Final IP Project Page
1.) Reflective Essay
Original Thought
In the past, as English students, we’ve had one goal: to encounter and conquer the ultimately mind-blowing five paragraph essay. After three years and three English teachers, we have finally broken the mold. In a similar way, the five paragraph essay is to innovative, stylistic writing, as the IP project is to our writing development—each is meant to help us begin creating unique, individual writing with our own voice and stylistic techniques. Throughout high school, my writing has drastically evolved as I challenge myself to include thematic and stylistic patterns, as well as express personal content and style to produce my strongest writing, all of which contribute to my overall goal as a writer: to develop original thoughts and communicate my views to the reader.
One of the most difficult parts of writing for me, and maybe the weakest part of my work, is including thematic and stylistic patterns that strengthen my writing. Although I am used to mimicking other writers and their stylistic patterns, I have tried to push myself to include my own stylistic additions that don’t sound out of place or unauthentic. For me, an important part of becoming a better writer was realizing that even the strongest points of an argument or an analysis are still boring to the reader if left dry and lack a powerful stylistic delivery. Thus far in my writing career, I am the most proud of the pieces that I was able to incorporate interesting style techniques—dashes for dramatic effect, depicting an image through a series of three adjectives or verbs, purposeful fragments to break up a paragraph and draw attention. As a writer, I try to overall make an impression on the reader, which forces me to think outside of an analytical mind-set, grasping the reader’s attention and making them want to read my work.
Another aspect of writing that I have worked on since freshman year is including personal content and style, expressing events and opinions that are meaningful to me. I’ve learned that the most effective way to communicate with the reader is to use original thoughts that I care about and can passionately convey to the audience, as opposed to commenting on other authors' work. I can especially see my development as a writer from English I: during freshman year, I would write within the comfort zone of my familiar past, during junior year, I have started to push myself to write from different, less comfortable points of view, using style that I have yet to master, but is a way for me to start expanding my writing capabilities. One of the most challenging pieces for me this year was the point of view shift, where I wrote as Jim, a slave and friend of Huckleberry Finn. Although the dialect was foreign and often cacophonous, my efforts to imitate a character improved my writing because it forced me to experiment in ways that I would have never tried during freshman year. Over the past three years, I have worked, and continue to work, on trying different stylistic and conceptual techniques that all contribute to an expanded skill level for me as a writer, which helps me to write original and interesting work, making an impact and entertaining my readers.
Although my development as a writer is far from over, the past three years have taught me that the best work I can produce stems from trying new styles, new patterns, new concepts that I would otherwise refrain from. I have pushed myself into new situations that while not perfect by any means, have given me the experience to continue expanding my abilities. From the good, the bad, the ugly writing since freshman year, I have learned not only about my favorite ways of writing, but also how to make my work interesting to a reader, the ultimate goal of every writer.
2.) Personal Essay
The Giving Tree
The pain alone was enough to devastate each day. Every plan, ruined; memories waiting to be made, gone. It was only when I was at the nadir of my struggle, the point where I was forced to accept my incompetence, that I experienced true appreciation, even when pessimism threatened to ravage anything comforting left.
She was the Cyclops. The Goliath to my David. In one fell swoop, the towering goalie managed to end my summer and send me reeling into the worst pain I’ve ever experienced. While I may be bitter, snapping a limb, the crack of the bones under me—the gunshot in my body-- is something to remember. The noise alone resonated in my head, in my dreams, and later in the stories of teammates and their families, who heard it from the sidelines.
The Pain had a mind of its own. From the crack to the crash, falling, falling, and a moment of darkness, It started Its work. Pushed from my mangled body emerged a cry, a wail, which I was embarrassed to realize was my own; the horror and shear agony in my voice that I had never before experienced. The Pain tugged at my stomach, twinged through my fingertips, tore through my bones, and twisted my expression as one bestial cry after the next forced its way out. I was dying.
After three days in the hospital and a hip-high plaster prison as a souvenir, I returned home only to face the pinnacle of my obstacles that summer—denial and later, depression. After days of reassuring myself that the independent, sixteen-year-old summer I planned for would somehow work out, I accepted that it would be exactly the opposite: I was only what others would do for me. Completely dependent on those around me. Immobile, decaying, atrophied-- pathetic.
Because my cast weighed more than I could lift, each time I had to use the restroom, my mom would crawl on the floor, raising it for me as I fought, fretted, fumbled with the crutches. Looking down, understanding finally battled through my stubborn, negative ethos and revealed to me just how pathetic I would be without her.
Relying on her humbled me in a way that pushed me to be aware, challenged me to emerge from my self-pity, and dared me to be appreciative in a frustrating and dark time. I knew I needed to start showing her, even when I was scared myself. Even when I didn’t know how to be brave. Even when she would lift my leg to move it just one more inch, and the bones would pop as they rubbed together. I would force myself to endure and to hide the agony in my face in hopes of diminishing the look of heartbreak on hers.
While I worked slowly to resume and maintain some type of daily routine, making the painful struggle to the couch every morning, forcing myself to eat, washing my hair in a bowl as I lay in bed, the epiphany that once enlightened me slowly faded into mundane day-to-day life. Though I needed the normalcy, I realize that I failed to actually put my lesson to use. I soon began get annoyed when the pills didn’t come soon enough, or the remote was just out of reach. Gradually, the Pain worked its way back into my life, overpowering any remembrance of my lesson at all. Now, reflecting on my summer, I understand that true appreciation must take form and reignite.
That moment, seeing her undying loyalty, her unvanquished hope to help me recover, caused me to think. Of someone other than myself. Of those who guide me in a time when I am unable, unfit, or too blind to guide myself. It forced me to broaden my mindset, develop my relationships, and most importantly, to improve how I treat others. I learned that a small lesson garnered through struggle is the rudiment, the foundation, for developing characteristics that then feed off one another to develop character. Overall, I know that the transformation will not have a designated deadline, but I now realize that I am the one who has to keep working at it to give it use and true meaning in my life. Although a work in progress, some of the most painful and darkest times I have experienced helped me to appreciate those who never fail to follow through and help me throughout my life.
3.) Creative Piece 1: Point of View Shift
Dat Truck is Trash
I wok to de haze en de fog. De fog dat’s ben en my eyes ‘nd covers ev’ry islan won afta de next, jis’ floatin and givin me a terrible time, coverin’ up mos my site. Den I’s remember a while befo en de smoke takin’ away Huck from de raf en got him all mix’ up en de islans. My heart drops all heavy ‘kase he didn’ know whah de raf was. My heart a racin’ I know sumf’n wrong, I remembers dis feelin takin’ ovah en makes me sick en my stomach.
I think bout way bac wen I’s yon’ en Ma en I’s mo down south en de white men ‘uz aftuh us. Dem took me from Ma, her sayin’ I’s be jis’ fine en I’s don’ be afeared as de stron white men pull en a tug en sold me away. Dis de feelin in the stomac now dat went in my mind en wuz bringin de sweat down. I’s so afeared bekase I went ‘bout two mile a-comin’ roun the islan lookin’ for Huck. I’s always hated bein alone any mo time ‘kase I’s remember de long som’ers ‘way from Ma, en feelin’ skyered bekase I knows they wouldn’ bring huh back. Alls de suddn’ I hears,
“Hello, Jim, have I been asleep?”
En sho enuf, der he is! Ain’ dead, ain’ drownded, ain’ los no mo, I’s so happy he’s back agin, thanks to goodness! I’s start feelin’ like my one tru fren’ en de world es back, who I’s get to see agin, and I knows it won’ be like Ma who ben gone away forevah.
Right as my eyes gon en teared all up, Huck tellin’ me sumf’n wrong en I’s never lost en he’s never left behine en de fog dat’s been around all nite. He tellin’ me I didn’ mos’ drowned tryin’ to fin’ him. He tells me I dream all dat up in ten minutes. I start believin’ dat truth he says, but den he go en starts smilin’ en mockin’ me fo bein worryn’ as I’s lookin down at de trash en de raf.
Without smilin’, I turn to him en say how I’s gwyne to tell him I got all wore out wid work tryin’ to save him, en my heart wuz mos’ broke bekase I felt like back wen I’s little en wuz pulled away en wuz all alone, en de fog hangin down en I’s los Huck agin. En wen I wake up en sees Huck all safe en soun’ de tears come down ‘kase he come back to de raf alive, I could a got down en kiss his foot I’s so grateful. En right wen I’s so happy alls he kyered bout wuz makin me look uv a fool.
“Dat truck dah is trash; en trash is what people is dat puts dirt on de head er dey fren’s en makes ‘em ashamed,” I says.
En Huck is trash fo treatin Jim so wrong wid dat lie. He should be ashame fo dat truck en me feelin’ so afeared fo his life. Like wen I’s so worryin wen dey pull Ma ways from me en I’s try en run back en fine huh, en she gone. I’s done anythin to get back to huh, jis like I’s done for Huck.
My blood boil en turn en I knows Huck don’ kyer en think my feelins dey is diffrent den his, when really dey’s de same. He thinks I’s no person, no man, wid no feelins of fear en dis heart. But I’s make him know now, dis skin don make no differins. De color of de skin don’ change a thing.
4.) Creative Piece 2: 1920’s Newspaper
On The Lam Weekly
Top Ten Ways to Spot a Gangster:
Read this list to spot a gangster in your town!
1- Extremely expensive suits, almost black
2. Fedoras with a variety of, but not limited to, a band or feather
3. Gold pinky rings, with or without a jewel
4. Teeth for cuff links
5. Suspicious gun-shaped outlines in pocket areas
6. Black cars with completely tinted windows
7. Giant cigars
8. Dark sunglasses
9. Large, heavy bags, almost large enough to fit a body inside…
10. Two large Italian bodyguards
“The St. Valentine’s Day Massacre”
Breaking News! Just this past weekend, gang riots and violence broke out leaving seven men dead in Chicago
2122 North Clark Street. To put the plan into action, McGurn baited Moran by instructing a liquor vendor to tell Moran that he had a shipment of premium whiskey for him at a very reasonable price. Moran then agreed to meet the vendor at the garage at 10:30 the following morning. To avoid being recognized, McGurn hired gunmen from outsideChicago Lincoln Park neighborhood of Chicago Florida
2122 North Clark Street. To put the plan into action, McGurn baited Moran by instructing a liquor vendor to tell Moran that he had a shipment of premium whiskey for him at a very reasonable price. Moran then agreed to meet the vendor at the garage at 10:30 the following morning. To avoid being recognized, McGurn hired gunmen from outside
Elliot Ness, head of the Treasury Department, along with his team, continues to work on convicting Capone of income tax evasion in hopes of sending him to prison. McGurn and John Scalise, members of Capone’s gang, were just last night charged with the massacre. There are plans for Scalise to be murdered even before going to trial, while the charges against McGurn are being minimized. Another gunman involved in the massacre was just recently sent to prison for another murder, which was unrelated to the St. Valentine’s Day Massacre. As far as the ringleader, Capone, his future is unbeknownst to the public; however, we are putting our full faith upon Elliot Ness and his vital efforts to restore the safety of our streets, and the hope of our city.
“Hard-Boiled Al Capone”
Gabriel and Teresa Caponi, who immigrated to the United States New York
Capone worked odd jobs growing up, but found most success when a gangster named Johnny Torrio (1883-1957) hired him to work in a bar owned by a friend. Torrio knew that Capone grew up around violence and over time exposed him to the gangster world. During a fight in a bar, he received a cut on his cheek, provoking the nickname, “Scarface.” Later, Capone met a woman, Mae Coughlin (1897-1986) who bore his son with named Albert “Sonny” Francis Capone, and they got married on December 18, 1918.
Capone soon became the top assistant to his gang, the Five Points Gang, which specialized in bootlegging liquor during Prohibition. While authorities arrested Capone many times, Torrio’s influence always came through and freed him from jail.
After Torrio fled the country, Capone turned into the main proprietor for bootlegging in Chicago
Over the years, Capone killed hundreds of people, paid off government officials to allow his illegal practices, and even influenced the people of Chicago Chicago
Later on in the 1920’s, President Herbert Hoover (1874-1964) ordered his secretary of the treasury to find a way to incriminate Capone. The government eventually indicted him of income tax evasion in 1931 and sentenced him to ten years of hard labor on Alcatraz Island in California ’s San Francisco Bay
Capone eventually contracted syphilis, a sexually transmitted disease, which affected his brain and caused him to become physically and mentally disabled. Authorities released Capone in 1939 and he spent his remaining days at his estate in Palm Island , Florida
Obituary: Reinhart Schwimmer
Twenty nine year old Reinhart Schwimmer was killed this past weekend in the St. Valentine’s Day Massacre. Born on December 1st, 1900, Reinhardt grew up in Chicago city and eventually became an optometrist in Chicago ’s Capitol Building Chicago Chicago
5.) Analytical Piece
Classic Literature or Waste of Time?
Gaping lines between social classes, unhappiness, and battles between desires and integrity, all influence and conflict the characters of F. Scott Fitzgerald’s The Great Gatsby. While some may argue that the story of upper-class struggles does not apply to all people in general, The Great Gatsby exposes life situations that live within the homes of many different types of families. Through character development and quarrels of personal values, The Great Gatsby proves to be classic literature, upholding trends of timelessness, universality, and morality years after its time.
The Great Gatsby challenges readers of any time period to examine their own character as well as their actions in trying situations. F. Scott Fitzgerald’s character development of Jay Gatsby and his conflict of love pertains to a variety of readers because of its timelessness, universality, and morality, confirming The Great Gatsby as classic literature. Throughout the novel, Gatsby clashes between his illusory view of the world and reality. Eventually, he completely loses sight of his “real” life because he becomes so consumed with trying to exhume his past love with Daisy, that even his best friend “couldn’t bear to shake him free,” (148). While those who oppose the novel may argue that Gatsby’s love-sick struggles do not apply to the common man, the principle of allowing oneself to become obsessed with something or someone to the point of a distorted reality pertains to many battles and conflicts throughout life in general. The element of timelessness in The Great Gatsby allows it to be applicable to readers far after its time because the principles shown through main characters involve inner divergence that concern readers in multiple aspects of their lives. Also, Fitzgerald’s character development has an effect on audiences because of its universality, germane to people throughout the western world “regardless of when and where it was written” (“What”). The Great Gatsby embodies the theme of issues discerning consumption from reality, which impinges on people regardless of their time and place. Because Gatsby’s denial about his past and his fixation with “trying to repeat the past” weaves in and out of many people’s lives, The Great Gatsby establishes a universal conflict that affects all types of people, and causes them to examine their own lives and situations (110). Lastly, F. Scott Fitzgerald’s work still lives today because his character development questions morality. When audiences read The Great Gatsby, it causes them to examine their morals seen though the inner clashes that the characters experience, in Gatsby’s case, his priority of his past over his reality, and his allowance of Daisy to completely consume his life. This causes the audience to then analyze their own views on the troubles that Gatsby endures and determine whether or not they experience that same tension in their lives. After analyzing Gatsby’s priority of repeating his past and disregarding the reality of his life, the audience is challenged to compare their own decisions to his. Embodied in Gatsby’s character development, Fitzgerald expresses troubles that possess timelessness, universality, and morality, that endures the test of time and pertains to readers years after the book was written, true characteristics of classic literature.
In The Great Gatsby, Tom and Daisy Buchanan play an essential role displaying the divergence of morals that still affects readers today because of their timelessness, universality, and morality, establishing The Great Gatsby as classic literature. Although some may argue that Tom and Daisy cannot compare to most Americans or Westerners because of their outstanding social class, the issues that impact their marriage as well as their personalities exist in a variety of people’s lives. The main conflict within Tom and Daisy’s life is that between lust and integrity. Tom and Daisy both have at least one affair throughout the duration of their marriage. Because the issue of infidelity affects the lives of many people and proves to be a constant struggle in various relationships, The Great Gatsby, through Tom and Daisy, demonstrates timelessness because regardless of the time period, the principle of fidelity still relates to many Americans and Westerners. While those in opposition to The Great Gatsby may argue that not all relationships undergo issues of infidelity, Tom and Daisy’s relationship still involves testing morality, another characteristic of classic literature. While the Buchanans combat infidelity, readers can still relate to their situation because they can examine themselves introspectively to see if they would hypothetically handle the situation differently, or if they would give in to their impulses, disregarding integrity. Because Fitzgerald incorporates moral principles that exemplify controversy and inner discordance between lust and loyalty, the timelessness, universality, and morality of The Great Gatsby still challenges audiences today.
Overall, F. Scott Fitzgerald’s The Great Gatsby establishes itself as classic literature because of its timelessness, universality, and morality, masterfully illustrated through the character development of Jay Gatsby and the relationship of Tom and Daisy Buchanan. While critics may argue that the plot and characters cannot be applied to the average person, Fitzgerald’s integral principles intertwine themselves into many people’s lives, no matter their time period, social class, or integral wellbeing. The Great Gatsby proves to be classic literature by challenging its audience and creating characters and situations that students and audiences still evaluate and relate to today.
6.) Professional Piece 1
What Teachers Make, or
Objection Overruled, or
If things don't work out, you can always go to law school
ByTaylor Mali
Objection Overruled, or
If things don't work out, you can always go to law school
By
He says the problem with teachers is, "What's a kid going to learn
from someone who decided his best option in life was to become a teacher?"
He reminds the other dinner guests that it's true what they say about
teachers:
Those who can, do; those who can't, teach.
from someone who decided his best option in life was to become a teacher?"
He reminds the other dinner guests that it's true what they say about
teachers:
Those who can, do; those who can't, teach.
I decide to bite my tongue instead of his
and resist the temptation to remind the other dinner guests
that it's also true what they say about lawyers.
and resist the temptation to remind the other dinner guests
that it's also true what they say about lawyers.
Because we're eating, after all, and this is polite company.
"I mean, you¹re a teacher, Taylor," he says.
"Be honest. What do you make?"
"Be honest. What do you make?"
And I wish he hadn't done that
(asked me to be honest)
because, you see, I have a policy
about honesty and ass-kicking:
if you ask for it, I have to let you have it.
(asked me to be honest)
because, you see, I have a policy
about honesty and ass-kicking:
if you ask for it, I have to let you have it.
You want to know what I make?
I make kids work harder than they ever thought they could.
I can make a C+ feel like a Congressional medal of honor
and an A- feel like a slap in the face.
How dare you waste my time with anything less than your very best.
I can make a C+ feel like a Congressional medal of honor
and an A- feel like a slap in the face.
How dare you waste my time with anything less than your very best.
I make kids sit through 40 minutes of study hall
in absolute silence. No, you may not work in groups.
No, you may not ask a question.
Why won't I let you get a drink of water?
Because you're not thirsty, you're bored, that's why.
in absolute silence. No, you may not work in groups.
No, you may not ask a question.
Why won't I let you get a drink of water?
Because you're not thirsty, you're bored, that's why.
I make parents tremble in fear when I call home:
I hope I haven't called at a bad time,
I just wanted to talk to you about something Billy said today.
Billy said, "Leave the kid alone. I still cry sometimes, don't you?"
And it was the noblest act of courage I have ever seen.
I hope I haven't called at a bad time,
I just wanted to talk to you about something Billy said today.
Billy said, "Leave the kid alone. I still cry sometimes, don't you?"
And it was the noblest act of courage I have ever seen.
I make parents see their children for who they are
and what they can be.
and what they can be.
You want to know what I make?
I make kids wonder,
I make them question.
I make them criticize.
I make them apologize and mean it.
I make them write, write, write.
And then I make them read.
I make them spell definitely beautiful, definitely beautiful, definitely
beautiful
over and over and over again until they will never misspell
either one of those words again.
I make them show all their work in math.
And hide it on their final drafts in English.
I make them understand that if you got this (brains)
then you follow this (heart) and if someone ever tries to judge you
by what you make, you give them this (the finger).
I make them question.
I make them criticize.
I make them apologize and mean it.
I make them write, write, write.
And then I make them read.
I make them spell definitely beautiful, definitely beautiful, definitely
beautiful
over and over and over again until they will never misspell
either one of those words again.
I make them show all their work in math.
And hide it on their final drafts in English.
I make them understand that if you got this (brains)
then you follow this (heart) and if someone ever tries to judge you
by what you make, you give them this (the finger).
Let me break it down for you, so you know what I say is true:
I make a goddamn difference! What about you?
I make a goddamn difference! What about you?
Rationale:
I wanted to include Taylor Mali’s “What Teachers Make” initially to incorporate a “slam” poem that is modern and relevant to the project that we are doing. When I first read the title for this poem, I assumed, as most readers would, that it was referencing a teacher’s salary, which is stereotypically low. Reading it again, however, I realized that the title was not alluding to the money a teacher makes, but rather the outcome of the teacher’s efforts, which in the poem’s case are a better student and a better person. I wanted to include this poem in my project because the relationship between a teacher and a student is extremely important in my life. Because we as students are exposed to many tasks that we consider mundane throughout our school careers, it is always special to have a teacher that nurtures creativity and pushes their students to learn. This process is especially important while working on the IP because a strong relationship with a stimulating and challenging teacher is what helps us begin to assess the ultimate question for this project: “Who Are You?” Not only do students need their teachers to assist them in molding their personality and work ethic, but we also need a good foundation to determine what kind of writers we want to be. Teachers that care deeply for their students’ growth push their students to emerge from their comfort zones and make a difference not only in their lives, but in their writing, which to me is the main point of the IP project itself.
7.) Professional Piece 2
First Lesson
By: Phyllis McGinley
The thing to remember about fathers is, they're men.
A girl has to keep it in mind.
They are dragon-seekers, bent on improbable rescues.
Scratch any father, you find
Someone chock-full of qualms and romantic terrors,
Believing change is a threat--
Like your first shoes with heels on, like your first bicycle
It took such months to get.
Walk in strange woods, they warn you about the snakes there.
Climb, and they fear you'll fall.
Books, angular boys, or swimming in deep water--
Fathers mistrust them all.
Men are the worriers. It is difficult for them
To learn what they must learn:
How you have a journey to take and very likely,
For a while, will not return.
A girl has to keep it in mind.
They are dragon-seekers, bent on improbable rescues.
Scratch any father, you find
Someone chock-full of qualms and romantic terrors,
Believing change is a threat--
Like your first shoes with heels on, like your first bicycle
It took such months to get.
Walk in strange woods, they warn you about the snakes there.
Climb, and they fear you'll fall.
Books, angular boys, or swimming in deep water--
Fathers mistrust them all.
Men are the worriers. It is difficult for them
To learn what they must learn:
How you have a journey to take and very likely,
For a while, will not return.
Rationale:
I wanted to incorporate Phyllis McGinley’s “First Lesson” in my project because not only can I relate to the sometimes over-protective home environment, but I can also see parallels between the nurturing home environment referenced in the poem to the somewhat nurturing environment that students grow up in at school. While Phyllis talks about a father’s protectiveness over his daughter, I can see similarities at school where students are taken care of and taught by teachers throughout their schooling, however, there is a point where teachers need to urge us to discover our own strengths, weaknesses, and personalities and writers—the goal of the IP. Although we still have a lot to learn about writing, the IP project, to me, serves as the “journey” that we for a while may not return from because I have to take time to challenge myself to develop into a strong writer with my own voice.
8.) Professional Piece 3
Excerpt from Thank You Ma’am
By: Langston Hughes
The woman was sitting on the day-bed. After a while she said,
“I were young once and I wanted things I could not get.”
There was another long pause. The boy’s mouth opened. Then he frowned, but not knowing he frowned. The woman said,
“Um-hum! You thought I was going to say but, didn’t you? You thought I was3
going to say, but I didn’t snatch people’s pocketbooks. Well, I wasn’t going to say that.” Pause. Silence.
“I have done things, too, which I would not tell you, son—neither tell God, if he didn’t already know. So you set down while I fix us something to eat. You might run that comb through your hair so you will look presentable.”
In another corner of the room behind a screen was a gas plate and an icebox. Mrs. Jones got up and went behind the screen. The woman did not watch the boy to see if he was going to run now, nor did she watch her purse which she left behind her on the day-bed. But the boy took care to sit on the far side of the room where he thought she could easily see him out of the corner of her eye, if she wanted to. He did not trust the woman not to trust him. And he did not want to be mistrusted now.
Rationale:
I wanted to feature Langston Hughes’ “Thank You Ma’am” in my IP project because I have always loved the story of an unlikely mentor in someone’s life. While it does not correlate literally to the IP, the value of a teacher to aide someone who has gone astray applies to many students, especially those in pursuit of finding themselves as independent writers. Although we as students aren’t learning a lesson for a bad decision, we are being taught by our teachers about how to incorporate our past to form our writing style, and to infiltrate it in our writing, whether it is a story, poem, essay, critique, etc. This short story embodies how as students we can be lost in trying to imitate other writers and how our teachers, through the IP and other independent writing, help us to evolve into original writers, and how to communicate our thoughts and opinions to an audience that can learn from and relate to what we have to say.
9.) Professional Artwork 1
Claude Monet Water Lilies
Rationale:
Growing up, my mom and I always dreamed about going to Paris
10.) Professional Artwork 2
Pablo Picasso Still Life On a Piano
Rationale:
Because I have played the violin since I was four, I wanted to find an inspirational piece of art that depicts what I feel when I am playing, as well as what I feel when I am writing, and Picasso’s piece does just that. When learning a new piece or playing a well-practiced solo, it is the best feeling to express all of the emotions and feelings that I am experiencing; however, it is a fine balance between expression and control. This also applies to my writing: I constantly have to work on being passionate about what I am saying, but trying simultaneously to form cohesive pieces of writing that will be clear and concise to my readers. In addition, I make many parallels between playing and writing because my musical experience helps me to appeal to the senses, develop rhythm, and find the appropriate tone to express the topics to the audience.
