Visions of Cambodia. Documentary. Phnom Penh, Cambodia, 2012.
In progress.

Visions of Cambodia. Documentary. Phnom Penh, Cambodia, 2012.

In progress.

Hearts & Minds. Video. Ryerson University, 2011.

Language: French/Italian.

Girl: “L’Amour - c’est”
Boy: “Amore”
Girl: “des centaines et des milliers de papillons en toi.”
Boy: “è come rimanere immobili ad una stella cadente.”
Girl: “Ca t’eleve,”
Boy: “Ti manda fuori di te,”
Girl: “tu le ressens, et”
Boy: “ne sei consapevole,”
Girl: “une fraiche brise bouge en toi;”
Boy: “il tuo corpo arde di passione, e”
Girl: “ton estomac”
Boy: “il tuo cuore”
Girl: “frisson.”
Boy: “prende fuoco.”

September 11: In Memoriam. Experimental film. Ryerson University, 2011.

Through the Eyes of a MAUS. Experimental film. Ryerson University, 2011.

How does perspective shape understanding? In the frontispiece of the graphic novel “MAUS: A Survivor’s Tale”, Art Spiegelman illustrates Jews during the Holocaust as a crowd of mice staring blankly ahead. The drawing does not reveal what the mice are looking at. Instead their expressions bear a gloomy sense of shock, disbelief, trauma and defeat, evoking the question “What do they see?” The collective gaze is also directed at the reader, prompting one to contemplate what meaning can be drawn from the mice’s confronting stares. As a result, Spiegelman presents a major theme in the frontispiece; the act of looking.

The experimental short-film “Through the Eyes of a MAUS” is a reinterpretation of Spiegelman’s frontispiece, and focuses on the act of looking, the interrelatedness of subjectivity and objectivity, and how these distinct views relate to second-generation witnessing of historic events. The abstract film shows a representation of the chimneys of the furnaces at Auschwitz, which symbolize the inescapable death Jews faced during the Holocaust. A strobe-effect is used as a visual metaphor for traumatic experiences, while the frame’s jerky movements imply a constant state of insecurity and fear. Considering the mice’s point of view and suggesting the “unseen”, “Through the Eyes of a MAUS” aims to ignite empathy and foster understanding by giving viewers a different perspective and allowing them to identify with Spiegelman’s mice.

Duration: 1 minute.

Scars. VII Photo Master Class. Israel and Palestinian Territories, December 2005.

The project compares the destruction of land with the disfigurement of bodies as a result of the ongoing conflict between Israelis and Palestinians.

Amidst mutual suffering, the separation barrier is erected as a security measure with the intent to prevent future attacks on the Israeli population. In the process of structural division, the barrier becomes a metaphor for old scars and new wounds; on one side, the concrete structure protects the areas it covers like a band aid, and, on the other side, it cuts through land like a knife. The barrier monumentalizes the failures of coming to a bilateral agreement over the territorial dispute, symbolizes the political stalemate that has affected the identity of every person enduring the “other’s” reactive, yet provoking responses, and provides a constant reminder of the tensions and hostilities that are deeply rooted in both sides’ shared contemporary history.

Considering the current physical and psychological constraints, as well as the diplomatic and political shortcomings of the past, it remains to be seen how future generations will be able to cope with the obstructive divide, let alone bridge it, and how they, in retrospect, will contextualize or situate this historic impairment with regards to Israeli-Palestinian relations.

A Flâneur’s Impressions of Post-9/11 New York.

As if experienced through the eyes of Edvard Munch’s “screamer”, the series shows New York through the lens of fear and amazement, and represents a conflicted state of mind dealing with the insecurities caused by the traumatic memory of 9/11.

Psychedelia - The Opiate of the Masses.

Landscapes.

The City. New York, U.S.A., 2008/9.

TB. Toronto, Canada, 2008.

Impressions. Barcelona and Madrid, Spain, 2008.

Mike Parsons. Toronto, Canada, 2007.

Pre-presidential election period, Tehran and Isfahan, Iran, 2005.

Post-game celebrations in Tehran, Iran, 2005. Iran qualifies for FIFA World Cup 2006.


Visions of Cambodia. Documentary. Phnom Penh, Cambodia, 2012.
In progress.

Visions of Cambodia. Documentary. Phnom Penh, Cambodia, 2012.

In progress.

Hearts & Minds. Video. Ryerson University, 2011.

Language: French/Italian.

Girl: “L’Amour - c’est”
Boy: “Amore”
Girl: “des centaines et des milliers de papillons en toi.”
Boy: “è come rimanere immobili ad una stella cadente.”
Girl: “Ca t’eleve,”
Boy: “Ti manda fuori di te,”
Girl: “tu le ressens, et”
Boy: “ne sei consapevole,”
Girl: “une fraiche brise bouge en toi;”
Boy: “il tuo corpo arde di passione, e”
Girl: “ton estomac”
Boy: “il tuo cuore”
Girl: “frisson.”
Boy: “prende fuoco.”

September 11: In Memoriam. Experimental film. Ryerson University, 2011.

Through the Eyes of a MAUS. Experimental film. Ryerson University, 2011.

How does perspective shape understanding? In the frontispiece of the graphic novel “MAUS: A Survivor’s Tale”, Art Spiegelman illustrates Jews during the Holocaust as a crowd of mice staring blankly ahead. The drawing does not reveal what the mice are looking at. Instead their expressions bear a gloomy sense of shock, disbelief, trauma and defeat, evoking the question “What do they see?” The collective gaze is also directed at the reader, prompting one to contemplate what meaning can be drawn from the mice’s confronting stares. As a result, Spiegelman presents a major theme in the frontispiece; the act of looking.

The experimental short-film “Through the Eyes of a MAUS” is a reinterpretation of Spiegelman’s frontispiece, and focuses on the act of looking, the interrelatedness of subjectivity and objectivity, and how these distinct views relate to second-generation witnessing of historic events. The abstract film shows a representation of the chimneys of the furnaces at Auschwitz, which symbolize the inescapable death Jews faced during the Holocaust. A strobe-effect is used as a visual metaphor for traumatic experiences, while the frame’s jerky movements imply a constant state of insecurity and fear. Considering the mice’s point of view and suggesting the “unseen”, “Through the Eyes of a MAUS” aims to ignite empathy and foster understanding by giving viewers a different perspective and allowing them to identify with Spiegelman’s mice.

Duration: 1 minute.

Scars. VII Photo Master Class. Israel and Palestinian Territories, December 2005.

The project compares the destruction of land with the disfigurement of bodies as a result of the ongoing conflict between Israelis and Palestinians.

Amidst mutual suffering, the separation barrier is erected as a security measure with the intent to prevent future attacks on the Israeli population. In the process of structural division, the barrier becomes a metaphor for old scars and new wounds; on one side, the concrete structure protects the areas it covers like a band aid, and, on the other side, it cuts through land like a knife. The barrier monumentalizes the failures of coming to a bilateral agreement over the territorial dispute, symbolizes the political stalemate that has affected the identity of every person enduring the “other’s” reactive, yet provoking responses, and provides a constant reminder of the tensions and hostilities that are deeply rooted in both sides’ shared contemporary history.

Considering the current physical and psychological constraints, as well as the diplomatic and political shortcomings of the past, it remains to be seen how future generations will be able to cope with the obstructive divide, let alone bridge it, and how they, in retrospect, will contextualize or situate this historic impairment with regards to Israeli-Palestinian relations.

A Flâneur’s Impressions of Post-9/11 New York.

As if experienced through the eyes of Edvard Munch’s “screamer”, the series shows New York through the lens of fear and amazement, and represents a conflicted state of mind dealing with the insecurities caused by the traumatic memory of 9/11.

Psychedelia - The Opiate of the Masses.

Landscapes.

The City. New York, U.S.A., 2008/9.

TB. Toronto, Canada, 2008.

Impressions. Barcelona and Madrid, Spain, 2008.

Mike Parsons. Toronto, Canada, 2007.

Pre-presidential election period, Tehran and Isfahan, Iran, 2005.

Post-game celebrations in Tehran, Iran, 2005. Iran qualifies for FIFA World Cup 2006.

About:

Lateral thinker. Avid traveler. Visual poet.

Portfolio:
This page contains a small variety of documentary works, as well as creative and experimental projects that were done either as part of school work or for purposes of personal expression. Enjoy.

Views:
History constitutes identity.
---
"The true sign of intelligence is not knowledge but imagination."
A. Einstein

Education:
Bachelor of Fine Arts Degree, Image Arts - Film Studies, Ryerson University, 2012.
VII Photo Master Class, Israel, 2005.
College Diploma, Broadcasting TV/Video Production, Canadore College, 2004.

Contact:
dk81projects@gmail.com

All works are copyright by Darya GK.