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FINAL OUTCOME
After watching multiple stage versions of Waiting for Godot, I realized that expressing emotions such as joy, anger, sorrow, and pleasure through clay is never simple.
Later, I discovered that early black-and-white silent films offered an insightful reference—Charlie Chaplin, for example, almost transformed himself into a pure symbol of emotion and perception. His physical performance was not merely part of the narrative; it was the embodiment of emotion itself.
Those minimalist sets relied entirely on performance to imply context, and clay functions in a similar way—it externalizes feeling through form, rhythm, and texture.
Throughout this process, I tried to return my thinking to a simple, instinctive state, approaching creation with a childlike mindset. The stop-motion animation was filmed in a photography classroom using only an iPhone and a few fill lights, preserving the work’s handcrafted, tactile, and spontaneous quality.