24/05/2023 Beginning Unit 3: In Unit 1 I focused on Confucian cultures (mainly China, Japan, and Korea), in which the decline in natural fertility has resulted in babies becoming a luxury. After the first unit of research, I found, from speaking to peers, they enjoy the present and their happiness so most people are not seeking to get married and have children. I found that the problems with why nowadays people don‘t want to get married and have a baby and the results people enjoy their present happiness of my research needed to be covered in one sentence and further thinking, so at the beginning of the Christmas vacation, I thought about "hedonism" and conducted research on "hedonism", at the beginning the unit 2, I identified several understandings of hedonism and chose a meaning I could apply to myself. And finally decided 'Explore and balance your hedonism'. I prefer to call it exploration and balanced hedonism. Based on the input from Unit 1, I decided to concentrate more on the theme of hedonism itself. I talked about the type of hedonism I wanted to pursue, contrasted it with the type of hedonism I had previously, considered whether there was a difference, and considered whether it was connected to social phenomena. It caused me to reflect on mortality and apathy, so I considered including pieces that dealt with the issue of death in Filet's exhibition. In terms of the actual extension of the hedonistic work, I'm considering creating art using human senses, but because of my strong visual sensitivity, I still want to create art using drawing but with various three-dimensional expressions to eliminate the original drawing's possibilities. I'm looking for fresh innovations because I utilise laser engraving too regularly. The first method is to make laser engraving more entertaining and fascinating. The smell of burned wood released by the Laser cutter after burning is also a "hedonistic" nod to the senses. The second method is to reconsider the use of technology and various media. And thinking about drawing since I entered the MA: drawing course. I have been thinking about my themes, works, and my relationship with drawing. I have been avoiding my strengths - digital drawing. Because I was quite busy at work before, I didn't have much time to return to traditional drawing, which is what sticks with me the most. It's a digital drawing, but I finally discovered that digital drawing is also drawing. I can combine it with the background I designed to create different things. So after combining it with Laster Cutter, I found this to be a very useful thing, and then I started to try it. Use my different expertise and media to find a connection with drawing. In the Summer Show, I also tried to break the traditional way of drawing and use a variety of media, such as LED lights, Laser cutters, leather, discarded chairs, and wood. Digital drawing is also drawing, everything has lines, and drawing is also blended into different substances.
Interview everyone about their interpretation and meaning of the color purple, and give an explanation and the first object that comes to mind.
Jane - "Violet, I think purple is a neutral and romantic colour."
AAA - "Very ambiguous and versatile. Taro milk flavoured wheel cake."
Juno - "A curtain of dreams."
Duoduo - "Scorpio."
Lubulabanido - "Red plus blue."
Baoxian - "Dream? The object is estimated to be an electronic cigarette. The hallucinogenic colours and hazy feeling under neon lights."
Janet - "Gay, British Elizabeth Queen."
Gem - "Expensive."
Ziqing - "Psychedelic electronic music."
Lir - "Purple has a romantic and erotic feel, purple ambient light."
Xiao Guan - "Sexy, mysterious, purple is the colour of the crown chakra."
Tianqi Gong - "Dreamland, fantasy, the colour of marshmallows."
Muchen - "Body spots, viruses, corpses, bruises. The mayor of Stardew Valley's purple underwear"
Zhiyi Chen - "Although it may not be good, my first reaction was gay. I don’t know what the connection is between gay and purple, but gay purple is quite a stereotype."
Keyu Cao - "Lines from the musical "Smoke": The scent of purple."
And so on...
Why do I use purple as my art work's main colour?
Through the creation of a purple utopia, I aimed to explore the concept of "exploration and balanced hedonism." Purple, a colour rich in multifaceted meanings, encompasses politics, identity, LGBTQ issues, eroticism, retro-futurism, and the occult. As I constructed this purple utopia, I found myself embarking on a personal journey of self-discovery. Consequently, I sought to reshape various media forms and infuse them with diverse emotions. In doing so, I hoped to not only explore myself but also provoke the audience into contemplating their pursuit of "exploration and balanced hedonism."
Yves Klein tries to go beyond a definition agreed on art: he shows empty spaces, his statements have art value. The "immaterial" that the artist "specializes" is subject to deals in exchange for gold, simultaneously noble metal and colour which then takes a singular place in his work.
Yves Klein used unusual colors - Klein blue was a very eye-catching and intriguing color in that era. He frequently used this color in his works to constantly stimulate the audience's vision and deepen the audience's impression. , I think I can also continue to use purple to deepen the audience’s impression and visual impact of purple, so that everyone can enjoy this purple.
Yves Klein, IKB 79 1959. Tate. © ADAGP, Paris and DACS, London 2023.
Sodi found an emotional power in the essential roughness of the materials he used to create his paintings. Focusing on material exploration, creative gesture, and the spiritual connection between artist and work, Sodi seeks to transcend conceptual barriers. Sodi leaves many of his paintings untitled in order to eliminate any tendency or connection beyond the immediate existence of the work. The work itself becomes a symbol of memory and relic of the artist's dialogue with the raw materials that brought the drawing into creation.
Bosco Sodi, Untitled, 2017, now on view at Paul Kasmin Gallery in New York.
Bosco Sodi Solo Para Revivir, Kasmin Gallery, New York 2023
Pangea at The Bronx Museum New York
The sculpture is based on the crystalline form of the mineral pyrite, known as Fool’s Gold, and is clad in wallpapers made by Boyce since the early 1990s. It makes me think about whether the art forms that may be used in the future have a basic form, and I can add my own graphics to this basic form.
Sonia Boyce, In the Castle of My Skin
Sonia Boyce, Feeling Her Way, British Pavilion, Venice Art Biennale 2022, installation view; photo © Riccardo Bianchini / Inexhibit.
While in the video installations placed in the side galleries of the pavilion, the musicians sing freely, playing and experimenting with their voices in various ways, the central hall installation presents their meeting at the Abbey Road Studios, where they met and improvised together for the first time.
I like to refer to the form of Boyce's works, which are actually an upgrade of her previous works, using a variety of media and forms, including video, printing, performance art, sound, etc.
References:
Kendra Cherry, Mse. (2023) Effects of the colour purple on mood and behaviour, Verywell Mind. Available at: https://www.verywellmind.com/the-color-psychology-of-purple-2795820 (Accessed: 15 October 2023).
Tate (no date) Yves Klein: Tate Liverpool + RIBA north, Tate. Available at: https://www.tate.org.uk/whats-on/tate-liverpool/yves-klein (Accessed: 16 October 2023).
Yves Klein (2023a) Wikipedia. Available at: https://en.wikipedia.org/wiki/Yves_Klein (Accessed: 16 October 2023).
Sodi, B. (no date) Home, boscosodi. Available at: https://www.boscosodi.com/ (Accessed: 16 October 2023).
Boyce, S. (2017) Sonia Boyce: thoughtful disobedience. Nice: Villa Arson.
Sonia Boyce: In the castle of my skin (no date) Eastside Projects. Available at: https://eastsideprojects.org/projects/in-the-castle-of-my-skin/ (Accessed: January 23, 2023).
Sonia Boyce's Venice Biennale winner to be exhibited in the UK Next Year (2022) The Guardian. Guardian News and Media. Available at: https://www.theguardian.com/artanddesign/2022/oct/26/sonia-boyces-venice-biennale-winner-to-be-exhibited-in-uk-next-year (Accessed: January 23, 2023).
Sonia Boyce, UK Pavilion - Venice Art Biennale 2022 (2023) Inexhibit. Available at: https://www.inexhibit.com/case-studies/sonia-boyce-uk-pavilion-venice-art-biennale-2022/ (Accessed: 16 October 2023).
Sonia Boyce: In the castle of my skin (no date) Eastside Projects. Available at: https://eastsideprojects.org/projects/in-the-castle-of-my-skin/ (Accessed: 16 October 2023).
30/05/2023 Beginning Unit 3 Summer Show Proposal: As an artist deeply immersed in the realm of drawing, I find myself exploring the boundless possibilities of artistic expression. My primary objective lies in capturing the intricate emotions and diverse states of characters through the deft strokes of my brush. To achieve this, I envisage utilizing color blocks strategically, each imbued with profound symbolism, effectively reflecting the essence of the characters.
Embracing innovation, I venture into uncharted territory, experimenting with the graceful precision of lasers to delicately carve out the very forms of my envisioned characters. This amalgamation of traditional artistry with modern techniques breathes life into my creations, offering a mesmerizing visual experience.
One cannot overlook the enchanting allure of Purple, a captivating hue that has intrigued and inspired me to create an immersive and surreal world. Through a careful interplay of this regal shade, my artwork takes on a dreamlike quality, evoking a sense of wonder and fascination.
Even beyond the confines of my studio, the world becomes a vast canvas of inspiration. During my daily excursions, I keenly observe the characters and buildings that populate my surroundings, musing over the intricate relationships they share. These observations serve as a profound reflection of the world's tapestry, intertwining various narratives and experiences.
Witnessing the resourceful endeavours of my classmates, who adeptly assemble disparate elements to construct something remarkable, I, too, am inspired to repurpose and collect unconventional materials during my strolls. In these discarded fragments, I see the potential for artistic transformation, as they become emblematic of the power of creativity and ingenuity.
As I embark on this artistic odyssey, my work plan for the Proposal remains fluid, an ever-evolving tapestry of ideas. I welcome the prospect of refining my vision and unearthing new inspirations and concepts that will imbue my art with a timeless and unparalleled essence.
Walker is best known for her panoramic friezes of cut-paper silhouettes, usually black figures against a white wall, which address the history of American slavery and racism through violent and unsettling imagery.
The works of Afro-American artist Kara Walker critically and ironically address questions of history and memory， of ethnic， gender and cultural identity. Walker thus at first glance seems old-fashioned but she has made extremely topical once more： silhouettes cut out of black paper. It is a medium that permits a high degree of abstraction while simultaneously emphasising a work’s representational nature. By eschewing colour, shape and internal structuring, the artist limits herself to the outlines created by the contrast between the black surface between the two in order to extract information from the images.
In my artistic endeavours, I frequently employ the technique of laser engraving as a means of creative expression. Presently, I am contemplating a departure from excessive reliance on laser engraving graphics to depict my narrative. Instead, I entertain the notion of employing silhouettes representing human figures engaged in various activities, thereby exploring diverse combinations to enhance the visual depth and complexity of the composition.
But after the Bargehouse show, I figured out that I don't have to give up the Laster Cutter completely, maybe I can carry on with the Summer Show. I think about adding a laser engraving process to the burned matches so that the material that originally contains the meaning of destruction and death will have a storyline. Just like Kara Walker, blurring the specific content of the graphics, using a black outline, and I think the pure black graphics are more intuitive for the audience.As a reference for graphics, I plan to look for some dance images and observe their movements, because dancers' movements have a large range and strong narrative, which has a strong reference value for black graphics.
Kara Walker, A Work on Progress, 1998. Cut paper on wall, 69 x 80 in. (175.3 x 203.2 cm). Collection of Judie and Howard Ganek
Kara Walker, ‘Study for White Riot’, 1997, paper collage on paperboard. Photo: Christie’s
Summer
Show
Proposal
At the beginning of the work, I tried to express the emotions of the characters by graphics, but by communicating with the surrounding people, most of the works occur in similar works. Therefore, I think about how to create new things on the basis of the same similar elements.
References:
Walker, K., Kim, C. and Smith, Z. (2019) Kara Walker: Fons Americanus. London: Tate Publishing.
Witnessing the resourceful endeavors of my classmates, who adeptly assemble disparate elements to construct something remarkable, I, too, am inspired to repurpose and collect unconventional materials during my strolls. In these discarded fragments, I see the potential for artistic transformation, as they become emblematic of the power of creativity and ingenuity.
As I embark on this artistic odyssey, my work plan for the Proposal remains fluid, an ever-evolving tapestry of ideas. I welcome the prospect of refining my vision, unearthing new inspirations and concepts that will imbue my art with a timeless and unparalleled essence.
02/06/2023 Thinking about materials: Whenever I come across surplus wood in the school's Woodshop, I'm driven by a desire to transform these existing materials into something unique. The conventional hedonistic production method has grown monotonous, leading me to view these excess materials as opportunities for exploration and contemplation. The central question that haunts my mind is, "How can I fashion a new work using these available resources?"
Bringing the wood back to my studio on Wilson Road, I delve into a world of experimentation, combining downloaded and printed images through captivating collage techniques. Encouraged by positive feedback on my collages, I strive to capitalize on my strengths and push the boundaries of creation. Intertwining wood, laser-engraved MDF, and the art of collage, an installation begins to take shape, but a sense of fragmentation lingers, leaving it incomplete.
Yet, the quest for perfection persists, and I acknowledge that there is room for improvement. Embracing this realization, I embark on a journey to explore alternative approaches. Whenever I sense a hint of dissatisfaction, I instinctively seek new avenues, cutting in from different directions, and uncovering multiple paths to enhance my creation.
For instance, while my heart leans towards an abundant use of purple, I contemplate diverging from my initial course. I might experiment with starting in the depths of black, then transitioning to the captivating allure of purple, or even combining both hues simultaneously in an intriguing interplay of colors.
In this process of artistic evolution, I find myself on a perpetual quest for the ideal expression, striving to harmonize the elements and achieve a unified and coherent whole. As I continue to unravel the mystery of creation, I remain open to the unexpected, embracing the transformative power of art and the boundless potential of my vision.
I rummage through the trash for complete objects, such as boots, tree trunks, and rolls of paper. I bring back as many objects as possible that can be combined into stories so that I can work on them when I have time to see them. I find that recurring objects are the easiest to relate to.
I collected the remaining wooden blocks in Woodwork and started to randomly find materials that others needed by others.
I employ a Laser Cutter to generate graphical elements and pseudo-projections in an endeavor to explore novel dimensions beyond conventional two-dimensional graphics. This methodology entails a systematic examination of the tangibility of these pseudo-projections when juxtaposed with physical objects, with a particular emphasis on scrutinizing the interplay between simulated and authentic projections. This critical inquiry is undertaken to ascertain whether such projections enhance the overall intrigue of the artistic composition. However, my investigation has revealed that the inclusion of these pseudo-projections, rather paradoxically, tends to diminish the inherent vitality of the artwork.
I started visual testing by bringing purple elements into the original black shape. I try to use positive and negative methods to find the fun of different graphics.
I originally planned to make sculptural ornaments in different human shapes, but after working with Sarah, I felt it was a bit too cliché. So I thought I still needed to try something new.
I randomly added purple surfaces to the wooden blocks to increase the fun of the wooden blocks and randomly combined the coloured wooden blocks and materials. It was like creating works from a child's perspective or playing with Gundam or Lego.
04/06/2023 Thinking about materials: "Fire" has always been one of the elements I like very much because it has been a significant part of my life since childhood. Perhaps this connection is due to my experiences with burns. Additionally, in my Chinese culture, there are numerous representations of "wood." Inspired by these aspects, I have decided to burn wood and combine it with existing materials to evoke a sense of pain and detachment. While I'm uncertain if this relates directly to On Purple, I am eager to explore this artistic direction.
The truth is, I find immense enjoyment in the entire process of roasting the fire and witnessing the transformation of materials in my hands. It feels as though I am crafting a piece of "porcelain" that exists only in my imagination. After working with the materials, I collect the excess charcoal. This has led me to contemplate incorporating charcoal into the scene, as it emits a scent similar to the one produced by MDF after using the Laser Cutter.
This is the process of exploring materials. In Unit 1, I mentioned that the MDF after being passed through the Laser Cutter emits a unique burnt smell. This can be a hedonistic olfactory sense. The same is true in Unit 1. There is also this smell when burning wood, and it produces a texture after the carbonization reaction.
I collect wood that everyone in woodwork doesn’t want to burn to make new materials. When the charcoal left by burning the wood turns into ashes, I collect it. Maybe it can be used later because I saw an artist before, Collect the burned materials and let everyone smell them.
During the burning process of materials, I use photography and photography to record as much as possible the chemical reaction process of the materials, or it can be used in the production of subsequent works.
I coated the MDF with Acrylic and then laser engraved it to test the effect of the painted MDF.
Steven Spazuk's artwork, much like my own thoughts, involves the use of "destruction" as a creative process. His art is centered around the technique of "fumage," which entails painting with fire. He explores the complex relationship between humans and the natural world, particularly in the context of the climate crisis and the Anthropocene. Spazuk's medium of choice, fire and soot, symbolizes the dual nature of humanity, capable of both nurturing and destroying life. He delicately applies a candle's flame to his art panels and incorporates acrylic paint to introduce color, revealing layers beneath to define his subjects. The transparency and unpredictability of smoke influence his art, mirroring the duality of fire's properties. His compositions symbolize the delicate yet resilient nature of life on Earth, echoing the constructive and destructive aspects of fire in the natural world.
Tipping Point, 2019 Soot on panel 14 x 11 inches
References:
Visual emotionism with artist Andre Desjardins (2014) YouTube. Available at: https://www.youtube.com/watch?v=Sk_LiE5FltU (Accessed: 16 October 2023).
Spazuk, S. (no date) Works, spazuk. Available at: https://www.spazuk.com/ (Accessed: 16 October 2023).
05/06/2023 Thoughts on the use of color and assembly of materials:
I reassembled the burnt materials and painted them with care, yet I found myself unsatisfied with the current work, feeling burdened by its excessive complexity. Although the combinations were rich, they lacked the vibrancy I sought. It fell short of my expectations.
One restless night, the weight of creation bearing down on me, I strolled around Camberwell. To my astonishment, I stumbled upon two discarded chairs beside a garbage dump. The chairs featured leather cushions and steel frames, boasting a unique blend of retro and futuristic design. I seized the opportunity and placed them near the entrance of the Camberwell church. As I did so, a police car passed by, and its flashing lights cast a purple glow upon the chairs. Amidst the white roses and the chairs beneath the cross, I couldn't help but sigh, marveling at the beauty of the scene. It felt like a perfect match. When all emotions blend harmoniously with the materials, it signifies a closeness to the essence of expression, imbuing the object itself with emotional value.
I put the materials in a natural environment to absorb the energy of the environment, because I think the environment can give the materials energy and make the materials more story-telling and magnetic.
06/06/2023 Thoughts on Material Reinvention:
I moved the discarded chairs and prepared materials back to Wilson's Studio for a lighting test. This was a random test, but the effect was much better than I imagined. Purple suddenly adds a sense of mystery to an otherwise monotonous environment.
14/06/2023 Coloring test: The materials I currently possess exhibit varying degrees of gaps, damage, and burn marks, prompting me to experiment with using gradient purple hues to repair and blend these imperfections, akin to the concept of color-driven restoration.
Simultaneously, I ventured to paint the previous MDF in purple and subsequently laser engraved it. The final outcome proved delightful, reminiscent of calcined porcelain.
Moreover, on this very day, I revisited and restructured the plan for my forthcoming exhibition. Given the limited time available and the surplus of unprepared materials, I adopted a strategy of creating more and refining it on-site. Every step must be meticulously planned. As of now, the blueprint involves crafting two installations bathed in purple ambient light, accompanied by laser-engraved works adorning the rear wall.
Purple, a colour rich in multifaceted meanings, encompasses politics, identity, LGBTQ issues, eroticism, retro-futurism, and the occult. As I constructed this purple utopia, I found myself embarking on a personal journey of self-discovery. Consequently, I sought to reshape various media forms and infuse them with diverse emotions. In doing so, I hoped to not only explore myself but also provoke the audience into contemplating their pursuit of "exploration and balanced hedonism."
I redrawn the sketches based on the original portfolio. Because the works were reprinted and produced, a complete set of sketches was needed for planning.
20/06/2023 Progress breakthrough: After grafting the wood onto the chair, I was astonished to witness the formerly contradictory elements now harmoniously coexisting. In a moment of inspiration, I conceived the idea of reviving dead trees, and thus, I utilized laser engraving to carve delicate leaves in the direction of the tree's growth. As I delicately inserted them into the wood, an overwhelming sense of realism and beauty engulfed me. These leaves, akin to resolute spring foliage, seemed to tenaciously yearn for life. The experience was so moving that it stirred an urge to shed tears.
Subsequently, I dismantled a cross-section of the tree and artfully incorporated it into the chair. This addition served to accentuate the chair, although it did evoke a slight sense of melancholy. However, adhering to my creative strategy of adding more and later removing, I recognized that the element could be taken out if necessary.
In the meantime, I dedicated myself to forging another device, featuring three inclined tubes instead of one, to augment the artistic impact. I also re-drilled holes on the back of the steel tubes, as the previous holes proved too small to allow the purple light to permeate through. With the guidance of Daniel, I acquired new drilling techniques, like drilling a small hole first and then expanding it to a larger one, which rendered more satisfactory results with ease.
In the early stages of drawing leaves, I observed and photographed the leaves of many plants, and finally found that the leaves of Chinese green tea actually best fit my fantasy of budding leaves. Because they retain the leaves' fresh state and upward momentum, they also give people a fresh and mellow feeling.
What I didn't expect was that the laser-engraved MDF could actually keep the leaves slim while also maintaining a certain degree of stability, because the "leaves" would not break if there was vibration after installation.
I cut the picked branches into several sections and fixed them on the chair. The purpose is to increase the experimental nature and allow the audience to stay on the work for a longer time. The upper cross-section of the small wooden stake is added with a gradient of purple, which will allow the audience to see a purple line from a certain angle when viewing the work. This line is also to add more purple space to the work.
I originally thought that steel wire required special pliers or a drill to cut or penetrate steel, but after asking the technician, I found that an electric drill and saw can also meet the required requirements.
At first, the holes in the steel pipe were too small to allow light to pass through. After debugging, the original holes were enlarged to allow light to pass through more easily.
After sorted out the required materials, I began to assemble the reassembled materials.
27/06/2023 End of installation: After completing the initial stage of painting the walls and floors, I commenced organizing the exhibition hall while taking stock of my current possessions:
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An installation featuring two chairs
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An LED device comprised of three steel pipes
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Blocks of wood painted in a rich purple hue
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Blocks of wood adorned with calcined marks
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Five printed works
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A video capturing the mesmerizing dance of a purple flame
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Four pieces of MDF after undergoing laser engraving
I experimented with various combinations and placements of these works. During the process, Sarah Woodfine joined me in C134 and suggested that I needed to make some trade-offs due to the abundance of work. I agreed with her, but I believed that most of the items should remain and instead require refinement, as "less is more" calls for utmost precision and finesse. Simultaneously, I also conducted experiments with different light colours, even though they may not directly influence this particular exhibition. Nevertheless, this practice served as a valuable exploration in the realm of light manipulation.
Even beyond the confines of my studio, the world becomes a vast canvas of inspiration. During my daily excursions, I keenly observe the characters and buildings that populate my surroundings, musing over the intricate relationships they share. These observations serve as a profound reflection of the world's tapestry, intertwining various narratives and experiences.
When I crouched down to photograph the sculpture, the light seen through the small hole in the sculpture was perfect.
30/06/2023 End of installation:
During the installation phase, Sarah Woodfine and Mujeeb Bhatti paid a visit to the exhibition space. During their visit, Mujeeb voiced his reservations regarding my use of wood as a primary material, prompting me to engage in a thorough reassessment of my creative process. This critique was somewhat unexpected, as Mujeeb had previously commended the design of my work. Consequently, I felt compelled to reevaluate my artistic logic, leading to significant enhancements in the project's overall conceptualization. However, this critique left lingering questions in my mind: what specific aspects of the wooden elements required reevaluation or removal, and was this related to matters of artistic style or, perhaps, their association with prior works?
In striving for an enhanced overall impact, I made the decision to eliminate superfluous fire-charred wood blocks and selected paintings produced post-Laser Cutter. This choice emanated from a desire to prioritize the illumination and visual focal points within the exhibit, an instance where the maxim "less is more" held particular resonance. Notably, within the exhibition, the auditory resonance of burning matches within the quiet environment emerged as a theme of considerable enjoyment.
To delve deeper into this exploration, I embarked on an endeavor to scrutinize and experiment with different hues of lighting, endeavoring to identify combinations and display techniques that promised to be effective in conveying my artistic vision.
The final phase of the project involved a tutorial session facilitated by Mujeeb Bhatti and Kate Terry. Following the placement of the video and the alignment of steel pipes to meet their stipulated requirements, we meticulously fine-tuned the spotlights to perfection. As the spotlights cast their radiance upon the leaves, they engendered a delicate and enigmatic nocturnal ambiance, akin to a dreamy midnight reverie. At this juncture, it was immensely gratifying when Mujeeb Bhatti expressed his affirmation of my final creation. Such positive feedback was a rarity and carried particular weight, especially when considering the marked contrast in his emotional responses to my work between Unit 1 and Unit 2. He extolled my work for its robust design thinking, and I found myself in agreement with him, discerning the accolade from varying depths of artistic comprehension.
This exhibition marked a departure from my previous presentation at Bargehouse, signaling a palpable shift in the audience's perception and engagement with my work. This shift prompted me to engage in introspection, contemplating the underlying source of the audience's expressions of "surprise" and "approval."
Ultimately, in the realm of artistic creation, the discerning curation of elements and the discovery of new facets can imbue a piece with myriad layers of allure. It is a process that involves identifying that elusive detail that captivates the audience and elevates the work to a heightened plane of aesthetic appeal.
The process of lighting debugging is also full of experimentation. The remote control of my LED light can adjust 7 colors. During the continuous testing, I am also rethinking whether the most suitable color is the purple I decided on from the beginning.
Testing the LED color lighting of the work, while looking for color matching, I found that the lighting effects of the works in the same space will affect each other, including the interaction with the work of Zoey, my classmate next door. She reported back that my works would affect her presentation, so we need to think about how to work together in the same space to achieve the best effect.
After testing, Sarah and I are most satisfied with purple.I then rearranged the excess and stray wires as required since loose items can interfere with space.
04/07/2023 Self-reflection and evaluation:
Throughout the entire month dedicated to preparing for the exhibition, I found myself immersed in a whirlwind of activities and commitments, far surpassing my initial expectations. The demands and multifaceted responsibilities of the endeavor were, at times, overwhelming.
However, midway through the process, while engaged in a thorough examination of exhibitions from other academic institutions, I recognized the paramount importance of promptly capturing photographic representations of my works and their effective display. The strategic decision to produce postcards of my work emerged as a judicious choice, reflecting the meticulous pre-planning and preparatory measures I undertook amidst a tight schedule.
Notwithstanding the challenges encountered during the Private View event, where technical issues prevented the full presentation of my video work, I derived encouragement and solace from the observation that a considerable number of attendees demonstrated both recognition and appreciation for the fundamental essence of my artistic contributions. This acknowledgment closely aligns with the level of recognition and acclaim I had aspired to attain within the framework of Unit 2.
In the realm of self-reflection, I maintained a balanced and constructive perspective, refraining from excessive self-criticism, as I was acutely aware of my unwavering dedication and allocation of 100% of my energy to this project. My primary focus revolved around understanding the means to sustain this elevated level of commitment and fervor as I proceed with my artistic journey.
During the printing process, refer to the content and format of the business cards of various artists collected previously to learn, add elements of your own works and increase layout information.
At the same time, I also participated in the Wilson Road exhibition area when I participated in the Summer Show. However, due to too many sudden surprises, I was unable to arrange the work perfectly. This made me think about whether to fully prepare the materials and time required in advance while preparing for the work. , whether it is necessary to negotiate with other staff, and to find the corresponding person to provide corresponding help.
Graduation show, Wilson road, CCW
Ceramics
In the final stage of Unit3, I also started to experiment with ceramics for creation. My purpose was to make a ceramic backflow incense, inspired by my sculpture work 'Reincartation'. Likewise, I think it could be showcased at the final Research Festival.
Unfired state
I started making trays of backflow incense, also inspired by tea leaves.
I first tried to make branches. This was my first time using clay, but the effect after firing was still good.
I added small round balls on the leaves. My original intention was to make the balls act as pearls or dewdrops.
Glaze fired ceramics
After the glazing, the ceramics were fired at a low temperature of 1060 degrees. I found that the small tea leaves worked well, but the large tea leaves were a bit light, so I planned to add some more.
In these works, the images follow one another and merge into one another, as if on a journey through a dream. The sculptural form, an assemblage of porcelain strips printed with photos, appears as if it has been deformed by the wind, the walls of the photo sculptures contract, they "embrace" each other.
SARA DARIO, printing photos on ceramics gave me new ideas at the Research Festival.
The way I applied the glaze this time was to use a brush dipped in the glaze and swirl it around.
In a previous ceramics workshop, I noticed that some people were using ground glass for "glazing", so I wanted to try it to see what the effect would be after firing.
The glass I chose is white glass and green glass. Although the colors of white glass and green glass are similar after they are completely crushed, experiments are still needed.
I put the glass on top of the ceramic and lookking forward to the firing.
The results of the experiment surprised me. The ground glass was completely dissolved, while the unground glass was difficult to completely dissolve and appeared in a state of accumulation. The ceramic was fired for the third time, but it was no longer as prone to shrinkage as it was the first time.
I used the Laser Cutter to carve leaves with a length and width of 4 cm and 5 cm respectively for testing, because I was afraid that they would not fit into the holes made in the previous ceramics. But the effect is particularly impressive. The Acrylic effect after engraving seems to be filled with morning mist.
Another problem with the assembled ceramics is that the branches cannot perfectly connect with the base leaves. I will continue to ask the teachers in the ceramics workshop how to solve it. I'm thinking of trying to glue it together, but I'm worried about that.
Purple Mist, 2023, ceramic, acrylic, 150 mm x 450 mm
Purple Mist (Backflow Incense)
References:
Artista (no date) Sara Dario. Available at: https://www.saradario.com/ (Accessed: 30 October 2023).