#conceptstatement

For this group task, we were inspired by Nam June Paik’s installation Random Access (1963/2000) and chose to address the idea of vagueness. For his installation, Nam June Paik invites the audience to interact with pieces of the tape recorder, creating random, directionless vectors. With the intention of emulating his techniques, we chose a different ordinary object—an umbrella—to portray the idea of vagueness, subverting the conventional purpose of an umbrella. To begin, we created a rough storyboard, which highlighted the main ideas we wanted to explore. The video itself, which went on to become our final artwork, showcases an engagement with the umbrella that is incredibly vague—from the very start, the umbrella is being used despite the lack of rain or sunshine. Throughout the video, this engagement becomes more and more erratic—the umbrella itself is taken apart and the different sections of it are used to create new meanings: the chaotic editing and harsh sounds combine to form an atmosphere of distress and disorder as the umbrella is deconstructed; a metal rod becomes an instrument by being dragged along a fence or along the ground; bending the umbrella wire, we replicated the shapes of the heart monitor waves; the spokes are used to stab repeatedly into the fabric so that the umbrella is effectively destroying itself, et cetera. As such, the umbrella gradually becomes a symbol for aggression and confusion—both contributing factors to the very vague emotion of sadness. This entire, complex process merges to embody the notion of vagueness, becoming a work of art in and of itself, as is the case with Random Access. 

Group members: @adaxucofa @jasminemunder @cofa-bonniekim @monikacofa

Bibliography

Smithsonian American Art Museum, 2001. ‘Installing “Random Access” - Nam June Paik: Global Visionary - Time-lapse’, Nam June Paik Estate. Accessed on 10/04/2018. Available from: https://www.youtube.com/watch?v=PVGl6DoOIVc

FINAL WORK - CONCEPT STATEMENT

My final work showcases an organisation of the square shapes that form movement along a path outside the main frame. These shapes follow the concept of ‘thinking outside the box’ and how our imagination needs to be explored deeply in creative ways.

In my first experiment, the ‘motion’ of the 2D box and particular geometric shapes it created, really inspired the way the boxes in my final work are arranged. A box shape was first cut out from a cardboard box, 14x14cm. Each shape was reduced by 1cm to maintain consistency and uniformity. From there, the idea of ‘vagueness’ in experiment three, further conveys how my final work looks minimal and simple. I avoided overdoing my work as I feel it would have moved away from my concept and main purpose. Finally, experiment four and five had many overlapping 2D square shapes, forming optical illusions. This inspired the overlapping and see-through effect in my final work. This ‘see-through’ effect, emphasises ideas of ‘thinking deeper’ or ‘seeing beyond the surface’.

FINAL WORK - STATEMENT

Curated Experiments - Final Artwork (Concept Statement)

One of the most obvious examples (ironically) of vagueness that we encounter in our day-to-day life would be the vagueness of dreams. This vagueness is further accentuated by the contrast between one’s memories of the dream - which are often crystal clear - and the vagueness of the dream itself - which becomes more vague as one attempts to recall it. Throughout my curated experiments, I attempted to recreate this vagueness through methods that are vague in and of themselves. I also sought to investigate the vague relationship between realism and surrealism, juxtaposing representations of physical objects from my bedroom (my pillow that forms different crinkles every morning I wake up, and focal points of my room which are the first things I see as soon as I wake up each morning) with the more abstract and surreal representations of the dreams themselves.

I chose bright, fluorescent colours to depict the vague shapes formed by my pillow in order to marry the psychedelic imagery of my dreams with the aspect of realism provided by the pillow. I experimented with multiple forms to create my final artwork: audio recording my sleep-talk then visually representing the sound-waves, journalling my dreams and creating a fragmented word collage, and the final ink drawing. And the final artwork itself serves as an embodiment of ‘vagueness’ not only through its content but also through its form as a vague mixture between a collage and a loosely bound booklet.

Bibliography

Blouin Artinfo International, Peter Golfinopoulos. Accessed on 22/05/2018. Available from: http://www.blouinartinfo.com/artists/6486-peter-golfinopoulos

Artsy, Adrian Ghenie’s Vincent van Gogh as Old (2014). Accessed on 22/05/2018. Available from: https://www.artsy.net/artwork/adrian-ghenie-vincent-van-gogh-as-old

Transformations - Final Piece ‘Imprint’

Like many things that we experience in our day-to-day lives, a box as an object is so undeniably tangible, so unquestionably present. And yet, through ‘Transformations’, I set out to question that presence, to contemplate the box as an identity in and of itself, and to break down that identity. The end result is a pair of abstract paintings that no longer suggest even the subtlest imprints of the box they represent (ironically titled ‘Imprint’, which is also an indication of the final step in my transformation process).

Through the project, I explored the nuances of what makes a box considered a box. Initially inspired by the artists Sol Lewitt and Judy Chicago, who both work intimately with the physicality of materials and geometric shapes, I mostly experimented with breaking down the most recognisable aspects of a box - the surfaces, the 2D shapes and the framework. I constantly transformed the ‘box’ between 2D shapes and 3D models in attempts to push the boundaries of what defines a ‘box’. By investigating the shadows cast by the ‘box’ in both its original and transformed forms, I was able to toy with the idea of distortion and a deviation from reality. 

Concept statement V2

The structure is a private space fulfilled with my whims and biases. I am the queen of my kingdom, I am the one who sets the system and rules, everyone within the space should obey them unconditionally - sounds self-centred but feels tempting to me.

My artwork depicts the relationship between humans and the natural environment as a ritualistic passage for self-discovery and enlightenment. Drawn on paper with felt tip pens and pencils, it is heavily inspired by the Australian forests, an environment where I spent my childhood and often envision in my dreams. I wanted to create a work that illustrated nature’s beauty as a way of reminding people about the importance of preserving the natural environment, a notion that is increasingly challenged by technology.

More specifically, my concept draws upon how the adaptation of modern lifestyles have degraded a collective understanding and appreciation for nature. The obsession with technology and consumerism has led to humanity’s continual destruction of the natural environment as it has become a separate entity that we were no longer apart of or entirely subject to. Digital technology has forced people to spend most of their time in doors and detaching themselves from nature. Ultimately, the artwork attempts to ignite a newfound interest in appreciating the environment. 

The artwork is an extension of my previous assessment concept. Instead of depicting the natural environment as an innate internal fragment of the human identity, I attempted to characterize it as an immersive dreamlike reality, highlighting how it can be a source for spiritual and emotional fulfillment. The individual's fixated gaze into an infinite stretch of doorways represents the path to enlightenment, whereby a deep understanding of the natural environment catalyses an enriched understanding of one's self. Moreover, some of the visual elements within the scene such as the infinite doors and foliage was inspired by my dreams. I felt like they represent a nostalgic mark that surfaced in my subconscious as I have since relocated from this kind of forested environment. 

Stylistically, I was inspired by the Japanese painter Takato Yamamoto. He often explores the metaphysical synergy between nature and humans in a surreal Gothic style. His scenes appear macabre yet convey an ethereal atmosphere, often depicting human figures entwined in strange constructions of plant matter and mangled flesh. I attempted to emulate the sibylline aura in his works by developing both intricate foliage details and using a range of graphite tones to create the illusion of depth. The result is an enigmatic scene with visually complex details, portraying the human connection to the natural environment as a psychedelic awakening.