up

  • Films

  • Measurements Conversions

  • Listening to the Radio

 

 

What could you use it for?

 

  • Videos and Filming

  • Skyping

  • Communication

  • Diary

  • Taking Photographs

  • Social Media

  • Read a book

  • Newspaper/ Magazines

  • Google Earth

  • Mapping

  • Finding places- directions

  • Store important documents

  • The Cloud

  • Digital Notes

  • Drawing pad

  • Spreadsheets

  • Dictionary

  • Learn different languages

  • Endless amounts of information

  • Endless amounts of learning

 

What’s your opinion of your tablet?

I mean it’s just brilliant, it really is, I didn’t think I would use it as much as I do to be perfectly honest, it’s surprisingly good. It can be frustrating though, when you can’t find something or it doesn’t do what you ask, but that’s not that often.
 

The development so far was about iPad on the right. This looked great but we do need to talk about how we are incorporating the middle as well. We had to measure the sample we made and see perfect dimensions.

 

We had an idea of maybe the color draining as it got closer to the middle as the information became more factual.

Jaime, who worked in a refugee camp, had some cute photos Of her shoes next to refugees as well as context from that photo and general information about the shoes within the camp. And she had a friend that is photographer over in the camp that focused on shoes as a story. And she had Info on how shoes were in short supply and often stolen or all the same due to bulk buy. All this information could get really useful for the research for the publication.

First attempt at Shape Test 

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Contextual Research

Personal Story by a refugee through art 
Working on Manifesto 
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The questions we had in mind - How does it feel in terms of paper balance to hardback. It felt okay actually, we were going to use thicker card for the spine but that's really it. The card we ordered for the hard back is thinner than expected but I still felt good. Now we had to do is merge our stuff together, find a way of relating fabric in to it and then print double sided. We connacted and called up but no one did a large format double sided. So we decided we will have to screen print. I think screen printing is always fun. So I was really looking forward to it.

We had got so far about the tablet story, but not sure what needed changing, how to improve or what text or anything. We tried to make the colors go from less saturated in the middle to more saturated on the outside, but was hard to know what to do next without seeing the middle and other side. 

For regular text we used 'medium Futura' for the speech we used a specific font off dafont.com called 'mark my words. futura is size 9, mark my words is size 12.

I was just confused as I thought the two sides folding out were meant to be comparative studies in that they contrast from our world to a refugee’s world. I thought that at the start but looking further in to it, choosing one object and comparing it's use in both worlds would have been better in that idea in contrast but since we have two objects it might be a more stable idea to ground both objects with links to us and the refugees.

 

We were thinking to have the opposite sides say the same as otherwise the point in the layout design of two opposite sides wouldn’t make sense and would become redundant. However, in the middle -this is where the two worlds the meant to be joined and meet, so could this not be briefly explained how the objects are used in both worlds? As in focus on one object in both sides? Focusing on the connection to refugees on both objects, on both side. The middle idea that could work. We decided to put the refugee stories in the middle instead. Just that it was meant to be two opposite worlds’ and this was reflected in the design of our publication.

I totally agreed with the group that we should have chosen one object in the beginning perhaps and then looked at it in both worlds. There are too many approaches in the publication I think I got confused as well.

 

I think we should be really obvious with displaying the idea of comfort and desperation in contrast of the objects. I'm thinking that the audience won't know what our publication is about immediately as they open it and get confused.

Still Confused?

Manifesto

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In a time when possessions are often mistaken for our expression, our character and our personality, we aim to explore the connections between the two worlds that seem totally unrelated through what objects they think are important to them. We will explore this theory through the deconstruction and research of said possessions in the hope of bringing two sub-cultures, two worlds, two-people closer together.

 

 

 

Target Audience

 

We decided to make our publication for young adults, our own generation, because the subject is something we ourselves need to know more about and feel we cannot relate to. We are part of a generation and nationality that has so much choice and ability to do more for others but still feel like we can’t when we witness a tragedy such as the refugee crisis. Factors that may contribute towards these feelings include; the lack of trust for charities, the view of charity starting at home, and the reduction of effort made by the public from technological and communication advances such as Facebook. To combat this our publication has purposefully chosen people like us to communicate our message through. Covertly, it explores the possessions we take for granted, the possessions we think are important and the possessions that are used in places and sub-groups we think are a world apart from us. Through the exploration of the similarities, we hope this educates our audience about how refugees are as characterful, as bright, as funny, as strong, as scared, as hurt, as human as we are.

 

 

Shoes

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To start the ball rolling in the research stages of the publication, we set out to interview as many different people as possible, with the same questions, in the hopes of creating a huge, useful pool of answers. Keeping it within the boundaries of our country.  The questions centred around the object you would take if you were a refugee about to flee your home to safety. We found from the answers that no one said simple things like ‘shoes’. This may be because they were already wearing them or they’re object may have been ID or medication, but we thought this was quite an important and overlooked possession.

We also found out from various sources from a Greek refugee camp that shoes were one of the most needed commodities. Jaime Lock, refugee camp volunteer, expressed how ‘the shoes would be bought in bulk and so the almost uniform-like shoes took away the personality, dignity and humanity from these people…shoes were often stolen, the wrong sizes and sewn together out of desperation’.

We want to deconstruct the materials, history and facts from this object and explore the uses within each world.

 

Tablet

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The tablet was a bit of an obscure object compared to the general topic of the shoes. This came about when interviewing the father of one of our creators. He chose to take his Samsung S galaxy tablet because he thought ‘it has everything he needed on it’. He ignored the obstacles of charging it. We thought this would be a useful inclusion in commenting on the comfort versus desperate division we have with a refugee camp. Practically and aesthetically the tablet would also be interesting when deconstructing and researching.

 

Design

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We felt that would should include a colour pallet that has been connected with refugees throughout this crisis’. This would either be light sandy colours or a collection of oceanic, nautical colours. We eventually went for the blues, greens and turquoises of the ocean as is offered more colour to play with for each artist.

DESCRIPTION ABOUT THE PROJECT

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We also contacted Jaime from the camp to see if there is any information on use of tech. We decided to possibly do some little portraits of the guys from the camps to relate to our research and the camps themselves in our book.

Actually re-reading what was written, I think we needed to discuss on how we present it in a manner of obviously showing the contrast because even I got lost along the way. Here what text to add could resolve that confusion.

And Lily with the middle section already connected the shoe refugee side with our world in what she had written, using her own quotes and thinking about shoes in our culture.

That’s where I got confused. I feel we neede to connect either both sides to refugee. or have one of them be in one world and one of them in another. So perhaps just doing the same with a tablet/ IPad through refugee world on the other side in the middle using a quote? I feel it was more obvious of a connection between the two worlds if both of them go through the same connection. I just fear that the audience will question the connection of tablet to refugees through just looking through the book. I mean the ideas there but the design and communication might be confusing.

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Development of the middle and the shoe section

END PAPERS - BACK ILLUSTRATIONS 

What do the illustrations mean?

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The design for end papers had to be strong, bold and informative. It had to be in such a manner that it talks and conveys the idea and our purpose that we are referring to in a very simple and bold manner. Fence has always played an important role in referencing to refugees. The definition of a fence is a structure that encloses an area, typically outdoors, and is usually constructed from posts that are connected by boards, wire, rails or netting. Using Fence is a cruel- clear “no” to refugees which was bold to understand that I decided to use in my illustration. The second part of the illustration was people walking away.

The initial idea was to show foot steps in reference to the shoe section of the publication. I decided to show feet of people walking away in indication to their journey. I also decided to use different clothing to show cultural diversity. But we decided to keep it simple and just show people moving – which was quite bold to refer the publication was about refugees and migrants. The two end paper illustrations talk about their leaving and asked to leave situation.


 

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Further Development 

Design Layout 

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We finally decided to Screen Print the back of end papers. Screen printing always has a great outcome and is a beautiful process. This was one of the best moments of this project. 

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Final Execution 

REFUGEE REPUBLIC: AN INTERACTIVE ONLINE DOCUMENTARY OF A SYRIAN REFUGEE CAMP

Visual Research

f abri c

fabric

EVENT 

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In the last part of the project, we were focusing on contemporary use of the exhibition as event. We have to explore how systems of curation, display, programming and promotion could capitalise on the constraint. We have to organise a half-hour workshop or discussion for a defined public (audience). The purpose  of this event is to support and engage audience to the work we have created. Initially we were all confused what we could do in these 30 mins but while having our tutorial with Eleanor we all started to speak about ideas and ended up on a same page with a idea of asking our audience to draw their favourite possession and one they would take if they were in a crisis. 

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My Name Is not Refugee 

by Kate Milner

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A clear-eyed and challenging exploration of refuge and migration for the youngest readers, My Name is Not Refugee offers a moving insight into the journeys being made by children of the reader’s own age across the world from places of danger across many thousands of miles to uncertain new futures.The story avoids the biggest political issues and instead tries to express what it is like to leave your own country and come to another culture where everything feels, sounds and tastes very different. Closing on a hopeful note of inclusion; accept this invitation to put yourself in the place of a migrant child.

Kate Milner also tells-“The idea for this book came to me while driving home from Cambridge one evening.  My daughter, who works in a school, had told me that the children in her class were asking her about the refugee crisis… They didn’t understand what was being discussed in the news and she had nothing to show them.  I asked myself if there was anything I could do and by the end of the journey the book was clear in my head.  It’s a story which asks children from a safe, comfortable background to think about what it must be like to leave your home and make a journey into the unknown.”

Developing End paper work

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I had already been doing my research on how I want to design the end papers, after seeing the style Kate Milner had used to illsustrate in the book My name is not Refugee. i was quite keen to try that sale out. I experimented drawing with different mediums like colour pencils, crayons, sketch pens plus water colour. 
I enjoyed the process of making some few rough sketches. I also played with colour and space and overlapping the images to create a composition. 
I also tried making posters for the event.

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What do we mean by the same connection?

 

So the shoes layout as you open the concertina will have a connection to the meaning of shoes and relationship to shoes we have around in the middle area. as you go out it will have stories about the donation of shoes to refugee camps, as you go further out it will have the stories of shoes of refugees and the shoes within the camps and how similar and important they were. Maybe the tablet should start similarly about the relationship to tablets and phone we have to Emma’s dad, then go in the stories about the communication, educational help they provide to refugee and go further in to stories of the uses within the camps.

"The concept for our publication is to compare and relate two environments through our relationship with possessions. Particularly, this publication is looking at our own environment as young adults in Britain to refugees within the camps of Calais and Greece. We discovered that Shoes and Technological devices such phones and tablets became prominent objects to explore further in terms of their relationship to us and uses and relationships within refugee camps."

We had to give a proposal to explain what our publication meant, initially we decided the project statement to be: "A publication that focusses on the relationship between possessions and the people that own them. We found similarities within the uses of the possession between two environments that seem un-relatable. Exploring the practicality and durability but also the choice and expression of certain objects." Our layout was designed to be simple, because we wanted to engage people in a way that they feel easy and simple to participate. as we only had a 30 minute slot we decided to make the whole thing relatively basic as a structure with having a table and where everyone can sit around and get comfortable to draw what their favourite object is and which object they would take with them if they were in a crisis. The question here was to think practicality or sentiment. 

EXHIBITION DAY 
 

The exhibition itself went really well, our event was well received. Something that was really great About it was that everyone felt and put themselves in that position of being in crisis and gave us great responses. Along with sentimental answers like photographs of family and their pets we even received practical answers like knife, sleeping bag, food, coats etc. It was very fun and enjoyable as well. My favourite two responses were- first was Glyn's Magic Wand and the second was a same response to both the questions (phone).

FINAL OUTCOME 

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