Here is my Production Timeline.

When working on my timeline, I realized a huge chunk would be dedicated to getting to know my subject. Creating an installation of someone’s most cherished objects that reveal someone’s essence requires incredible consent, time with my subject, and total confession. Oftentimes, the artist is the one confessing; rarely, are their exhibits of artists encouraging total confession.

There needs to be fictional elements. What’s my balance between fact and fiction? In the diorama, what objects do I include from my subject and what objects do I artificially insert.

It’s more fun to take liberty and capture people’s interest in fiction. Why not go all-in on fiction. For my thesis, I will build a diorama based on a fabricated person. The key, however, is my guests, while they explore my exhibit, don’t know this person is fake. It’s crucial to make everything feel real. Essentially, I am building an elaborate catfishing project. Yes, it may take away from the magic of learning about someone real intimately, but what I’m doing is the same thing. You get to know someone intimately, it doesn’t matter if they’re real or fake. I also strongly believe that if I do something that I enjoy and feel right, the intents and themes will naturally emerge from the project.