


The first mirror piece strained my eyes and it felt as if there where many different realities. Many people were finding it humorous whilst looking at their reflections which I also found extremely hilarious and amusing as it brung strangers together.
I was more interested at some points observing the people around me how they interacted with the mirrors within the exhibition. There were a few primary school children laughing, dancing and making faces at the mirror, but also making fun of one another by their weird apprentices when looking at the mirror. the children show many different emotions but mainly positive; shocked, pleased, humour, confusion, memorization, fascination. This observation will defiantly be a part of my essay when I will be exploring the aspect of how we see ourselves in the mirror within our youth. What is also interesting is noticing the line of the floor caused by the ceilings lights reflecting off the mirror, which could be looked as other mirrors created naturally, unintendedly.
I made a few videos of recording myself whisky passing by the different types of mirrors within the gallery, looking at the camera lens at the same time as discovering myself in different ways with the pieces.


This first image of my reflection has a sense of isolation due to its large space area and dusky lighting creating a sense of tension. Which also helps the eye to narrow itself towards the mirror (to focus – almost forcing people to look at oneself self).


ANN VERONICA: MAGIC MIRROR
I was intrigued by these two mirrors laying side by side against the wall. By closely observing, it’s as if it has small particles of colour to make this one piece. It seems playful and gives a sense of seeing the world as a better place by it’s positive light colours.

I found this angle interesting to photograph due to it’s interning shadow colours and seeing how thin the mirror is. You can see that the interior of the mirror has the layer of the fun, colourful particles which displays when you see your reflection.


ROBERT IRQIN: DOTTING THE I’S & CROSSING THE T’S PART II