2019.12.16 (Mon) 10:00 – 11:30 am
@Studio (RC 040.3)
- Work showing: The first 10–minutes of the review is devoted to viewing the work. Students determine the best way to present their semester’s work.
- Presentation: A 15-minutes formal presentation highlighting major conceptual and formal properties of the work presented, work process, and research interests.
- Q&A: 45 minutes of critical questions and dialogue between the Review Committee and student.
Preparing the Review:
As the review happens in my studio, my goal was turning part of the studio space as an exhibit place, but in the mean time, keep the nature of the studio – a place where I working, learning, and making art. One of the important things I considered during the preparing stage was work with the physical space as much as possible. One of my studio mates who is my neighbour borrowed me her space. I moved the mobility wall that between me and my neighbour to have one larger space so that I can accommodate for 10 seats. After rearranged, the space becomes way more interesting, because it brings a lot potentials of different ways to use the space. I spent some time to move things around to find out the best way of using the space. See the following sketch of my floor plan.
I ended up of using a projector to show the video of “Unsettling Light” on the outside walls of my own studio space – which is the hallway of our sharing studio; a wall of printed images to show my process of making, evidence of researching; computer screens initially was planned to show generative graphic programs made in TouchDesigner, but in the end showed my website and five videos of prototypes of a work.
A wall of printed images included several sections:
1 – Images of my works
2 – Images to indicate my working process – prototype based
3 – Images of sketches I drew – Brainstorms, future projects, work parameter analysis
4 – Theory Research posters and mind maps
5 – Working photos – to show the environment, materials, and hardware.
6 – Activities and events I attended since this Summer that had a influence on my practice.
7 – Inspirational artists and their works
Script of Presentation:
Good morning, and thanks for coming to my review. (next)
I am in my fourth semester of a practice-based Ph.D., which means for my final graduation it will be an exhibition instead of a thesis.
Let’s start by playing a small game. What I have on the next slide is a single word, and as quick as you can, speak loudly of the color of the text. Ready? Go (next) (next)
This is an example of sensory slippage, which are moments when human senses like sight, sound become confused and even overlap. I am interested in researching how humans develop their senses, separate them and learn to act based on them.
My previous work “Sensory Overload” explored this theme through water and light, using micro-controllers, motors, and LEDs. This was in 2017, at that time, I worked a lot with machines, hardware, software, and also working with an interdisciplinary team in China, to build large-scale interactive installations that showing at both gallery museum space but also public space.
Since I started my program in here, I took the theory and methodology courses, which gave me chances to relocate and redirect my own practice. I made the work Unsettling Light, earlier this year, for the first time, without any experience in professional in dance and body movement, I brought my own body into the work, explored different qualities of light in a theatre space. This work was started in last year when I did the Flow Theory test drive in FA800. Some of the working process can be seen at the right Mac computer. Even this work involved myself as part of the work, but when I was creating it, I had no clue of what performance art is, and I was not sure that performance art would be a new dimension for my practice. However, my path has really been shaped in this semester. In the two-day workshop “Considering Time in Performance Art” with Marilyn Armes, I found the missing piece in my practice, this workshop enabled me see the potential of deep engagement in work through time. There was a moment in that workshop I think I should bring more performance to my work.
This semester, I also took an online course called Generative Art and Computational Creativity. And made some graphic sketches with code in TouchDesigner.
At the end of this semester, it becomes more and more clear to me for my future practice, I would like to combine computational generative art and performance art together.
I have think though my ideas of my work and wrote a short text about my work.
It becomes more and more clear to me that art is the best way for me to use to raise awareness of oneself and the world.
It is not just about generative art, computational generative visuals, I want to bring generated visual into the real, tangible, physical world, adding elements – space and time into it.
It is not just about performance art, not narrative story-based, not body-centred, the whole performance may be changed by the machine. It’s to explore the relationship between human and machine. The relationship between the artist and the audience, the authorization of the artwork. The boundaries of reality and virtual is becoming more and more blurred.
It’s not or about a single object, it’s an experience for the audience.
It has to be that time, that space, and be there!
It’s beyond what you are seeing, what you are hearing, and what you are experiencing.
It’s an experience that hardly to find the accurate words to describe it, but you would remember the feeling of it.
You may not remember what the words have been said, but you remember the feeling those words bring to you.
It’s simple, minimal,
In the work, there is the one and the only idea.
It is beautiful, it is visually enjoyable.
There is no beginning and no end.
It can be as long as you like, or as less as you want, you can step in at any time, and leave at any time.
It’s constantly changing.
It’s different in every second.
It is not about a single question or a specific topic.
It’s as large as the universe, as small as a single ash/pixel.
It’s a single drop of water in the sea of the universe, reflected by the sun, and what was being reflected, is the value of the content.
It is vulnerable, but also powerful.
It is intimated, it’s about you.
It’s not about what has been said, it’s about what has been avoided, things not been told.
It’s about nature, about the water, the wind, the ice, the mist, the fog, the sky, the clouds, and the light.
You have a script, but at the moment of the performance started, you throw that away.
It’s about you cleaned up the ground, then shaking the tree for several leaves.
It’s accurate, too accurate to noticed.
It’s about perception.
It’s about existing.
It’s about being afraid, but it is OK being afraid or to be failed.
It is kept in the flow.
It is about being stupid,
It is about hugging yourself,
It is about the present.
It’s about a feeling between familiar and surreal where like the stimulation of the time slows down, the time stretches, things kind of get suspended.
Then introduce how my work through 5 most important things in my practice.
common language of human, it has infinitive forms and possibilities
it is what it is, and anything(forms, shape) is possible
Nature makes me feel happy no matter where I am
Weather as Medium
The natural process of creativity – Flow
Nature of …
consider EVERYTHING in the space is part of the work! work with space.
This also brings out the concept of “Site-specific”, the relationship between site, place, and space.
Good use of space will enhance the whole experience and the sensory perception
3. Time / Moments
So this has been really play out through this semester, during the workshop. I know time is always an important element to my work, but I have expanded my understanding the way of looking at time in works.
4. Iteration / Prototype
Different stage – What happens in the computer, what happens with 3D printing, what happens with simply gluing, and pasting, and folding.
Start with the physical model, and then as we come to understand, we take the most basic thing, usually try to bring it to the computer.
Scale models – smaller / big get an idea of how the artwork looks like in the real space
Also, this concept has been changed in my mind through this semester. And I see performance as a way to achieve deep interaction between the art work and the audience.
Principle of discovering new things
Capable of navigating
Two Live stream videos of studio preparation of the review:
Duration: 1 hour
Duration: 2 hours