As part of the project ‘How to Eat an Image Perfectly’, I showed the work to two people outside the field of graphic design to get a sense of how a general audience might interpret it. My work focuses on the idea of treating images as something that can be ‘consumed’, using visual language associated with food and table settings. Currently, the work is presented as a tablemat ‘collection’.
The first participant provided feedback on the work from the viewpoint of a member of the general public. During our conversation, she mentioned that this tablemat-style ‘publication’ was too long and that she didn’t have the patience to leaf through every page, despite my explanation that she could choose which pages to look at and tear out those she didn’t want to read. This observation directly echoed the concept of ‘attention shifting to exhaustion’ that I was investigating—but it also revealed a mismatch between the concept and its representation. The current presentation requires the audience to maintain a certain level of concentration in order to read it, but viewers may not always be willing to put in the effort. Second, she suggested that the tablemat’s single-page content be distributed randomly. This would allow those gathered there to exchange and compare them, which could be more intriguing. It would thus turn the work into a communal experience rather than an act of individual reading. If each person only received one stage of the sequence, the overall experience would be collective rather than individual. Another interesting comment she made was that she would like to see her own photograph on the ‘tablemat’. Although my current work positions the audience as consumers of ready-made visual content, her response suggests that personalization could increase engagement. In future iterations, I may explore ways for users to upload their own photographs, making the consumption process more direct and reflective.
The second participant, a PhD student specializing in architectural heritage, presented a different viewpoint. While she understood the piece’s intention, she questioned its relevance to her actual dining habits. “I still look at my phone while eating,” she said, noting that the piece appeared more like a small game to play before or after a meal than something truly integrated into the dining experience. If this tablemat were placed in a real restaurant, people would most likely prefer to eat or check their phones over interact with the tablemat. She also believed that the piece did not fully function as a practical tablemat, but rather appeared to alter or comment on the dining experience.
These two responses highlight an intriguing tension between the placemat’s practical function and its conceptual graphic form. Although the design is based on the context of dining, it does not have to be used during meals. In the context of an exhibition or publication, the placemat can be viewed as a process record—a visual installation that reflects on the act of eating without actually being used for that purpose—interpreting the concept of ‘consuming images’.
Taking these two pieces of feedback into account, I’ve begun to think about how and where audiences might come across this work in real life. I’d like to try more interactive and context-specific ways of presenting the work. One idea is to present the project as an installation, with the publications displayed alongside bowls, plates, or cutlery to create a dining environment. Props like bowls or cutlery can help to convey the connection to food. This method would allow the audience to experience the metaphor of ‘eating images’ without actually using the object as a placemat during a meal. Another option is to create a participatory installation in which visitors photograph themselves using a computer or camera. Their images would be automatically embedded into placemat templates and printed as physical objects that they could take with them. This process would turn the project from a passive viewing experience to an active moment of image creation. Participants would effectively transform into images ready to be ‘consumed’, reinforcing the project’s playful exploration of image consumption.
Reflecting on these conversations has helped me better understand how the context of a presentation influences audience behavior. It has prompted me to reconsider the project in a more interactive and socially engaging manner, thereby opening up new opportunities. Of course, from an ethical standpoint, if future works involve user-submitted images or the observation of behavior in public places, I must ensure informed consent and anonymity.
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