Gabby:

• “connection, or lack thereof”
• connections shown in Gabby’s work, focusing heavily on family and familial connections
• research into lack of connection
• Gabby’s imagery is all beautiful and well thought out, with clear focus on composition and lighting to emphasise the subjects (or lack thereof) to convey a message
• “when or where do you feel in tune with your most honest feelings?”
  – for me personally either when I am with my best friend or during yoga
• your “honest feelings” change frequently and aren’t fixed – you could research why this is?
• can you think too much? In modern society are we constantly putting off and distracting ourselves from our true feelings?
• suicide is a very tricky and difficult topic to discuss and make work about and should be treated delicately, especially if it is not something you have personally experienced (i.e. loss of a loved one by suicide or experiencing suicidal thoughts/ideation)
• Nitschke’s “suicide machine” – Sarco pod
• do images always need text to explain them?
• spontaneous v.s. staged, curated imagery
• Gabby’s body of work is gorgeous, varied, and full of emotion communicated purely through image
• photographers crossing moral boundaries- Gabby obviously has permission from her family to create her work, but other photographers often lack these permissions
• Gabby’s work is authentic and powerful and she obviously carefully curates her images to convey the message she is aiming for
• you recognise when outside influences have impacted your work and are honest about it
• tackling sensitive topics with compassion
• your work combines thoughtfulness and emotion with strong technical skill
• how will you present your work? With or without text explanations? are the titles enough? Especially with the project about your friend
• your work seems to be more about the feeling than the story- your work evokes feelings in the audience and encourages them to bring their own stories to your work
• your work almost presents us with a blank story board or template, that we, the viewer, can insert our own stories into and bring our own feelings to
• well put together presentation and I enjoyed physically handling your prints!

Arlette:

• Why is art purely visual? How can we make art more interactive?
• “Interactive” v.s. “Practicability”
• sensory art- art that uses all the senses get viewers more in tune with themselves, the environment, and each other
• how do we get the audience to interact with our work- this is something I am struggling with in my own work- most gallery goers are used to the unspoken rules of not touching the work
• playfulness, familiarity/comfort, space, feedback- key to getting audience to interact
• how interactive do you want to be? Yayoi Kusama’s Infinity Rooms v.s. Olafur Eliasson- are there constraints? What do you want, as the artist?
• why do you want the work to be interactive? How?
• online questionnaires, hashtags, paper feedback forms, “leave a comment” box/board, invigilating, recording the space, speaking to the audience in the space
• art as a community- art can build a community, it can also exclude people from that community, or create a sense of community
• “Art is not just an object it is a sense of community” – Eliasson, 2012
• “The turbulent storm of potential meaning” 
• Object as a representation of the “individual” in Western society, interactive art steps away from that and encourages the audience to engage as a group rather than as individuals
• strong body of research- it would be good to see more practical experimentation to back up or disprove the research you have done
• interaction as a tool or medium to explore different topics
• I would like to see more of your practical work and how it links in to your research topics (i.e. your paintings as I think they are amazing!)
• your presentation was well put together, very interesting, and I think it would be cool to collab on a project some time, as we are both exploring the topic of interactivity in art