Critical & Creative Thinking
For me, critical and creative thinking is the ability to pause and question ideas that initially feel obvious or intuitive. Rather than accepting images or concepts at face value, critical thinking pushes me to ask how and why something is constructed, what assumptions it relies on, and how those choices shape meaning. Creative thinking works alongside this process by allowing experimentation with form, emotion, and structure as part of that inquiry. Together, these ways of thinking guide how I approach video art—not only as visual expression, but as a reflective process shaped by intention and analysis.
One example of my early approach to creative thinking can be seen in BISIA 344 Video Art Assignment 1. At the time, my process was largely instinctive and unstructured. The video functioned more like a compilation of memes or loosely connected clips rather than a cohesive conceptual piece. While the work had visual energy and humor, I did not deeply consider its emotional direction, thematic coherence, or how an audience might interpret the piece beyond its surface appeal. Looking back, this project represents an initial stage in my creative development, where immediacy and intuition guided my decisions more than critical reflection or intentional structure.
In contrast, my second artifact, BISIA 344 Video Art Assignment 2, titled Nightmare, demonstrates a more developed integration of critical and creative thinking. In this project, I consciously reflected on how to preserve my original creative impulse while grounding the work in a clearer conceptual framework. I chose the theme of “Nightmare” to explore both the absurd logic of dreams and the oppressive sensation of being chased within them. My intention was to create an emotional outburst through controlled chaos—mixing fragmented imagery, disorienting transitions, and overlapping elements—before ending the video with an alarm clock that abruptly wakes the viewer from the dream. This ending reframes the chaos as temporary, yet emotionally intense. The video mirrors the way my dreams often feel: overwhelming, disordered, and strangely familiar, a sensation I do not entirely reject. Unlike my first project, every major decision in Nightmare—from pacing to structure to resolution—was made deliberately, shifting my process from spontaneous compilation to intentional storytelling.
Through comparing these two projects, I came to understand critical and creative thinking as an evolving practice rather than a fixed skill. Reflection, questioning, and conscious decision-making strengthened not only the conceptual depth of my later work, but also my confidence in embracing complexity rather than avoiding it. These skills extend beyond video art and continue to shape how I approach new projects, analyze problems, and revise ideas. By learning to interrogate my instincts and transform them into intentional creative choices, I have developed a more thoughtful and adaptable creative process.