Collection: Collection Part 2

Research File

First Research140617


Artist Research

Rebecca Horn

The artist's work had a great impact on my vision. The German artist explores the relationship between the body and its environment. The piece called "finger gloves"



Olafur Eliasson

Eliasson's Site specific installation "stone river landscape" relates to the project "This Place". When I came across the fountain on granary square, I immediately thought of The flowing element of the stone river. The white geometric shapes are placed across the room, leaving the stone river running underneath and that remains the only coloured section. This conveys a serene atmosphere and mild movements, which is a key point that i want to involve in the outcome, too. 

Andy Goldsworthy

Goldsworthy's environmental art pieces have always been a deed praise far and wide in the art community. The ephemeral works don't last forever, and that's another message I want to deliver through my work. Goldsworthy works in the fields and forests near his home in Scotland using natural elements as his media. His pieces have a tendency to collapse, decay and melt. This is a strong message to show that beautiful things sometimes only remain for a short glimpse of time.

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The above is an interesting work of Goldsworthy that I particularly liked. Its title is "snowball". The fascinating thing is that snow, as an element of the winter collides with a spring/summer background. There is a sense of harmony when the two visually relaxing colours comes together. Without looking at the title, the viewer is invited to have a guess of what the white ball is. It is related to "This Place" because of the humorous "misplaced" snowball, thus creating a diverting imagery.

Richard Serra

I received comments on my sketch that I should look at Richard Serra's work because it has an element of building barriers. I am particularly drawn to the piece called "Rounds, equal weight, unequal measure". It is such a pleasure to see these ephemeral thoughts that comes into our minds come to life. Serra's site specific sculptures had demonstrated how sculptures and materials can stand for themselves, or not be forced to serve as vehicles for articulating an artist's emotional and intellectual life. Through his works he explored how an artwork can relate intimately to a specific setting; how it might take up a physical as well as a visual relationship to the viewer. and how it might create spaces (or environments) in which a viewer can experience universal qualities of weight, gravity, agility, and even a kind of meditative repose. These are qualities I'd like to have in my outcome, a physical and emotional experience given to the public and make them relate to the piece. I want to draw the viewers into a "somatic" participation.

quote:" His work has thus unwittingly inspired a host of counter-responses by subsequent generations, who, decidedly in rejection of his histrionic example, turned in the late 1970s and 1980s toward more ephemeral, everyday materials to suggest that art could be monumental without relying on massive, "in your face" substances and formats."


Jan Svankmajer

This is one of the most preeminent figures in surreal stop- motion films. The Czech artist's vision of connecting a series of "sculptures" or props and making them come true to life is absolutely astonishing. This following image is from a film Svankmajer made in 1998 called "Alice in Wonderland". The stuffed socks starts to move and switch holes, and this led me to thinking about slowing down the action. The gradual movement of these strange ephemeral materials made unusual and the visual impact of real sculptures can never be replaced by animation. 2017-03-24 ??1.09.51.png


This is from a book named "Dark Alchemy - the films of Jan Svankmajer" edited by Peter Hames. I am particularly inspired by the quote "for a dead object to make a movement, we would have to suppose either that we were misinformed, and the thing is in fact a living creature, or that it is being manipulated by an agency outside itself, in which case it remains, strictly speaking, passive. The ambition of the filmmaker is to sabotage such logic by producing a seductive counter case." This is a phenomenal claim of the film maker, and the words are sonorous and forceful.





The above is a series of photographs I took at the Royal College of Art exhibition. The student is named DahHyun Im and the title is "Swimming at the speed of 111km/h". The materials include: video, cement, artificial plants, acrylic sheet, stained glass, aluminium frame, laser print, light/variable size. The sense of unity experienced when I stepped into the installation was strong. The blue light used alongside the various sculptures conveyed a clean yet enchanting atmosphere. The whole place felt like a particular environment, an environment which traps you like a magical cave. I found out more about the amazing work on

Library research:

Film and Video Art edited by Stuart Corner

There is an inspiring paragraph:" There is no motion in a motion picture, only the projector moves the strip, pulled along by wheels and sprockets, the protruding teeth to get a grip."

This explains to me how film works and as a beginner who wants to produce a flick book(due to the limited time stop-motion film is not possible to make), understanding the basis of film making is key. IMG_7769 2.JPG


important quote: " If cinema has already revealed that the world is a flow of images and this world of images is in a state of constant transformation, then video technology causes a further deterritorialization of these flows."

I'd also like to view this world as a constant flow of still images. I've always believed that each glimpse of ephemeral activities are beautiful moments that are not going to repeat again. In this way, it makes me cherish every moment, especially when something quick and magical happens. Since this is something I want to share to people around me, making a flick book as an explanation for a short film is a great plan B.


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Olafur Eliasson- Unsopken Spaces by Thomas & Hudson

The manipulation of natural elements in this particular artwork in the book has attracted me. It claims that "light is life, light is space, life is space". Sunpath for San Basilio is a heliotropic artwork stretching from the sky to a subterranean, vaulted interior. The rotation of the earth, on which the coming and going of night and day depend, is rediscovered in the 'space-embracing' device that hangs in one of the two subterranean spaces, the rotating ring that hugs the space with a thin, moving line of light. 

This sight-specific sun machine that penetrates the dark interior of the house is also like a motion picture. The concentrated array of sunlight is like a string of hope that lightens up a dark time in life. This work of Elliason's is involving the viewer, inviting them to embody within the space itself. 

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I find these artworks very intriguing. The action of spreading his spirit around the city is a brave thing to do. As it is quoted in the book:"His heads haunt all coves and corners of the city. On walls, bridges and underpasses these heads have become part of contemporary Beijing's visual and psychological fabric."The most interesting thing about this series of work is the title:"Dialogue". I wondered why Zhang Dali would link the ghostly shapes of side faces to the action of having a conversation with oneself. This is later resolved in the book:" The act of writing on a wall is an innate creative tendency dating back to the dawn of humanity...this head, which can be perceived literally as a caricaturesque profile of a bald man, is at once humorous, indifferent, melancholic, even deadly serious."



STACKED HOTEL ROOM - Adam Dade & Sonya Hanney

Stacked Hotel Room by Adam Dade and Sonya Hanney has a modesty which belies its radical proposition. The coalescence of fixtures and fittings into a sculptural assemblage....The loneliness loaded nature of hotel rooms - their in-betweeness, at once their loneliness and romantic connotations.....Overall, Stacked Hotel Room constitutes an existentialist project, both rigorous and absurd, insisting on other ways of making sense of the world we inhabit. As various pieces of furniture are reorientated and interlocked in a new puzzle, with beautiful economy, the artists are suggesting a vast range of possibilities out of established order."

I like the movements of transformation, and the clean and tidy finish. In fact, I prefer the tackiness of the vintage photographs, and the absurd re-organization of everyday objects.



Marlene Steyn

I saw this exhibition at Lychee One gallery, and it had a great impact on my views on vibrant colours. The pieces are fun to look at, and the complex yet full of juvenile.

"Aesthetic objects differ radically from the objects of everyday experience because they enable imagination to both exceed and in turn discover finality within itself....A sea of eyes, a myriad of intertwining bodies, a carnival of fantastical delight, the stretching of earthly bodies into the shores of the unknown, multiplicities warping and becoming charged with intensities, the ecstatic encounters with the elsewhere, are but snap shot phrases with this state of exception that we might term the art of Marlene Steyn. This state of exception involves the warping and weaving heterogeneous cultural references into a confederation of hybridity that introduces an aesthetics of unbounded excess."

this is a beautifully written introduction to Steyn's work seen on the gallery's official website. The works encourages me to use a range of colours when completing a project rather than always using monochrome.




Research Project 2: Collection

Roni Horn

Library of Water Stykkisholmur

Horn imagined Library of Water as a place for quiet observation and reflection, "a lighthouse in which the viewer becomes the light. -

The work of Horn uses the method of duplication, filling the whole space with columns of glacier water from 24 different icebergs in Iceland. In this way, water gets permanently archived from glacial sources. In my opinion, this is a great way of collecting the craftsmanship of nature, which is most likely not going to exist in several years time. I personally admire the action of preserving the impermanent, it is not only meaningful to the artist, but also to the public. 


Tom Friedman

1000 hours of Staring

This is a highly conceptual piece of work. "The paper here is the collector. The artist's presence  has been captured by the paper which becomes active". The medium is "Stare on paper", which differentiates from common art materials. 

continent. maps a topology of unstable confluences and ranges across new thinking, traversing interstices and alternate directions in culture, theory, biopolitics and art. Facing a blank canvas or blank page is a moment of pure potential, one that can be enervating or paralyzing. It causes a pause, a hesitation, in anticipation of the finish moment. The blank is almost like a cessation of distraction, which is a good reason for making my pots white so the water from canals can stand out, it's providing a containment instead of taking the attention.

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Ai Wei Wei

"The largest gallery at the RA will house Straight, Ai Weiwei’s poignant response to the Sichuan earthquake of 2008. Poorly built schools in the Sichuan province – held up by steel rods which twisted and mangled in the quake – were devastated, leaving thousands of students dead. These rods (which Ai had labourers straighten by hand) make up the 90-ton floor-based sculpture, that is laid out in broken undulations recalling fault lines."

My response to this piece is that it reflects the tragic history of the earthquake and brings out my deep regret. I was lucky enough to visit the piece at the exhibition last year at the Royal Academy, and I did not immediately resonate with the installation/sculpture. However after reading about it, the conceptual and metaphorical presentation stuns me. I remember going through a disastrous period of time when the earthquake happened in 2008, the whole nation went into despair but rebuilt on hope. 


Nathalie Djurberg & Hans Berg

This is an exhibition I went to in May, and i was extremely impressed by the creative and humorous energy. The individual sculptures were placed together to form a collection, however as I proceed to the another room, the sculptures were put together to make into a short film. It was interesting to see the stop motion film and the props used in the same exhibition. It was a great viewing experience and shows that collections don't always exist in a three dimensional form, but also can be transformed into videos. 


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 11/07/17 Collaborative Project

Title of Object: Skizzenblock

Who made it: Norah Waugh

When was it made: 1936

Description: This is a very old book and about A4 size. It feels fragile because it's made of old paper. The book has turned into a "yellow-brown" ish colour. It also smells of old age. It says "THEATRICAL" on the cover. On the inside, each page has an individual illustration, which resembles costume design. Sketchbook has a landscape format, the handwriting is hard to recognise. 

Speculation: it is interesting because it demonstrates people of last century referring to an even older time period. It resonates with our actions now and shows that we'd always look back into history for references. It is collectable for Central Saint Martins because it is related to clothing design, and the English culture. The university is a famous institution for fashion, and this book is a valuable resource for theatre costume design. 

It is our duty to use this given object as an inspiration so I think the outcome will be a combination of literature and sculpture with a vibrant colour.


"SURREAL PEOPLE" published by the V&A

"Interviewed by James Johnson Sweeney in 1946, Max Earnst summed up what can be read as a Surrealist credo:'art is not produced by one artist, but by several.It is to a great degree a product of their exchange of ideas one with another.' " This extract from the book got me more confidence in collaborating with my partner because it is suggested by a renowned artist who I adore and explains why working closely with someone else can make us bounce ideas off each other.



Primary research at the Architecture Association

The objects are more interesting when it's kept at an Architecture only Institution. This shows that specimens are treated with great care across all industries. They feel like class coffins, the objects trapped inside becomes a permanent existence, like fixed museum relics. Time and physical form gets trapped in these glass containers.



Faye Wei Wei

This is a young British artist who has just graduated from the Slade school of Fine Art, I read an interesting article in a magazine by the gallery Lychee One, and it suggests:"Her bold, poetic works revolve around religious iconography and classical myth, centering on love rituals and the theatricality of masculine and feminine tropes." The intentions draw my attention because her paintings have pleasant colours to look at, it doesn't make you feel tired seeing it for a long time. Instead I try to understand what the artist wants to express through these flat brush strokes. Similarly, for this project I want to create something that's comfortable to appreciate.1208944.jpg

Meret Oppenheim

The following image of artwork is Tasse, soucoupe et cuiller revetues de fourrure. 1936

I think having unusual surfaces for usual objects is an interesting approach to the practicability of tools. It almost sparks a question for me:" what if we are the ones being fooled? Maybe somehow another specie thinks the bone china we are used to resembles the usage of fur to us? Maybe we are the ones that's not using it right." The grotesque and eery objects are great influences to my ideas for this project. My partner came up with an idea of making a book, which I then thought covering with gross fishbones.Meret-Oppenheim.-Object-469x311.jpg



Atta Kim

The following picture is Museum Project 1997

I'm attracted by the sense of transaction of space. The glass cages are quite surreal in its composition in the picture.  

"Atta Kim: A museum is a place where historical objects are placed as barometers of present, past, and future. The Museum Project is about creating my own private museum that displays very basic human elements—basic violence, sex, and ideology, etc.—in a clear glass box. Thus, if the museum is a place where the dead live forever, my museum is a place that lives forever with what is already alive. My models inside the glass boxes become live relics." This is an interview from:

I hope to used these inspirational references as a basis for my contribution to the project. The idea of documenting things that are usually not considered displayable at museums, is a challenging and ambitious thing. In order to avoid cliches, we must have a valid reason, by all means the clear line that draws us from all the phenomenal work artists had previously done. This project outcome will be even more special because it will not only come from my perspective, but also my partner's. He has offered to involve some poetry he has written, so I thought of making reconstructed objects that relates to them, in order to demonstrate the unbreakable bond between literature and art.



Mark Dion
I was suggested to look at Dion by a tutor, since he manipulates specimens in a Fine Art context. 
The following image is
Marine Invertebrates
70 objects in glass jars, isopropyl alcohol, glass and wood cabinet
When I did research on Dion, I often questioned whether his artwork was more leaning towards archeology instead of art. I later on came across this audio interview which made it clearer :"The museum that we're making is the museum of the history in London actually, based on fragments. Not seamless story, story that tries to cover topics like museums in London might do. Not the history of the ruling class, but a fragmented history of everyday life. Not just things but things in transition."
It is interesting because it is presented in such an ordinary way, however it is because the colourful objects are placed in a dull container, that we are forced to draw attention. To me it is almost like being forced to have curiosity of the artist's intention, which makes the artwork successful, in a way that it does interact with the viewer.  
This is a piece by Mona Hatoum from an exhibition I saw at the White Cube, it relates to Dion's piece visually. 
Mona Hatoum
Untitled (Wall Cabinet) II, 2017
Glass and wood
David Lynch
Film "Blue Velvet" 1986
I watched this film tentatively during the research period of the collaborative project. At this stage, my partner has already provided us with the two lines :" from all take the best" and "hear your voice", so I thought perhaps we can throw in the video about the ear in between. This is to echo the poem and to bring out the surrealist spirit. The cut off apparatus is unusual to come across in our everyday life, the fragmented piece is not linked to being separated from the body itself, which is what makes it "surreal" for one second for the majority. The action of treating it like an "object" or "specimen" in the video brings out further wonders, I hope.


19 July 2017, 10:13 PM
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