In relation to my research with Rashid Johnson, I aimed towards capturing the conceptual genre of photography. Rashid does an efficient job in displaying his work in ways that can gravitate an audience towards it. It raises many questions in regards to why he finalized his particular works that way. Rashid in a lot of work that I found has a tendency of having a black paint splat across his canvas, it makes someone like me think it may have a huge underground significance. His color scheme is a great cornerstone towards his work as well, with red being a very angry or anxious color. Also green being harmonic, to be one with nature with the many plants. I enjoy his method of photography because a lot of things seem to be very hidden in regards to the setup of the work. For example, in the artwork “The Falling Man,” why is there shea butter in the image? Possibly to move your eyes onto a different area, to potentially relieve emphasis in a sense of the outlined man. From viewing Rashid’s work I took note of his habits and something that I have noticed is that he does a lot of projects including plants. Not only does he have a connection with nature but he also has a connection with wax and shea butter. It goes to show with art and even photography, you can make wonders of an image from anything you can potentially get your hands on. Another element that I have observed from Rashid Johnson is he is very versatile. I’ve seen him do work on things that look creepy and anxious but on the other side I’ve seen make collages that look fun with various bright colors. He isn’t limited to one scheme he seems to be willing to give anything a shot in his artworks. Something else you can observe is that at times his work is very organized, the spacing works as I mentioned in my presentation in the “The installation view” the plants are very placed in areas very effectively. In conclusion my aim for this presentation as well as project is to capture the effectiveness of conceptual photography. Objects being mixed in with each other to coaliminate a work of art with a certain meaning.