Themes/Groupings:

• Love:
  • Gabrielle – 3 Dates and a Wedding (5/50)
  • Paige – Us (5/50)
  • John – You and Me (5/50)
  • Kimmy – A Kiss for the Heart to Grow (5/50)
  • Molly – The Origin of Love (5/50)
  • Maddie – Socks, and Ketchup, and a Golf Field (5/50)
  • John – Hotels Across the Country (Juxtapositions)
  • Molly – The End of the World (Juxtapositions)
  • Gabrielle – Love Is… (Juxtapositions)
  • Paige – Genesis of Love (Juxtapositions)
• Personal Honesty
  • Paige – Obsessive Compulsive (5/50)
  • Molly – Realizing Tourettes (5/50)
  • Carina – Failure (5/50)
  • David – It Runs in the Family (5/50)
  • David – David’s Quarter-Life Crisis/Panic Attack (Juxtapositions)
• Memory/Forgetting
  • John – Short-term Memory (5/50)
  • Sarah – Peter (5/50)
  • Gabrielle – Goodnight, Soldier (5/50)
  • Phoebe – ELI5 and Show, Don’t Tell
• Origin/Childhood/The Beginning of Something
  • Gabrielle – Easter, 1996 (5/50)
  • Molly – The Origin of Love (5/50)
  • Molly – Adam and Eve (5/50)
  • Molly – Suspicious Grapes (5/50)
  • Sophia – Cosmogeny (5/50)
  • Bailey – Brothers (5/50)
  • Molly – Show, Don’t Tell
  • Paige – Genesis of Love (Juxtapositions)
• Death/The End of Something
  • Sarah – Gram (5/50)
  • Molly – Cremation (5/50)
  • Phoebe – Tip Tap (5/50)
  • Maddie – 5 Senses

2-3 Things I Made:

• 3 Dates and a Wedding (5/50)
• Love Is… (Juxtapositions)
• Albinism (Show, Don’t Tell)

These three objects of mine were most interesting to me because they progressed in order from most to least personal as I became interested in experimenting with truth and playing pretend.

3-5 Things Other People Made:

• Sophia – Cosmogeny (5/50)
• Paige – Genesis of Love (Juxtapositions)
• Molly – The End of the World (Juxtapositions)
• Jackson – Show, Don’t Tell
• Bailey – Show, Don’t Tell

To me, these 5 objects all distorted beauty in some way. Sophia’s Cosmogeny was so visually perfect that it was disturbing. Paige’s Genesis of Love took the possibility of romance in the story of Adam and Eve and twinged it with ironic commentary. Molly’s The End of the World combined beauty and sadness. Jackson’s Show, Don’t Tell put us as audience in the strange position of voyeurs and equals in conversation; our vantage point was beautiful but our role was colloquial. Finally, Bailey’s Show, Don’t Tell was like Sophia’s Cosmogeny in that it was aesthetically beautiful to the point of being perverse.