Kristina Cranfield / art department

Ownership of the Face

kristina Cranfield photography øTheP01

Ownership of the Face is a speculative narrative where the human face is an artefact that is highly commercialized and manipulated by external forces. It is a future where facial expressions of the work force are exploited purely for corporate needs and to advertise a strong and successful company image.

Through innovative design interventions, this project raises empathic concerns of workers to increase our cultural awareness of social standards and attitudes, and thereby bringing about positive changes to our working environments.

Ownership of the Face is a fictional training guide devised for workers to exercise their facial expressions, by using the unique devices and exercises that I designed. This film explores the potentials in physical modification of the face and communicates the irrationality of demands flowing from occupational institutionalism and mass control mechanisms.

A concept which was developed from research on facial reforms and forced expressions. This mask gives power back to individuals, to express their personalities and protect us from social determination. This idea brings attention to the notion that we have reached a point where, without this intervention, we can no longer take control of our own face.

Deformation mask.  Photography by Zhanna Bobrakova.  Sewn by Masato Jones

kristina Cranfield photography øTheP07

This digital mask is a tangible intervention communicating the notion that parts of the face are sold as a commodity. These masks use media techniques but conceptualise real time technology that edits the face to perfection in the workplace. They remove individual identity and create uniformed facial characteristics based on external and controlling objectives. Who would you wear it for? Your employer, your lover or your personal choice?

Kristina Cranfield. Born in 1985
Through my design work, I construct speculative fictional narratives, performances and social experiments, most of which are inspired from real life narratives and observations.
My parallel worlds set out to challenge societal systems that impact on social behaviorisms, and how such systems shape, manipulate and fracture our identities. Sometimes dark
and sinister, my work challenges the banality of our lives, where we are preoccupied with a constant search for the self by inhabiting multiple identities and disintegrating into the culture
of artificial and commercialised illusions and fantasies.

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