“The Ultimate Selfie Station” was borne from stigmas surrounding public selfies. Even though Instagram has catapulted self-documentation to new and “acceptable” levels, the concept is still foreign to many people who are unwilling to understand the platform as one that could be optimized for aesthetically-sound visual documentation.

Long are the days of yellow-toned Instagram filters and the confines of square crops: Instagram has encouraged the average Joe to be constantly on the hunt for the perfect #OOTD wall. In the past few years, Instagram “savants” have built a culture around getting the perfect shot – continuously “supporting” anything/everything related to that ubiquitous pink Paul Frank wall, Maya Hayuk’s colourful murals, and the art in any modern art gallery in a 10km radius. Beyond that, the app has popularized the word “aesthetic” outside the confines of an art school classroom, and everyone from my cousin to my “ex’s” mother (who recently called me asking how to “Insta-plan”), are deeming themselves “feed-conscious”.

These tropes typify Instagram – and I have never been adverse to play into said tropes.

The 200sq ft space – filled with plants, prints, mirror, multi-dimensional objects etc etc – ensured that with every wall intersection, a new photo op would be made. Whether sitting, standing, leaning, perching, the photo set leads by example.
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