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Breathe (In the Air): The Beginning of Routine. Also arranged in a 3x2 layout, this composition captures a woman lying in bed. The left side is soft and peaceful—this woman lies on her right side, framed in gentle light. A fourth Polaroid to the left displays symbols of peace. On the right, she lies on her left side in red tones, the colors darker, the air heavier. A low-exposure Polaroid to the right expresses tension. The juxtaposition illustrates the beginning of routine: the push-pull between inner calm and creeping anxiety, the choice to care or to detach, to surrender to the rhythm of life or resist it.

On the Run: Paranoia & Anxiety. A 3x3 composition capturing the rapid build-up of modern anxiety. The top row shows a woman in three emotional states—gripping her head, staring blankly, and laughing with her head thrown-back. This laughter could be joy, or it could be masking a breakdown—mirroring the manic giggle in the song. The middle row shows the woman running with a suitcase on the street, each Polaroid moving closer until her face is a blur of motion. This sense of urgency and escape mirrors the airport voices. The final row reflects chaos: a hand holding a toy plane, a red streak through the film, and a burnt Polaroid of the plane. The physical burn directly references the sound of a plane crash and—suggesting fear, malfunction, and collapse.

Time: Regret & The Passage of Time. Twelve Polaroids arranged like numbers on a clock. At the top (12 o’clock) and bottom (6 o’clock) are burnt Polaroids of a pocket watch. The right side (1–5) shows a woman walking slowly toward the camera, calm but contemplative. As we move left (7–11), her posture deteriorates—she crouches, lights a cigarette, and finally holds a lighter close to the lens. Her increasing instability and proximity to the camera mirror the growing intensity of time slipping away and no control. The piece reflects the realization that life moves whether we act or not—the danger of letting days pass in monotony until regret takes over.

The Great Gig in the Sky: Death & The Fear of the Unknown. An 11-Polaroid layout, mirroring a rise and fall. The composition begins in light: Daylight, a woman basking in the sun, and a white Polaroid symbolizes the purity of life. Moving down, a woman's hand reaches for the light, then appears levitating mid-fall. This central frame captures surrender. The descent moves through a silhouette of the woman looking out of a window, then into darkness: a black Polaroid with sketched stars beside a woman lying in complete darkness. The symmetry, either vertically, horizontally, or diagonally creates the opposite. Within the layout reflects life’s transition into death, the unknown, and the emotional chaos of surrendering to fate.

Money: Greed & Materialism. This 4x3 composition uses 12 Polaroids to explore allure, luxury, and the rot beneath. The top row centers a $100 bill. The second row explores temptation: champagne being poured, money falling, a woman wearing a mask with cash stuffed in it. These images overlap—symbolizing the layered illusion of wealth. The third row shows a $100 bill split across three Polaroids—fractured value. The final row confronts greed: lipstick kisses down a man’s side, bloodied hands clutching money, and an empty wallet. Each row reveals a shift—from attraction to corruption, from glamour to emptiness.

Us and Them: Division & Conflict. Made of 13 Polaroids, this piece begins with intimacy—a hug. But two framing Polaroids contain phrases scratched and rewritten in Sharpie: “Us” → “Them” → “Us?” and the reverse, “Them” → “Us” → “Them?” Indicating the confusion of what side you’re really on. The central crack appears in the form of a sidewalk split. Scenes of smoking, fences between lovers, and political protest unfold. The final image, a handwritten note: “PICK A SIDE,” drives home the division. Love, protest, peace, and apathy are all tangled in this fractured view of humanity.

Any Colour You Like: Illusions of Choice & Reality Warping: This oval-shaped composition begins with a Polaroid of a light prism overlapping the Dark Side of the Moon album cover. From there, we move through the color spectrum: Red – a woman yelling; Orange – a blurred figure in the shower, created with saran wrap and a warm filter; Yellow – a party scene symbolizing superficial joy; Green – dead vines under a green filter, representing artificial growth; Blue – a hand on a mirror, evoking reflection and introspection; Violet – a final Polaroid split between red and blue, with the handwritten phrase “PERCEPTION LIES”. This last image points to a deeper truth: humans perceive violet by combining red and blue receptors—what we see isn’t always what’s there.

Brain Damage: Mental Illness & The Fragility of the Mind. This composition draws inspiration from the band’s former member, Syd Barrett, whose declining mental health profoundly influenced the creation of this song. Presented as a 3x3 grid, the imagery is shaped by surrealism and visual distortion to mirror psychological unraveling. The top row shows feet in grass, a woman lying down, and her hand digging into the earth—each filtered through saran wrap and a close-up lens attachment. In the second row, we zoom closer to the woman’s face, watching her eyes open and close in a haunting rhythm. The final row moves into surveillance-style imagery: the woman at her desk, paranoid, watching over her shoulder, captured in an overhead shot.��