For this series, I decided I wanted to push most of the concepts I was working with earlier in the semester to new heights and attempt to alter them to create a “work within a work,” if you will. By that, I mean I revisit the concept of documenting sculptural pieces, but this time not in video format, but rather in photography. From there, I decided that plain documentation of the pieces would be somewhat expected, and given that the sculpture pieces can be worn, I thought it’d be best to document them on a person, which transforms the photos from being just documentation to becoming another connected piece of work to the sculptures themselves. That is, both the sculptures and the photos are meant to be seen as interconnected pieces, but the photos have an “added layer” to them by also doubling as documentation for the sculpture pieces. With the concept of things having multiple meanings in mind, that explains my choice of material for the sculptures as well as the setting for the photographs. All of the exterior materials for each of the sculptures are made out of party decor in order to transform their meaning and dissociate them from their “natural habitat,” which is also why I photographed them in nature, as opposed to in curated party settings. That is also why I directed my model to emote negatively and pose very rigidly to juxtapose the happiness and movement of parties and nature. Thus, Party Dissociation was born. As for how I would display such a series, I believe it could go either one of two ways. Either display the works in the woods on trees, which continues the juxtaposition of the party element, or reflect the work back in on itself and have a typical party setting where the pieces are hung on the wall like decor, which would cause the viewers to have to reflect on what they see- decor taken out of context and transformed but then re-placed back into context with new meaning.