Final Self-Defined Proposal

Self-defined proposal with supporting research & development work (30%) LO1-4

by Daisy Ware-Jarrett

When you think of consumerism what comes to mind? Coco-cola, Disney? Antony Micallef’s work shows how these companies are poisoning our society with their values, in turn making us passive consumers. My project tackles poisonous consumerism, using myself to represent “us” the consumer.

‘21st Century Love’ by Antony Micallef

As artist Takashi Murakami would say, the world is becoming ‘superflat’, everything is superficial, art and products are made to be consumed without question. I accepted this idea; until I came across exhibition ‘Bye Bye Kitty’, even in consumer capital Japan, there are practitioners who are braking through the suffocation of ‘superflat’, and using their artistic voice to make the spectator more aware of what they are being exposed to on a daily basis. These artists are activists. Activism is an area I can see myself in, and most importantly I care about.

I will be producing images which could be considered activist work. I’m a strong minded person, however like most I have consumerist tendencies, struggling between activism and consumerism on a daily basis, tackling these contradictions will make this project powerful and emotional. Via a fictional character and narrative, alternate reality will be explored. This hyper-reality world exaggerates real issues to bring them to the forefront of the audiences mind and simultaneously make a political/social comment.

This fictional story will take influence from writers such as William Gibson, Cory Doctorow and Ernie Cline, creating a project which presents a fictional story but has enough truth to be democratically accessible. My images will be self-portraits in order exploit and make an example of the self.

The spontaneous nature of Makoto Aida’s photographs show the vernacular low production images have in comparison to the fantasy approach of David LaChapelle. Looking at Cindy Sherman and Mariko Mori along side Makoto Aida for inspiration I am researching the relationship between image quality and truth. The snapshot style image has a more sensitive and realistic approach. We are more willing to perceive the content as genuine. The grain of the film and light bursts don’t naturally resonate within a clinical digital reality meaning we are more likely to presume it was made with less conviction. Although this is rarely true.

Body painting with koe in Stockholm’ (2004) by Makoto Aida


‘Warrior’ (1994) by Mariko Mori

It’s a new technique for me as I am used to meticulously planning each image, so I am now continuously shooting on analogue to develop my research and experiment with techniques outside of my norm.

The project benefits from telling a non-linear story. #PHOTOGRAPHY is an e-mag I co-run, it started out as a magazine, but has grown into a social media platform for photographers. In a similar way, my project will start out as prints for exhibition but has the potential to evolve into a transmedia project.

The images will be titled with a number, like the viral video in Gibson’s book ‘Pattern recognition’. The number intentionally marks the narrative position, creating audience interaction, they will have questions about the image titles, when the next set will be released and what number will be attached to them.


Aida, Makoto. 2004. Body painting with koe in Stockholm. [electronic image] Available at: [Accessed on: 3/12/2012]

Gibson, W. 2004. Pattern Recognition. London: Penguin Books.

JapanSocietyNYC, 2011, Bye Bye Kitty!!! – Between Heaven and Hell in Contemporary Japanese Art.  Available at: [Accessed on: 5/11/2012]

Micallef. A, 2005. Twenty First century Love – Antony Micallef. [electronic image] Available at: [Accessed on: 4/3/2013]

Murakami, T. 2000. Superflat. S.l. : MADRA

Mori, Moriko. 1994. Warrior. [electronic image] Available at: [Accessed on: 1/3/2013]

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