In the planning stage, each subject was asked to suggest possible aspects of their identity which they thought may stick out during an initial interaction with a stranger. Once a trait was decided upon, I felt it appropriate to use a collaborative process to determine the ways in which that trait would be represented. This included dress, hair, makeup, props, pose and facial expressions. Each portrait employs elements of truth and of stereotypical notions to represent each respective identity trait. The subjects were then photographed in front of a white background to both mimic the minimal look of a caricature drawing and to eliminate the context in which each subject’s identity is perceived. Each photograph is intensely digitally manipulated to both exaggerate the chosen traits and to resemble caricatures. I chose to depict the subjects in a cartoon aesthetic to visually represent the simplification and exaggeration of identity that occurs in our perceptions of strangers upon first impression. It is natural to, “automatically associate the idea of the caricature and the cartoon with humour,” however, Edward Lucie-Smith continues by explaining that there is often another intended purpose of this form, which “is not to make us smile but to make us think.” (Lucie-Smith 9). This format is appropriate for this project because caricatures possess a playful aesthetic, which draws the viewer in, and they are easy to interpret, since they “are as universal as music,” (Lucie-Smith 13). Caricatures are also able to communicate & provoke critical thought, through their history of satiric use (Lucie-Smith 13).
After each photo shoot, I conducted video interviews with each subject, wherein they spoke about their personal perception of their identity and the way they believe others perceive them. The video component of the piece is meant to give the viewer a deeper understanding of the subjects and to provide a more human, multi-dimensional representation of the individuals depicted, compared to the simplified characters represented in the portraits.
Inspiration for this piece came from a personal frustration with how common it is to describe ourselves and others in simple sentences, using only one characteristic to describe an individual’s entire complex and multi-dimensional identity. A sentence such as ‘Sarah is blonde.’ seems harmless enough, until that single characteristic becomes the way people perceive Sarah’s identity as a whole. When we use single pieces of information to describe a person’s entire identity, we rely on stereotypes to fill in the rest of the information and begin to make assumptions about other aspects of that individual’s life. Although I believe it can be dangerous to fall into this practice when considering identity, there is evidence that small pieces of information can be as or more effective in making judgements than more in-depth studies. Author Malcolm Gladwell describes an instance when students were asked to rate a teacher’s effectiveness after watching a two-second silent video. The results were shockingly similar to evaluations of the same teacher after the students spent an entire semester in that teacher’s class (Gladwell 13). Surely a judgement of one’s identity and the effectiveness of a teacher are not 100% comparable, however the concept that we are able to make accurate snap-decisions, with little information, is of interest.
As expected, decision-making with little information, is not always effective, or representative of the decisions we make with large amounts of relevant information. For example, Pepsi famously ran TV commercials, conducting blind taste-tests, wherein dedicated Coca-Cola drinkers preferred Pepsi to Coke (Gladwell 116). However, this method of testing taste is flawed. Participants made their decisions based on a sip of each cola. The problem with this method is that, “Pepsi is sweeter than Coke, so right away it had a big advantage in a sip test,” however, “we have another reaction after drinking a whole can.” (Gladwell 119). In terms of judging identity, seeing a stranger for the first time, or briefly meeting them may act as a ‘sip test’: we make a snap-decision and assume what we initially sense is an accurate interpretation. Getting to know more about the stranger, through a lengthy conversation, or a series of short ones may act similar to what a cola-tester may experience when they are asked to drink a can of each beverage and choose a favourite. This experience is represented in First Impressions by the videos. They give a deeper level of understanding of each person’s identity and change your perception of who they are. However, a 2-minute interview can only tell you so much about a person. The process would continue as you become good friends with this individual and have frequent interactions. Your perceptions may change as you see this person at his/her best and worst. In the context of cola, this could be compared to a participant taking a case of each product home for several weeks to decide which they prefer in the circumstances they would usually consume the drinks.
First Impressions is presented in the form of a website. Postcards, distributed to the public, depict the caricatures, give viewers an introduction and prompt them to view the website for a ‘second look’ at each subject. The website explains the project through an extensive artist statement and gives the viewer a chance to examine the caricatures of each subject, alongside words associated with each identity depicted. The viewer is then encouraged to watch the video of each subject. This structure allows for each viewer to have a unique personalized exploration of the topics discussed. It’s important that each viewer have a chance to develop his or her own ideas about perception of identity.
Overall, First Impressions examines the perceptions we have of people upon initial interaction. It also explores what causes us to develop those perceptions, the affect those perceptions have and how they change as we acquire more information.
Works Cited
Ewen, and Ewen. Typecasting: On the arts and sciences of human inequality. New York, NY: Seven Stories Press, 2006. Print.
Gladwell, Malcolm. Blink: The power of thinking without thinking. New York, NY: Back Bay Books/Little, Brown and Company, 2005. Print.
Lucie-Smith, Edward. The Art of Caricature. Ithaca, NY: Cornell University Press, 1981. Print.
