Independent Writing Assignments

Michael Sinclaire: A Biography

by Linsay Nickum

Organic forms alluding to the intricacies of the subconscious composed of strong lines and vivid colors juxtaposed with compositionally clean technical graphics; Michael Sinclaire emits the same characteristics as his artwork, which happen to be the same characteristics one may attribute to influential artists Escher, Mucha, Caravagio, and Turner. His art is unpredictable, and although completed in a rather “fun” style, clearly hold complex, and sometimes mildly disturbed, subconscious happenings. This holds synonymous with Michael, a well-composed, well-spoken, and rather comedic young man who, on the surface, seems to be full of confidence and exuberance, but does convey small hints of an emotionally intricate underbelly.

Michael Sinclaire was born in Thailand, but was moved to Canada in his early childhood due to the prominence of gangs in the area. During his adolescence, he became increasingly involved in the musical arts, belonging to various school bands and partaking in a musical during his final year of high school. Upon graduation, Michael continued his musical endeavors, gaining summer employment with entertainment group ‘The Callithumpians’, as well as being a member in a local band. He also pursued further education in the visual arts, attending the New Brunswick College of Craft and Design to complete the Foundation of Visual Arts program.

Sinclaire’s plans for the future consist of moving out of Fredericton to a bigger city with increased opportunities, Toronto, Vancouver, Mumbay and Thailand being his current choices. His career goals consist of owning his own business, a restaurant with attributes pertaining to his passion for music and art, and working for a graphic design firm. Michael’s dream does not involve obtaining true happiness, as he’s unsure of whether or not complete happiness exist, but rather a life of contentment in which his parents are happy.

Until that time comes, Michael is continuing his educational journey at NBCCD, enrolled in the Integrated Media program, where he is learning the skills necessary for media production and design, all the while, continuing to create traditional art that he describes as organic, superfluous and anthropomorphic.

 

Artists Only Make Money Once They’re Dead

A response to ‘Art and Fear’ by Linsay Nickum

When I was younger, my family and teachers encouraged my passion for art; however, this encouragement was often accompanied with warnings concerning choosing art as a profession, with supporting evidence of it being an irrational decision in the form of “Artists only make money once they’re dead”. Being young and heavily influenced by the opinions of the authority figures in my life, I never did question these warnings, assuming that they were correct and deciding that I did not want to pursue a life of financial insecurity. Now that I’m older and have had the chance to evaluate possibilities, areas of interest, and what qualities are most important in life, I’ve come to realize that I would much rather struggle doing something I love than have materialistic security doing something I hate. Nevertheless, the warnings bestowed upon me from an early age still linger at the back of my mind, like a white-collar career conscience, whispering sweet nothings to my insecurity.

I suppose that this is something individuals pursuing art, in all it’s various forms, must struggle with at some point in their career. Insecurity is and always will be a trait of the artist. Whether it’s insecurity concerning talent, meaning, or success, each artist goes through periods of hesitation lined with trepidation, as he or she wonders if they should just throw in the towel.

What if no one likes my work?
What if I never go anywhere?
What if I have no talent?
What if what I have to say isn’t important?

No matter how confident the outward appearance of an artist may seem, all artists seek approval of some sort, whether it’s from their peers, bosses or teachers, or audience. Those lingering questions can only be pacified temporarily by validation from others.

I speak of this as though I am stating some earned wisdom, but this is not advice, this is confession. When I show my work, my heart is beating mildly faster until those words of approval are finally spoken. When I get on stage to perform, I am at ease, but that anxiety returns once I am done, until I am yet again solaced with “Great job!”s and “You were wonderful”s. I begin to wonder “Am I so vain that I need others to tell me that I did a good job?” but the truth is that as I show my work or I strum my guitar, I am not only doing something, I am giving part of myself, part of my emotion, to the audience. It makes sense that as you render yourself vulnerable, and willingly place your heart in the hands of strangers, that you would want a positive response, like when you say “I love you” for the first time.

Now, I would love to say that I know a way in which you can continue creating art without that constant need for approval, but I don’t believe there is such a thing. All one can hope for is that on your journey as an artist, you develop a strong support system, and a strong sense of self, and eventually, maybe, that craving for validation might diminish… at least a little bit.

 


I’ve Got A Fleeting 
A Response to 'Living at the Speed of Mind: Old Media - New Media

Transient – adjective. Lasting only for a short period of time; impermanent.

Impermanency: the motto of the century. Think back to methods of communication ten years ago. Are they relevant? Are they consistent? Yes, we still use telephones, and yes, we still use e-mail, and yes, we still even use regular old mail, but is it the same? I remember dialup and being disconnected from the Internet because someone made a phone call. I remember ICQ and online chat rooms. I remember Myspace. I remember Napster. But all those things have essentially become extinct, have they not? Sure, there are still chat rooms, and maybe some people still frequent them or use ICQ, but MSN took over at some point, and even MSN is becoming quite rare as Facebook keeps taking its digital steroids, making most software obsolete and other online profile websites look like a joke as it monopolizes all technological communication. Technology and media are evolving so fast that as soon as you blink, you’ve most likely missed a new advancement. This is why my statement stands true. This is the era of impermanency; and just as ways of keeping in touch with the world develop, as do methods of self-expression.

All forms of art will always have their place in the world. But as new media evolves, as does the necessity to develop new concepts, new ways of getting oneself out there: Innovation. Now, I am not about to say that we’re moving towards a robotic impersonal era in which art needs to be metallic and futuristic in order to be understood and well received. On the contrary, art seems to be moving towards a more universally relatable area, relying on universally accessible media. Hand drawn websites and an acceptance of paper and markers as viable artistic tools, art has moved into an anything goes zone.

So, why does all of this seem too good to be true? All this ease of access hooey phooey?

Well, like all things of substance, this ease of access can be abused. While living in a technology based world, one must keep in mind that there is a certain loss of humanity and reality with immersing oneself into the tools that have built our digital empire. The lines between fiction and nonfiction are currently blurred. Beware. Be aware.

However, with a slight warning to not succumb to leet speak and virtual worlds, there is a silver lining. An upside. And oh, what an upside it is.

Information equals power. And information is at our fingertips. Therefore, this means that every person in the world today is that much more powerful than every person in the world ten years ago, and on top of that, the ratio in between the average person and the most powerful person is far less great than it ever was before. So, with that said, we have effectively moved into a world in which each person is pretty much just as powerful, or has just as much potential, or just as much opportunity, or just as much of a chance to make a difference as the next. And this ratio is getting exponentially smaller with each generation that passes.

So, although there is now a necessity to adapt to our constantly changing world, keep this in mind: the world is not so far away anymore, so reach out. Change it. And forgive me for sounding like an afterschool special.

 

Scholarship Letter

To the Jury of the NBCC Foundation Scholarship and Bursary,

In order to introduce myself, I could list off all of the adjectives and descriptors that lend themselves to my personality, talents, and activities; but, instead, it seems to me to be a better idea to delve into my passions, as, after all, they are the reason I am who I am, and what I want to be. For the better part of my life, I've had an enlightening and ever-changing love affair with the arts. This love has helped me develop and grow as an individual, as well as being the foundation to my goals and dreams. With an eye for design, and an ear for music, it only seemed natural to pursue an education that allows me to explore both, leading to a job in which I will be able to imagine, develop, and create media using my talents in the visual and auditory arts. 

This expanding passion led me to NBCCD to pursue a diploma in Integrated Media. The program concentrates on interactive media such as websites, video, and audio, while developing the fundamentals of visual design. Although every class is vastly different, the combination of the skills acquired in each allow for a just as diverse finale. So, as someone with fluctuating and diverse interests and talents, Integrated Media is essentially the gateway to any dream I've ever had.

Outside of education, my experiences have been what one may call diverse as well. Upon graduating high school with honours, every science and math course offered, and an art award, I was unsure of what to do next. Art and music were my loves, but I had been told that they were impractical and difficult roads to success. Therefore, I chose not to decide just yet and joined my Aunt and Uncle in Bangladesh, where my Uncle was posted with the Canadian High Commission. My voyage to the other side of the world allowed me to visit various areas such as Malaysia and Thailand, while allowing the opportunity to volunteer at the American International School of Dhaka as an assistant to the elementary level art teacher. To say the least, being in one of the most overpopulated developing countries in the world was more or less a culture shock, but also a tremendous learning curve. While I was there, I was exposed to various nationalities and cultures, opening my eyes to the immense diversity of the world, and genuinely broadening my outlook on life.

After five months of heat, curry, and rickshaws, I was ready to come back to Canada and commence my post secondary journey. My decision boiled down to my talents, however, as I had loved travelling so much, I decided to attend UNB to pursue a degree in Business Administration, hoping to be able to work for the government abroad. Two years went by, and I began to miss the arts, which lead me to investigate this little school I had heard about located in downtown Fredericton. I then decided that I would make the switch from UNB to NBCCD to complete the Foundation of Visual Arts program. Needless to say, I am ecstatic with my decision.

As well as taking on the Integrated Media program, over the past three years, I have volunteered for various local non-profit organizations including Pride and AIDS NB in various ways, primarily helping out with print based graphics. I have also volunteered my time and talents as a local acoustic performer for a variety of fundraising events. For me, my passions are not only a way in which I can express myself, but also, a way in which I can help others, whether it be through volunteer work or through connecting with someone via means of art.

The only drawback of attending school and pursuing a diploma is financial requirements. I am currently borrowing student loans, as well as working approximately 21 hours a week, but with program required costs of over $2500, making ends meet is rather difficult. If I were to be awarded this generously offered scholarship, it would reduce stress and allow for more time and concentration to be focused on my education and all that goes with it. Instead of struggling to meet deadlines and be a satisfactory employee, I would be able to produce the quality of work expected of me and be that much closer to my goal of being the proud owner of a cultural cafe, giving visual artists and musicians the opportunity they deserve.

Thank you for this generous opportunity,
Linsay Nickum

 
Vagina. Yea, I said it.
A Review of Kim Vose Jones' Exhibition "A Farewell to Flesh"
  

After being immersed in complete darkness for an extended period of time and then subjected, suddenly, to the bright lights of the world, ones eyes require a time, a grace period if you will, to adjust, during which visual stimuli is limited to shapes and textures. This experience can be attributed to both metaphorical and figurative situations, from the wary sight of the newborn to the near-death descriptions of the afterlife, and every moment of clarity, medicinal remedy, and Walt Whitman inspired song in between. Kim Vose Jones' exhibit, "A Farewell to Flesh", forces these experiences on the viewer while allowing a balance between the surprisingly vast, yet minimalist, technical aspects, and the overwhelming, and sometimes disheveling, conceptual side. The colorless world Jones has built evokes the entire spectrum of emotion, sparks curiosity beyond what killed the cat, and will most likely leave an uncomfortable sensation of being uncomfortable, but wanting more.

Stripped of its meaning, "A Farewell to Flesh" is an astonishing exploration of contrast. Completely disregarding the common crutch of color contrast, or any color at all, Kim Vose Jones draws attention to texture, sheen, opacity, composition, tone, and lighting. The completely white exhibit can be interpreted as the absence of color, or the presence of every color, making this seemingly simple choice a blank canvas of possibilities. Kim’s combination of soft, warm textiles, and cold, crisp glass and plastic contrast and compliment each other flawlessly, drawing attention to every corner and crevasse, which in turn holds entirely new corners and crevasses.  As the audience is guided through a warmly lit world, seemingly alive and thriving, across paths through salt islands, discoveries are made, minds are opened, and sensation is consumed by a textural osmosis. "A Farewell to Flesh" is a labyrinth of visual intrigue, keeping the viewer viewing long enough to understand it’s meaning.

Conceptually, Kim has managed to cut away the intricacies and complexities of human life in order to expose its innards, quite literally. Interpretations of genitalia, and all included accessories, begin being realized and amount to the equivalent of a time-frozen orgasm, conception, birth and decay. One quickly becomes immersed in what can only be compared to the full life span of the mammalian organism, complete with ups and downs, and corners to be turned.  A flood of personal experiences become apparent, as though Jones has aired everyone’s dirty laundry in this public gallery space, a visual rendition of "Killing me Softly".

In the midst of all these white masses hangs a particularly stunning piece on the wall. It seems so immaculate, yet irregular, set apart from the rest of the exhibit because of its distinct form and pristine appearance. A floral radiation emanating reflective lights, it sure is the most beautiful ode to a vulva, and possibly vaginal fluids, one ever did see. But perhaps biased is as biased be, while we do remark that the vagina is far less a commonly visually represented "private part" in comparison to its phallic counterpart, the Penis, which even seems to be a defacing mark of choice. Yet one must stand in awe, eye to eye with the most taboo of body parts, as it glistens in the low lighting, demanding attention.

The emotional response and reaction to this intrusive, yet subtle, world is the most important part in viewing “A Farewell to Flesh”. In response to the exhibitions title, one must acknowledge Jones’ blatant attempt to expose the roots of human life. Neglecting all the ephemeral trivia fabricating each individual as just that, one must remember that we are but a sum of our parts, our hearts merely protected by breakable cages, Kim reminds us that we are connected. We live the same lives and die the same deaths. We are made of the same tissues that sometimes need to be replaced with inorganic materials as we play the role of god in order to extend our uniform uniforms.

Perhaps a political statement is being made. Do not be embarrassed of the cellular masses that form your vessel. Or do not judge others cellular vessel. Or maybe the grandest statement of all, the one that was being belted out by questionable childhood characters and puppets on streets named after hamburger bun garnishes, we are all the same on the inside, the outside, and all other sides. Do not hold yourself above others or others above yourself. Do not hate due to lack of understanding or lack of empathy. Empathize.

Concluding an ode to this ode to life, credit is due to an understanding mind and heart, Kim Vose Jones, uncensored and uninhibited in her efforts to dissolve the unimportant bits and bring forth the whispered truths of mammals. Explore the unexplored and take things back a notch. Down to bare bones and what’s been locked behind prudent lips since the romans. Bravo, Mademoiselle Vose Jones, for speaking the unspeakable, touching the untouchable, blurring the lines, breaking the boundaries, and keeping the grey areas grey.

        

Sometimes Words aren't Enough
A Comparative Essay on Advertisements by Linsay Nickum

Concerning the effectiveness of advertisements, one must be aware that in a culture in which we are constantly bombarded with visual and auditory stimuli, all of which ranging in shock factor, grabbing the attention of our desensitized eyes is a feat all in itself. However, once you've got us to look in your direction, do we look long enough for you to get the message across? Do you articulate it understandably? Save the Children and Multiple Sclerosis Australia did. Both organizations' extremely powerful advertisements rely primarily on visual communication, and words to support that, as opposed to the common creation of advertisements relying on words with supporting images. They communicate clearly and effectively, while holding the viewers attention long enough to get them to read the caption and be affected accordingly.

The Save the Children advertisement (promoting their 'Make it a thing of the past' exhibition) is a photographic portrayal of soldiers from the Democratic Republic of the Congo. Aesthetically, the composition of the picture is well balanced, using a 50/50 type composition, consisting mainly of neutral tones contrasted by black and dark brown. The right half of the frame is occupied by three men wearing generic soldier camouflage with accents of black caps and a gun, making this side of the picture very dark, but official and unwavering. The left hand side is rather barren, consisting mainly of the beige sandy earth, with two men and undersaturated buildings in the background. The focal point of the image, a young boy in soldier attire holding a gun, rests centred in this area, contrasting greatly with the surroundings. He is bound by a glass box with descriptive signage reading "CHILD SOLDIER - Democratic Republic of the Congo c. 2009". Naturally, as a western culture, the image of a child holding a gun in a soldiers uniform (while it is something we are aware happens in other countries) is not something we are accustomed to viewing, or accepting of. Therefore, the image itself is enough to force us to look and see why it is we are being subjected to seeing this unnatural scene. Furthermore, the boy appears to be on display, as if in a museum, similar to displays of extinct animals and prehistoric man, referencing the end of a "type" of person or creature. The message is clear  viewed from western culture perspective, however, I must speculate that the same image would not hold such intense meaning to someone from various other countries, such as those where child labour is a norm, or to those who would not recognize the glass encasement as referencing extinct creatures on display at a museum. Overall, the advertisement is powerful, but, in my opinion, would be lost in translation to the language of certain cultures.

Not everyone knows what Multiple Sclerosis means or entails, however, upon viewing the MS Australia advertisement, it becomes rather clear, and rather haunting. For the most part, people with full mobility, and full use of every part of their body, tend to take that privilege for granted. This advertisement forces one to face the hard truth that not everyone has that luxury. The photographic advertisement is very much similar to what you might see in an advertisement displaying a product. Consisting of a nude woman close to the centre of the image, we're automatically drawn to the expression in her body language and facial features. She appears to be holding herself, as children generally do when they are afraid or tormented. However, this is not the only important feature of her pose; she also seems to be holding some rather strange or awkward angles, perhaps indicating that, although this woman looks to be only in her mid to late twenties to early thirties, she has already started to lose some functionality of her limbs. As she looks away into the distance with a blank expression, she appears to be lost. This thought can then be further diagnosed with various explanations as to why she has such an expression on her face. It forces a human connection with the viewer as they attempt to relate to how she must be feeling. The most communicative part of the image are the stamped words across her forehead, back, arms, legs and feet, 'USE BY:'. Anyone who has ever purchased something at a grocery store would recognize these markings as indicating a products' expiry date. This concept is well used as it is a clear explanation as to what the symptoms of MS are, it displays the severity as quantity, it reduces things we take for granted (our body parts) to mere products or objects (making us aware of their impermanence), and it leaves us with a feeling of insecurity and uncertainty by using no date, as it is a very unpredictable and open ended disease. This advertisement is a true testament to the concept of simplicity trumps complexity.

In comparison, the two advertisements are equally hard hitting, both in meaning, cause, and execution. The biggest difference is that of simplicity versus complexity. Both use effective means of communication, and both are visually stimulating, but, in order to convey their message, Save the Children uses a more complex visual cue in a more crowded image, while MS Australia uses the simplicity of a single subject in a neutral environment to convey their message. The final difference is that of anonymity. While both central focuses are nameless, the boy in the Save the Children campaign has been described. He is an african boy soldier representing the exploitation of children in labour positions within developing countries. In the MS ad, the woman portrayed, while I'm sure she is a real person, remains nameless and without identity. This enables the viewer to not see her as a concrete person, but rather as the subjective. Maybe she's your friends' friend. Maybe she's your aunt. Maybe she's your sister. Maybe she's you.

In conclusion, while both advertisements are respectable attempts and efficient in their own way, the Multiple Sclerosis Australia image seems to linger a little longer and be much more universal. The thought of expiration dates on your limbs, mobility, functionality, and even mind, stays with you as you wonder if this will ever happen to you or one of your family members. Regardless, both associations are fine examples of the fact that sometimes, words just aren't enough, and a picture truly can be worth a million words.


References:

 

Drawing Conclusions on Drawing Conclusions 

A Response to 'The Practices of Looking' by Linsay Nickum

Everyday, we are immersed in a vast array of stimuli, challenging each of our senses. We react with little conscious thought of how that reaction came to be. Every individual reaction has been cultivated and ingrained into our subconscious responses, but the most interesting and widespread responses are those concerning visual catalysts and our culturally cultivated conclusions.


Throughout the course of a day, one may find themselves having recalled seeing a stop sign on their way to work, or a cross walk sign on their way to the store. Without thinking about the analysis of these visual cues, we are aware of what they mean and abide, or rebel, automatically. Even if we had not been taught at some point in our lives what these signs mean, our minds would connect the dots for us before we would even have to ponder the significance of a stick man in the process of walking. In the same way, we have been socially and culturally shaped to associate images, symbols, and even people with certain characteristics or definitions.


The knowledge of this process is important, as we continue to rely on the impact of visual communication. Whether your career is built upon implementing visual tools, or you, just like the rest of the world, sometimes need to use visual aid to achieve successful communication, understanding cultural responses is key to whether the representation will be a success or a failure. For example, a photograph of a certain building, or perhaps of an action, would not signify the same thing to someone who is from America in comparison to the reaction of someone who is from Africa. Each culture has experienced different things and lives in different ways. This means that not only does each visual representation hold different symbolic meanings, they also hold different weights historically, as well as contextually.


The importance of cultural context lies not only in the need to use visual representation in order to express oneself, but also in ones own interpretation of imagery. Instead of looking at an image at face value and seeing only our own culturally developed views on the subject matter, one can use the knowledge of varying cultural contexts to view the image differently. With the knowledge that the artist may or may not have had a certain audience in mind, one can take into consideration the history, political views, religious views, and so on, pertaining to that specific audience.


In reality, most people view images, have a reaction, and never think twice about why they felt that way, or why it was so clear to them that the imagery represented something specific, or perhaps even why they didn't really "get it". We take for granted our programmed reactions to what we see around us, whether it be intended to deliver a message or not. When one takes the time to analyze the science behind viewing an image and attributing a meaning to it, an entire world of alternate interpretations opens up.