The Artistic Narrative
This brings us to the artistic narrative and thinking about your overall story in narrative form. What does that mean? What are your narrative Touchstones? The things that you go back to time and time again to define this story that you're telling for me. I have a few different sort of Touchstones that I will always go back, Thio and reference so that they're showing up again and again in the story that I'm telling one of them is that I'm really happy. And yet I create dark art, and I think that's a fascinating narrative to talk about because people are contradictory. We contain multitudes to quote what women, And because we know that about ourselves, we can never, ever be just one thing. And when we try to brand ourselves is one single thing, we get frustrated, we burn out and we get sick of our own business. So I'm happy, and yet I create dark art. I am not afraid to look at my anxieties and examine them and then talk about them openly. I am very interested in interactive art and ope...
n conversations around darkness, and I'm knowledgeable about fine art and how to create it. So all of those things are the Touchstones of my narrative that I go back to again and again to keep working into the story that I tell you about myself. What are the elements of story? We're talking a lot about story. We're talking a lot about how we tell stories and the ways that we communicate that with other people. But what are the elements of story? Well, there are five main elements of story. If you look at it from a very literal standpoint, this is often found in literature. When you're studying writing, there are five elements of story. There's the introduction. How are we introduced to the world of the story? Um, what do you see? What kind of atmosphere is there? What kind of story are you telling? Set the tone. That's the introduction. Then you have the back story. So who are the players in the game? Who are these characters? What do we need to know about them? To move into the narrative story And you might be thinking, Why are we talking about this? Trust me. It's gonna full circle right back into branding and then you have the inciting incident and the inciting incident is the point of no return. It's where you have these characters. You know their backstory. You have the world set for yourself, and then they do something. They make a decision, and whatever decision those characters make, they either go in one direction or another direction. And it sets the story on its course that it will remain on until the resolution after the inciting incident is the conflict. And when we look at conflict, it's really just how are we going to solve the problem? What is the big problem and how is it going to get solved? That could be violently or with sadness or with joy. You never know what the conflict will result in, and that leads us to the resolution. How does it all end? And I talk about this pattern of storytelling because most stories are told in this way, and you could even extend that art and branding. So, for example, if you can identify the way that you tell stories, you'll be more likely to tell stories that resonate with an audience. This goes for your art. First, where do your images fall in terms of storytelling techniques. Are you somebody who tends to photograph and introduction, maybe your landscape photographer, and you always get the sweeping views of mountains or something like that that might be an introductory shot. You're introducing the world to a place that you love. It's an introduction. Maybe you focus on back story. If you're a portrait photographer, what's the story of that person that you're photographing? And how can you really bring that story to life? Will you focus on what makes them them at their very core? The inciting incident is where I fall as a photographer. I love the inciting incident because it's the point where you're not sure what's going to happen. There is a choice that's being made, and I portray this in many different ways. For example, I have images where there are lots of hands holding up, Ah person and some of them look like they're pulling her down. Some look like they're pushing her up, and it's the inciting incident because we have to decide what's about to happen. Is she being held up or pulled down another example of this? Within my work, I have an image with a girl who is falling off of a cliff, and you don't know if she's going to fall down, come back up or fly or just hover there. And it's the point of no return. Something is about to happen that you can't take back. So that's where I fall. And then, of course, conflict. Do you create the conflict oven image? For example, Um, if you're a birth photographer, that's that's the conflict, the moment of conflict. It's where all of these emotions have come to a head and we're going to see what's going to happen. Or is it the resolution? You know? Are you photographing the end of something? How does it end? What is the ending that you're telling? You can also translate that into branding. How do you tell the story of who you are and your art altogether? Well, do you tell it from an introductory standpoint from a character driven standpoint, like the back story? Do you move from a place of I've learned something, but I'm on the precipice of a discovery, you know, where do you fall for storytelling? And when you discover that you can write with more specificity and it's very helpful