Bryce Eberly discussed a mock ad campaign created for a class project.
Interview Summary
The participant chose to discuss a mock ad campaign for Garnier Fructis that they created for an assignment as an advertisement major. The mock ad served as an important way to demonstrate representation of trans and non-binary individuals, which is why the piece was so special to the participant. Given the groups represented and the Moroccan art inspiration, the participant underwent a lot of research in preparation for the project. The piece was created by the participant on Photoshop, with very minimal guidance. The beginning of the creative process was the most challenging given the blank slate and the process of trial and error, but as it went on, they grew to be more passionate about it. Regarding themself, this project not only stretched their artistic abilities, but helped them learn about their love for “passion projects.”
The artwork was seen by the participant’s family and their professor who was grading the assignment. It was especially important for their family to see it in order to challenge preconceived notions about the gender identities represented. Regarding their own understanding of others, they realized how necessary it is for non-binary people to have a larger platform given the lack of information out there about their identity. In terms of authenticity, the participant mentioned going to a private Christian school growing up, where they made sure that others were aware of different people who are out there; this resonated with them throughout this creative process. While they didn’t experience anything related to ultimate meaning or the supernatural, they did mention having interactions with their God at times, where they would reflect on spiritual conversations regarding the LGBTQIA+ community and sexual identity.
Interview Transcript
Introduction
Interviewer: In this interview. We are interested in asking you to tell us about our work that you created. We are going to ask you to describe this experience in detail. Do you have any questions?
Participant: Uh no.
Interviewer: Okay. We'd like you to think about an artwork that you created that's especially meaningful to you Your artwork could be from any of the following domains: painting, drawing, such as graphic design illustration, sculpture, stained glass, installation, music, song, dance, performance, art found literature such as poetry, drama, theater, fashion, crafts, mixed media, furniture design, architecture, interior design, plastic art, or any other art that we have not mentioned. The artwork does not necessarily have to be the most important to you, but it should be meaningful, and mostly emotionally salient. It helps if your memories
about creating this artwork are more vivid, but that's okay if you don't remember everything. It can be an artwork that you create at any age. So please choose your work. And can you describe what is it?
Description
Participant: Yeah, yeah. so just like, explain what it is? Alright, so I made this piece actually this previous semester. because i'm an advertising major here at Penn State, and as an advertising major, and also being like gay, I think it's like so important to be able to like stories about minorities and like people, groups like the United States who, like kind of don't have a lot of voice. Like this piece of art that I created was for just like a mock ad campaign for Garnier Fructis, but specifically within this ad campaign, I thought it was so important to show representation of like non-binary individuals. So I specifically took one night just researching nonbinary individuals, models to pick for this specific piece of art that I integrated within like that design. But then to that I tried to make like the artwork within itself highlight like their specific background. Um, from Morocco, which I think is something that's so different from, like all of the Cis white boring ad campaigns that we see in the media today.
Interviewer: Oh, do you have the artwork with you? And if you could like, put up share like, share your screen, or like, present it to the screen.
Participant: Alright. So this is actually a two-part project. So one is a individual who identifies as non-binary, and then this other one is a individual who identifies they are a trans man, he’s a trans man. See, these are the 2 pieces of art.
Interviewer: Could you describe like important details in the piece?
Participant: Yeah. Totally. so okay, so the background is here. This background’s here, this green background.
This yellow background, so like upon like starting this project again,I just wanted to like make sure that the art that I incorporated was like as culturally appropriate for the piece. So I like researched and studied like what Moroccan artists they were and I specifically chose their designs to incorporate within this piece and also Garnier Fructis, they use argon oil from Morocco too so all of it was like this project to really bring in this like culture as one. so that within itself and it's just like the color dynamics. I just wanted to really make sure that, like it was something that like was really relevant with like stuff from Morocco. Yeah. Does that answer your question?
Interviewer: Yeah.
Why did you choose this one? (Specialness)
Interviewer: So I just want to like, ask you, Why did you choose this specific piece for this study? What other than other pieces that you've made?
Participant: Yeah, totally. So like, I mean, it's like I did, I do advertising, and I've created like fun and like cool pieces for print and just really different types of media. But a lot of the times I don't get the availability to like kind of like, put my own like mark, and like, what I think is important to share with the world, and to share with, like, the masses. And for this one I have like full availability, to like, choose my models and to like kind of like, put something that I think is necessary in the world. like trans and non binary and just people from the LGBTQ+ community in advertising. Yeah, so I think that was the big thing for me.
Process of Creating
What led up to its creation? What motivated you to create it?
Interviewer: Great, so now please tell me about your experience and process of creating this artwork, by answering the following questions: So what led up to this creation and what motivated you to create it?
Participant: Yeah, okay. So like it was for a project, but before that we have been working for the past few months, since the start of the semester in August, researching. so like a part of this like we have to break down our whole entire like, creative brief. So we would do a lot of research. so I went into the library a lot of research online choosing like what kind of, what product I wanted to highlight, but also like the product and the models themselves that I think I wanted to highlight together. so that was that process. and then it was like a lot of like just reading about morocco and a lot about like their art, about their arty side in the culture.
Yeah.
When and where did the work happen? Who was involved besides you (if anyone)?
Interviewer: So when and where did you work on this piece and like, Was there anyone involved besides you?
Participant: Yeah, so this is a whole this is like all me on Photoshop. There were some guidance from my professors, but besides that, nothing crazy. and that guidance was super minimal. So really I had all kinds of availability for me to create this on Photoshop. and it's about like: two - So like this itself took about like a week and a half, going back and forth, starting it, stopping it some nights kind of going back, tweaking things going back. but the whole entire project itself took like these past like 3 months. Yeah.
What were you thinking and feeling at different times throughout the process of interacting with the artwork?
Interviewer: What were you thinking and feeling at different times throughout the process of creating this artwork. So how did you feel like in the beginning? How do you feel the in the middle? And how do you feel the end?
Participant: Yeah, I mean, so like at the beginning. It was obviously a little bit tricky, because I didn't really know what I wanted to do like exactly, because I mean when you’re really give like kind of like a blank sheet to do whatever you want. It's kind of hard to start and kind of narrow it down with what you want to do, but then, during the middle process, I like started to research like non-binary, and like trans and their representation in the media. I realized that there definitely is some, and it's like a growing number
over the past 2 years, but it's still not a number seen in like mass that I wanted to so like towards the middle I sort of, and like the end, I became really passionate about that. And yeah. And then once I like, presented this. I presented it to him and I, and like I made sure that he knew the people in the in the ad within the art and their identities. Yeah, and he also really thought that it was super important, and because again, as an older cis white gentleman who worked in the advertising industry, he really hasn't seen much of that, but he thinks it's also great, a great avenue that this, that the advertising world is going down.
Can you describe any high points, low points or challenges, or turning points along the way?
Interviewer: Could you describe any high points or low points or challenges or turning points that you experienced along the way?
Participant: Yeah, good question. Obviously I think the most tricky point was in the beginning, because, like I, I'm not like, Ii'm creative, but I'm not really like visually creative, like where I have a picture in my mind that I want to get to right away, and that I know exactly what I want to execute. For me, It's like this big trial and error process. And where this started, was definitely not what it looks like right now. So I think within that whole entire process, like the first half of just like just a big trial and error about seeing what looks good, what doesn’t look good, seeing what I thought looked best and what represented these people best, and the product.
Interviewer: Do you have any challenges of like researching Morocco or trying to get like information in order to create the piece?
Participant: Yeah, so not really for Morocco, but really just like with the models and the individuals themselves. Yeah, it's kind of hard to source media of non-binary - the non-binary of individuals were way more trickier to source than the trans man definitely just because there isn't that many in the industry, in the modeling industry.
Let’s talk about the impact of the artwork on yourself and others.
What did you learn from the process of creating with the artwork? Did you learn anything about yourself?
Interviewer: So now we're gonna talk about like the impact of the artwork on yourself and others. So did you learn, what did you learn about the process of creating this artwork? Do you learn anything about like yourself?
Participant: Yeah. Yeah. Okay. So this definitely stretched my Photoshop abilities, definitely. But I would work until, like -: long nights, for me like 12: 30 am. Very long. so definitely like stretching that, but also, like I felt this necessary path, like this passion in me for like doing this because it's necessary. So like yeah, ultimately
like ended up not feeling like homework, if that makes sense, because I was so passionate about it because I wanted to create this and I was excited to see the process.
Interviewer: Did you learn anything about like yourself?
Participant: Hmm, it's a good question. I wouldn't say anything typically like necessarily that deep within myself, but just more that passion projects, I've learned that for me, passion projects, I learned that I give more of my time to, and like more, my effort to non-passion projects that I think are mid, and that I don't think are really going to have a great effect on the people around me or the people that see that art. Yeah.
How did others receive the artwork? For example, what were their reactions? Did you intend the work to affect others or the world in any particular ways?
Interviewer: Okay, has anyone else seen this art?
Participant: Yeah. Yeah. So my professor. But then also my family, I showed them it's like, hey.
Interviewer: How did others like, receive the material like, what were their reactions? Did you intend for the artwork to affect like the world in a particular way?
Participant: Yeah, I mean, yeah, I mean, like my professor was like, it was something that I want him to see, obviously for like this grade. But my family, I wanted them to see it so like for them to know that, like there's people that you see in the media and like in art, that you might have like these preconceived ideas of, but, like they're not true. And then once I kind of communicated that to them I was like, yo, look at this, and then I kind of explained it more in depth. I think they're thinking about what they see in the media transition just slightly to a more open point of view.
Interviewer: Thank you.
Did your experience affect your understanding of others or “the world”?
Interviewer: Did your like experience affect your understanding of others? Did your experience affect your understanding of others of the world like you're experiencing, creating the art piece? Yeah, Did your experience affect your understanding of others or the world?
Participant: Yeah, I mean, kind of like I said, there's not that many. There are a lot of LGBTQ+ people in the arts, definitely, nonetheless in the modeling industry, but I think trying to find like those non-binary people people who identify as them, it was just a tricky challenge because, one, there aren't like articles, or any type of news that much about them. I think they just don’t really have a platform. They have a platform to voice their art, but I think it's not as great as it should, as large as it should. Yeah.
When some people think about themselves, they see some parts of themselves as deeply true, real, or authentic.
If this idea resonates with you, did you learn anything about your true nature during the process? Did you have any insights about your own authentic (or inauthentic) self?
Interviewer: It's understandable. When some people think about themselves, they see parts of themselves as deeply true, real, or authentic. And this idea resonates with you. Did you learn anything about your true
nature during the process? Did you like have any insights about your own authentic or inauthentic self?
Participant: Yeah. Okay. So like growing up, I went to like this Jesus School. It's like a private Christian Jesus School, and I like, and I wasn't necessarily out, but I like, in a sense I made sure that people knew that, like
there are different people out there than who you think there are. And I think within that, that kind of resonated with me in this project, for this passion project, to kind of make that evident through my art and what I think. If that answers your question.
Interviewer: Yeah.
Some people believe in ultimate meaning. This is defined as deep, underlying meaning that transcends subjective, personal meaning. It is about the nature of existence and identity, and it may include ideas about the significance of suffering, as well as spirituality.
If this idea resonates with you, did you learn anything about ultimate meaning during the process?
Interviewer: So some people believe in like ultimate meaning. This is to find a deep, underlying meaning that transcends subjective or personal meaning, it’s about like the nature of existence and identity, and may include ideas about like significance of suffering as well as spirituality. If this idea resonates with you, did you learn anything about ultimate meaning during the process?
Participant: um. I’m not necessarily sure.
Interviewer: Okay, that's fine.
Some people believe or perceive a reality beyond the physical or material world. This may include religious beliefs/experiences (such as perceived interactions with God) but also may include mystical or transcendent experiences, or interaction with spirits.
Did you have any of these kinds of experiences during the creation of the artwork?
Interviewer: So some people believe or perceive a reality beyond the physical and material world. This may include, like religious beliefs or experiences such as perceived interactions with God, but may also include, like mystical or transcendent experiences or interactions with spirits. Did you have any kinds of these interactions while creating the art piece?
Participant: Not necessarily, but when I was talking to my family, I mean, unfortunately, I guess, religion was brought up just because of these individuals who might not identify with their biological sex. So within that, like I guess, like you see it within them. But like also after that conversation, it just kept, you know, like you're thinking about it, I don't know like, yeah? But like not necessarily like a super deep way. So yeah.
Interviewer: Alright, thank you. Could you? If you are able to like, describe any of those experiences? If not, That's totally okay.
Participant: Like, okay. So like I mean, just like I like, keep like working on it, and then like, stopping working and then going back to working on it. Like for me, like I’m a spiritual person, but not a religious person. So there are times that like I would have an interaction with like my God. There were points in my head that were brought up just because of the interactions I had with my family, like the conversations I had with my family, but then also just within myself. while working on this and seeing like, because whenever you pull up like articles or do research about anybody in the LGBTQIA+ community, you're always going to get like, there's always something political about it. And for me there is like this, like conversation with, like my spiritual side as to why, like, sexual identity, really has to be, that like be that big of a deal of an issue with like my God. Yeah. So like there is like just kind of that tussle and those conversations I had spiritually within myself, but nothing too deep.
Interviewer: Would you describe those experiences more like negative or more positive?
Participant: Yeah,I don't think they are necessarily negative or positive, but more so, just like educational. I don't know, they were just like, they were neutral. I don't know, like they didn't. Yeah, they were neutral
Interviewer: Great. Thank you.
Follow Up
Interviewer: So I'm gonna ask you a couple of more questions. These are more like different questions, and what I like. It's more like, yeah, okay. So like, how did you perceive the quality of this art piece?
Participant: But can you explain that question?
Interviewer: So like, my interpretation is, did it– when you thought about creating this piece, did it end up
turning out like the way that you thought it would in like that sort of sense? And like. Yeah.
Participant: Sure. Yeah. Yeah. So the way I perceive this quality was like maybe not something that, like I initially thought of, but through a lot of research, and I've been through a lot of like creative, like just homework that like I would say in research and looking at other like art pieces from Morocco. Ultimately it was something that, like, I didn't necessarily know exactly that I wanted to create, but whatever it was, it was something super decent in quality.
Interviewer: Okay. So what goals, if any, did you have when creating the artwork?
Participant: Yeah, yeah. So again, this is gonna sound so repetitive but definitely making sure that the Moroccan influences were super evident, or to an extent, but also the individuals in there, that they could be seen just as people, regardless of their genitalia, whatever their sexual identity. But then also, I made sure to put this kind of theme line: stronger hair, stronger you, just to kind of emphasize that like, no matter who you are, no matter where you come from, again, no matter your sexual identity, like you're strong and you can be a strong individual. Yeah.
Interviewer: Why did you choose the product into like what's significant? Well, besides, like you have you to mention the Moroccan oil by like the significance of Garnier Fructis?
Participant: Yeah. Yeah, yeah, totally. So like I feel like shampoo and conditioner, it’s a super like androgynous product. It's not like I don't know, like eyeshadow that is typically like feminine. I feel like, no matter who you are, you, hopefully, you wash your hair at least like once a month, once a week. So yeah, I felt like that could be a product that's universally seen, that like really, anybody could probably interact with this ad and like, get something from it or tap into their own experience.
Interviewer: Thank you. So what was going on in your life around the time of creating this artwork?
Participant: Yeah. So I just got back from New York City in August, and I was working like an advertising agency. So a lot of that stuff was really fresh within my mind, but also being in New York City. Like I was just surrounded by a lot of creative individuals like immensely creative individuals, but also like I'm in Penn State, in a State College, which is like totally opposite of New York City, and there aren't that many people here in Penn State, who like freely can be themselves. Whereas in New York City it's like on every street corner, and it's just like a beautiful thing to see. So like that immediate shift to moving back here kind of like made it even more important to make sure that, like even though, like I'm in State College. I can still make this like this project on media and like emphasize these individuals and who they are.
Interviewer: Okay, Thank you. So what do you think about like the, what do you think about this artwork and like how it distinguishes it from others? and like what makes it special?
Participant: Yeah, that's a good question. I don't know. I like it, but no. like. I think a lot of artwork definitely has a story to it, and I feel like these 2 pieces of artwork have stories, and they have, It's more than just like what it is. There's more to it behind it, like the cultural identity of the Moroccan artwork, but also the people who are modeling within the photos. So there's a good story to it and whatever you take from that is great. And my story is gonna be different from what you take from it. But there's something there that's more than just a print ad.
How old were you when you created this artwork?
Interviewer: I also need to ask you your age.
Participant: Yeah, 22.
The participant chose to discuss a mock ad campaign for Garnier Fructis that they created for an assignment as an advertisement major. The mock ad served as an important way to demonstrate representation of trans and non-binary individuals, which is why the piece was so special to the participant. Given the groups represented and the Moroccan art inspiration, the participant underwent a lot of research in preparation for the project. The piece was created by the participant on Photoshop, with very minimal guidance. The beginning of the creative process was the most challenging given the blank slate and the process of trial and error, but as it went on, they grew to be more passionate about it. Regarding themself, this project not only stretched their artistic abilities, but helped them learn about their love for “passion projects.”
The artwork was seen by the participant’s family and their professor who was grading the assignment. It was especially important for their family to see it in order to challenge preconceived notions about the gender identities represented. Regarding their own understanding of others, they realized how necessary it is for non-binary people to have a larger platform given the lack of information out there about their identity. In terms of authenticity, the participant mentioned going to a private Christian school growing up, where they made sure that others were aware of different people who are out there; this resonated with them throughout this creative process. While they didn’t experience anything related to ultimate meaning or the supernatural, they did mention having interactions with their God at times, where they would reflect on spiritual conversations regarding the LGBTQIA+ community and sexual identity.
Interview Transcript
Introduction
Interviewer: In this interview. We are interested in asking you to tell us about our work that you created. We are going to ask you to describe this experience in detail. Do you have any questions?
Participant: Uh no.
Interviewer: Okay. We'd like you to think about an artwork that you created that's especially meaningful to you Your artwork could be from any of the following domains: painting, drawing, such as graphic design illustration, sculpture, stained glass, installation, music, song, dance, performance, art found literature such as poetry, drama, theater, fashion, crafts, mixed media, furniture design, architecture, interior design, plastic art, or any other art that we have not mentioned. The artwork does not necessarily have to be the most important to you, but it should be meaningful, and mostly emotionally salient. It helps if your memories
about creating this artwork are more vivid, but that's okay if you don't remember everything. It can be an artwork that you create at any age. So please choose your work. And can you describe what is it?
Description
Participant: Yeah, yeah. so just like, explain what it is? Alright, so I made this piece actually this previous semester. because i'm an advertising major here at Penn State, and as an advertising major, and also being like gay, I think it's like so important to be able to like stories about minorities and like people, groups like the United States who, like kind of don't have a lot of voice. Like this piece of art that I created was for just like a mock ad campaign for Garnier Fructis, but specifically within this ad campaign, I thought it was so important to show representation of like non-binary individuals. So I specifically took one night just researching nonbinary individuals, models to pick for this specific piece of art that I integrated within like that design. But then to that I tried to make like the artwork within itself highlight like their specific background. Um, from Morocco, which I think is something that's so different from, like all of the Cis white boring ad campaigns that we see in the media today.
Interviewer: Oh, do you have the artwork with you? And if you could like, put up share like, share your screen, or like, present it to the screen.
Participant: Alright. So this is actually a two-part project. So one is a individual who identifies as non-binary, and then this other one is a individual who identifies they are a trans man, he’s a trans man. See, these are the 2 pieces of art.
Interviewer: Could you describe like important details in the piece?
Participant: Yeah. Totally. so okay, so the background is here. This background’s here, this green background.
This yellow background, so like upon like starting this project again,I just wanted to like make sure that the art that I incorporated was like as culturally appropriate for the piece. So I like researched and studied like what Moroccan artists they were and I specifically chose their designs to incorporate within this piece and also Garnier Fructis, they use argon oil from Morocco too so all of it was like this project to really bring in this like culture as one. so that within itself and it's just like the color dynamics. I just wanted to really make sure that, like it was something that like was really relevant with like stuff from Morocco. Yeah. Does that answer your question?
Interviewer: Yeah.
Why did you choose this one? (Specialness)
Interviewer: So I just want to like, ask you, Why did you choose this specific piece for this study? What other than other pieces that you've made?
Participant: Yeah, totally. So like, I mean, it's like I did, I do advertising, and I've created like fun and like cool pieces for print and just really different types of media. But a lot of the times I don't get the availability to like kind of like, put my own like mark, and like, what I think is important to share with the world, and to share with, like, the masses. And for this one I have like full availability, to like, choose my models and to like kind of like, put something that I think is necessary in the world. like trans and non binary and just people from the LGBTQ+ community in advertising. Yeah, so I think that was the big thing for me.
Process of Creating
What led up to its creation? What motivated you to create it?
Interviewer: Great, so now please tell me about your experience and process of creating this artwork, by answering the following questions: So what led up to this creation and what motivated you to create it?
Participant: Yeah, okay. So like it was for a project, but before that we have been working for the past few months, since the start of the semester in August, researching. so like a part of this like we have to break down our whole entire like, creative brief. So we would do a lot of research. so I went into the library a lot of research online choosing like what kind of, what product I wanted to highlight, but also like the product and the models themselves that I think I wanted to highlight together. so that was that process. and then it was like a lot of like just reading about morocco and a lot about like their art, about their arty side in the culture.
Yeah.
When and where did the work happen? Who was involved besides you (if anyone)?
Interviewer: So when and where did you work on this piece and like, Was there anyone involved besides you?
Participant: Yeah, so this is a whole this is like all me on Photoshop. There were some guidance from my professors, but besides that, nothing crazy. and that guidance was super minimal. So really I had all kinds of availability for me to create this on Photoshop. and it's about like: two - So like this itself took about like a week and a half, going back and forth, starting it, stopping it some nights kind of going back, tweaking things going back. but the whole entire project itself took like these past like 3 months. Yeah.
What were you thinking and feeling at different times throughout the process of interacting with the artwork?
Interviewer: What were you thinking and feeling at different times throughout the process of creating this artwork. So how did you feel like in the beginning? How do you feel the in the middle? And how do you feel the end?
Participant: Yeah, I mean, so like at the beginning. It was obviously a little bit tricky, because I didn't really know what I wanted to do like exactly, because I mean when you’re really give like kind of like a blank sheet to do whatever you want. It's kind of hard to start and kind of narrow it down with what you want to do, but then, during the middle process, I like started to research like non-binary, and like trans and their representation in the media. I realized that there definitely is some, and it's like a growing number
over the past 2 years, but it's still not a number seen in like mass that I wanted to so like towards the middle I sort of, and like the end, I became really passionate about that. And yeah. And then once I like, presented this. I presented it to him and I, and like I made sure that he knew the people in the in the ad within the art and their identities. Yeah, and he also really thought that it was super important, and because again, as an older cis white gentleman who worked in the advertising industry, he really hasn't seen much of that, but he thinks it's also great, a great avenue that this, that the advertising world is going down.
Can you describe any high points, low points or challenges, or turning points along the way?
Interviewer: Could you describe any high points or low points or challenges or turning points that you experienced along the way?
Participant: Yeah, good question. Obviously I think the most tricky point was in the beginning, because, like I, I'm not like, Ii'm creative, but I'm not really like visually creative, like where I have a picture in my mind that I want to get to right away, and that I know exactly what I want to execute. For me, It's like this big trial and error process. And where this started, was definitely not what it looks like right now. So I think within that whole entire process, like the first half of just like just a big trial and error about seeing what looks good, what doesn’t look good, seeing what I thought looked best and what represented these people best, and the product.
Interviewer: Do you have any challenges of like researching Morocco or trying to get like information in order to create the piece?
Participant: Yeah, so not really for Morocco, but really just like with the models and the individuals themselves. Yeah, it's kind of hard to source media of non-binary - the non-binary of individuals were way more trickier to source than the trans man definitely just because there isn't that many in the industry, in the modeling industry.
Let’s talk about the impact of the artwork on yourself and others.
What did you learn from the process of creating with the artwork? Did you learn anything about yourself?
Interviewer: So now we're gonna talk about like the impact of the artwork on yourself and others. So did you learn, what did you learn about the process of creating this artwork? Do you learn anything about like yourself?
Participant: Yeah. Yeah. Okay. So this definitely stretched my Photoshop abilities, definitely. But I would work until, like -: long nights, for me like 12: 30 am. Very long. so definitely like stretching that, but also, like I felt this necessary path, like this passion in me for like doing this because it's necessary. So like yeah, ultimately
like ended up not feeling like homework, if that makes sense, because I was so passionate about it because I wanted to create this and I was excited to see the process.
Interviewer: Did you learn anything about like yourself?
Participant: Hmm, it's a good question. I wouldn't say anything typically like necessarily that deep within myself, but just more that passion projects, I've learned that for me, passion projects, I learned that I give more of my time to, and like more, my effort to non-passion projects that I think are mid, and that I don't think are really going to have a great effect on the people around me or the people that see that art. Yeah.
How did others receive the artwork? For example, what were their reactions? Did you intend the work to affect others or the world in any particular ways?
Interviewer: Okay, has anyone else seen this art?
Participant: Yeah. Yeah. So my professor. But then also my family, I showed them it's like, hey.
Interviewer: How did others like, receive the material like, what were their reactions? Did you intend for the artwork to affect like the world in a particular way?
Participant: Yeah, I mean, yeah, I mean, like my professor was like, it was something that I want him to see, obviously for like this grade. But my family, I wanted them to see it so like for them to know that, like there's people that you see in the media and like in art, that you might have like these preconceived ideas of, but, like they're not true. And then once I kind of communicated that to them I was like, yo, look at this, and then I kind of explained it more in depth. I think they're thinking about what they see in the media transition just slightly to a more open point of view.
Interviewer: Thank you.
Did your experience affect your understanding of others or “the world”?
Interviewer: Did your like experience affect your understanding of others? Did your experience affect your understanding of others of the world like you're experiencing, creating the art piece? Yeah, Did your experience affect your understanding of others or the world?
Participant: Yeah, I mean, kind of like I said, there's not that many. There are a lot of LGBTQ+ people in the arts, definitely, nonetheless in the modeling industry, but I think trying to find like those non-binary people people who identify as them, it was just a tricky challenge because, one, there aren't like articles, or any type of news that much about them. I think they just don’t really have a platform. They have a platform to voice their art, but I think it's not as great as it should, as large as it should. Yeah.
When some people think about themselves, they see some parts of themselves as deeply true, real, or authentic.
If this idea resonates with you, did you learn anything about your true nature during the process? Did you have any insights about your own authentic (or inauthentic) self?
Interviewer: It's understandable. When some people think about themselves, they see parts of themselves as deeply true, real, or authentic. And this idea resonates with you. Did you learn anything about your true
nature during the process? Did you like have any insights about your own authentic or inauthentic self?
Participant: Yeah. Okay. So like growing up, I went to like this Jesus School. It's like a private Christian Jesus School, and I like, and I wasn't necessarily out, but I like, in a sense I made sure that people knew that, like
there are different people out there than who you think there are. And I think within that, that kind of resonated with me in this project, for this passion project, to kind of make that evident through my art and what I think. If that answers your question.
Interviewer: Yeah.
Some people believe in ultimate meaning. This is defined as deep, underlying meaning that transcends subjective, personal meaning. It is about the nature of existence and identity, and it may include ideas about the significance of suffering, as well as spirituality.
If this idea resonates with you, did you learn anything about ultimate meaning during the process?
Interviewer: So some people believe in like ultimate meaning. This is to find a deep, underlying meaning that transcends subjective or personal meaning, it’s about like the nature of existence and identity, and may include ideas about like significance of suffering as well as spirituality. If this idea resonates with you, did you learn anything about ultimate meaning during the process?
Participant: um. I’m not necessarily sure.
Interviewer: Okay, that's fine.
Some people believe or perceive a reality beyond the physical or material world. This may include religious beliefs/experiences (such as perceived interactions with God) but also may include mystical or transcendent experiences, or interaction with spirits.
Did you have any of these kinds of experiences during the creation of the artwork?
Interviewer: So some people believe or perceive a reality beyond the physical and material world. This may include, like religious beliefs or experiences such as perceived interactions with God, but may also include, like mystical or transcendent experiences or interactions with spirits. Did you have any kinds of these interactions while creating the art piece?
Participant: Not necessarily, but when I was talking to my family, I mean, unfortunately, I guess, religion was brought up just because of these individuals who might not identify with their biological sex. So within that, like I guess, like you see it within them. But like also after that conversation, it just kept, you know, like you're thinking about it, I don't know like, yeah? But like not necessarily like a super deep way. So yeah.
Interviewer: Alright, thank you. Could you? If you are able to like, describe any of those experiences? If not, That's totally okay.
Participant: Like, okay. So like I mean, just like I like, keep like working on it, and then like, stopping working and then going back to working on it. Like for me, like I’m a spiritual person, but not a religious person. So there are times that like I would have an interaction with like my God. There were points in my head that were brought up just because of the interactions I had with my family, like the conversations I had with my family, but then also just within myself. while working on this and seeing like, because whenever you pull up like articles or do research about anybody in the LGBTQIA+ community, you're always going to get like, there's always something political about it. And for me there is like this, like conversation with, like my spiritual side as to why, like, sexual identity, really has to be, that like be that big of a deal of an issue with like my God. Yeah. So like there is like just kind of that tussle and those conversations I had spiritually within myself, but nothing too deep.
Interviewer: Would you describe those experiences more like negative or more positive?
Participant: Yeah,I don't think they are necessarily negative or positive, but more so, just like educational. I don't know, they were just like, they were neutral. I don't know, like they didn't. Yeah, they were neutral
Interviewer: Great. Thank you.
Follow Up
Interviewer: So I'm gonna ask you a couple of more questions. These are more like different questions, and what I like. It's more like, yeah, okay. So like, how did you perceive the quality of this art piece?
Participant: But can you explain that question?
Interviewer: So like, my interpretation is, did it– when you thought about creating this piece, did it end up
turning out like the way that you thought it would in like that sort of sense? And like. Yeah.
Participant: Sure. Yeah. Yeah. So the way I perceive this quality was like maybe not something that, like I initially thought of, but through a lot of research, and I've been through a lot of like creative, like just homework that like I would say in research and looking at other like art pieces from Morocco. Ultimately it was something that, like, I didn't necessarily know exactly that I wanted to create, but whatever it was, it was something super decent in quality.
Interviewer: Okay. So what goals, if any, did you have when creating the artwork?
Participant: Yeah, yeah. So again, this is gonna sound so repetitive but definitely making sure that the Moroccan influences were super evident, or to an extent, but also the individuals in there, that they could be seen just as people, regardless of their genitalia, whatever their sexual identity. But then also, I made sure to put this kind of theme line: stronger hair, stronger you, just to kind of emphasize that like, no matter who you are, no matter where you come from, again, no matter your sexual identity, like you're strong and you can be a strong individual. Yeah.
Interviewer: Why did you choose the product into like what's significant? Well, besides, like you have you to mention the Moroccan oil by like the significance of Garnier Fructis?
Participant: Yeah. Yeah, yeah, totally. So like I feel like shampoo and conditioner, it’s a super like androgynous product. It's not like I don't know, like eyeshadow that is typically like feminine. I feel like, no matter who you are, you, hopefully, you wash your hair at least like once a month, once a week. So yeah, I felt like that could be a product that's universally seen, that like really, anybody could probably interact with this ad and like, get something from it or tap into their own experience.
Interviewer: Thank you. So what was going on in your life around the time of creating this artwork?
Participant: Yeah. So I just got back from New York City in August, and I was working like an advertising agency. So a lot of that stuff was really fresh within my mind, but also being in New York City. Like I was just surrounded by a lot of creative individuals like immensely creative individuals, but also like I'm in Penn State, in a State College, which is like totally opposite of New York City, and there aren't that many people here in Penn State, who like freely can be themselves. Whereas in New York City it's like on every street corner, and it's just like a beautiful thing to see. So like that immediate shift to moving back here kind of like made it even more important to make sure that, like even though, like I'm in State College. I can still make this like this project on media and like emphasize these individuals and who they are.
Interviewer: Okay, Thank you. So what do you think about like the, what do you think about this artwork and like how it distinguishes it from others? and like what makes it special?
Participant: Yeah, that's a good question. I don't know. I like it, but no. like. I think a lot of artwork definitely has a story to it, and I feel like these 2 pieces of artwork have stories, and they have, It's more than just like what it is. There's more to it behind it, like the cultural identity of the Moroccan artwork, but also the people who are modeling within the photos. So there's a good story to it and whatever you take from that is great. And my story is gonna be different from what you take from it. But there's something there that's more than just a print ad.
How old were you when you created this artwork?
Interviewer: I also need to ask you your age.
Participant: Yeah, 22.