I find that there are almost always unexpected, if not divergent, references in your work which are really a lot of fun to study and contemplate. As a whole, the conceit you have chosen in the representation of the Raven above is certainly unexpected, is quite thoughtful and even intriguing IMO, once one allows the idea to percolate. As for the representation, again you feature the two main players, portrayed with expressions or perspectives that speak directly to the plot line of the episode. Seven, with the look of quizzical curiosity mixed with a dollop of fear in her main portrait, and then her moment of intense personal discovery towards the episodes denouement. Janeway worriedly, but perhaps with a sense of positive expectation of how the scenario would ultimately contribute, in such a meaningful way to Seven regaining such a significant piece of her human past. Finally, as you stated, an exemplar of that age of creative ferment, looking over the tableaux with her incipient mix of mystery and serenity. I also really found your background detail interesting. I think, it cleverly contains a signature atmosphere of a natural scene from Mona Lisa's period perhaps, but at least to my eye, you may have purposefully added details of the landscape redolent of the site where Seven's final discovery took place. I find myself wondering if your vision for this work, sprang from utilizing your knowledge of the forms and substance of a period of art history, that was the platform, upon which you sought to link a bridge to the episode, or perhaps derived from approaching it from the opposite direction. Regardless, a very imaginative and realized concept to comment on this particular production.
Your alternate take on Human Error, contains several elements. Visually, the background is arresting, despite, or because, of its repetition. That what is represented is technological in nature, may not be surprising as to its being your choice, but its appearance struck me as redolent, not necessarily for any cogent thematic rationale, of installations of multiple video monitors which first enjoyed a currency decades ago with Paik's work. It may not have have been a conscious intention, but certainly that echo is apparent, to me anyway. In fact, what informs that impression even more is the stylization you chose for the title graphics. Aside from the pleasing coordination of its colors with the rest of the image, it definitely seems to resemble graphics from that same period of Paik's early works, in the font used and the futuristic seeming, spatial expansion of its breadth. Less subtle and what I find rather humorous, is the depiction of holo Chakotay's rather intent stare and appreciation of the stunning, and fully human woman that is how Seven has represented herself in the simulation. The actual Chakotay's gaze is straight ahead, and in his uniform, seems intent on focusing on his duty and not the beautiful woman next to him. I find myself wondering if this was a conscious remark on your part on the incongruity of the pair's eventual bonding in the finale, or rather, simply an accurate rendition of what was portrayed in the episdoe?
Altogether, more fine examples of the type of creative insights you bring to these works, which truly enriches what I often find in other's offerings are often too literal or jarringly or unattractively imagined renditions. Once again, bravo and congratulations on the inventiveness you so pleasingly integrate into your visions.
In any case, thanks for the encouragement.
- the connection between the Renaissance and Seven's story should become obvious - as I mentioned in an earlier post. Since I thought that those facial expressions of both Janeway and Seven show us that they were staring at something (as if) in observation, it was just natural to start looking for a background image that would convey the same idea with the difference that the observer was looking at the observers this time. And so Leonardo's probably most famous painting was an obvious choice.
