June 2017
#Installation
#Drawing
#Interaction
#Projection
#SoundArt
#Programming
Calling
Interactive Installation
As houses are one of the greatest posers of integration for the thoughts, memories and dreams of mankind, the landline should be considered as the center. Through an auditory connection, it associates the outside world to this inner space, and bridges the pictures of imagination and the domestic reality we are sitting in. Thus, if it takes the other way, when we call home, the landline is not a tool or merely a product anymore, it sublimates into a symbol. The moment one gets through on the phone, all of the sudden -
the imagery of how the landline is sitting quietly on a tea table with a phonebook opened aside and how the calendar is hanging on the wall with circles on important dates, the footstep sound of mum who is walking back and forth between the washing machine and balcony to hang out the laundry, and the sunshine coming in through the window and moving almost unrecognizably slowly on the floor
Special thanks to Shona Kitchen, Andrew Raftery, and Shawn Greenlee for all the support and love.
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- shrank into that little plastic body, packed, delivered, and then unpacked right in front of one's eyes.
Apparently, the beauty lays not in the landline, but in what it symbolizes.
And here, the beauty is about the dwelling space; space is everything, for
time ceases to quicken memory.
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To attempt to depict a form of ontology in a distant past, or to shadow the changing spatial and temporal realities, I found drawings the very poetic medium to transform such human experience and perception. Through the brlliance of an image, the distant past resounds with echoes, and it is hard to know at what depth these echoes will reverberate and die away... the poetic image has an entity and a dynamism of its own; it is referable to direct ontology (Bachelard, xvi).
So, the nine domestic spaces in the Calling, are flattened into drawings on the wall. For time is abstract, and the space is a combination of imagination and memory of the other side of the hone wire, it is (like I said before) absent, remote, and requiring projection in the veiled weakness of the mind, just like any single sentimental moment in life.
The perspective in the two-dimensional image is made perceptually three-dimensional and identifiable through the arrangement of various home objects, furniture, and projection mapping of sunlight that slowly sweeps across the rooms. Time, here, it’s meant to be read as collective moments as opposed to a chain of event.
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The unconscious abides. Memories are motionless, and the more securely they are fixed in space, the sounder they are.
PROCESS
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the imagery of how the landline is sitting quietly on a tea table with a phonebook opened aside and how the calendar is hanging on the wall with circles on important dates, the footstep sound of mum who is walking back and forth between the washing machine and balcony to hang out the laundry, and the sunshine coming in through the window and moving almost unrecognizably slowly on the floor
Special thanks to Shona Kitchen, Andrew Raftery, and Shawn Greenlee for all the support and love.
︎ Re·did wiring inside of the landline phone
- shrank into that little plastic body, packed, delivered, and then unpacked right in front of one's eyes.
Apparently, the beauty lays not in the landline, but in what it symbolizes.
And here, the beauty is about the dwelling space; space is everything, for
time ceases to quicken memory.
︎ Installation in 2017 RISD thesis show at the Rhode Island Convention Center
To attempt to depict a form of ontology in a distant past, or to shadow the changing spatial and temporal realities, I found drawings the very poetic medium to transform such human experience and perception. Through the brlliance of an image, the distant past resounds with echoes, and it is hard to know at what depth these echoes will reverberate and die away... the poetic image has an entity and a dynamism of its own; it is referable to direct ontology (Bachelard, xvi).
So, the nine domestic spaces in the Calling, are flattened into drawings on the wall. For time is abstract, and the space is a combination of imagination and memory of the other side of the hone wire, it is (like I said before) absent, remote, and requiring projection in the veiled weakness of the mind, just like any single sentimental moment in life.
The perspective in the two-dimensional image is made perceptually three-dimensional and identifiable through the arrangement of various home objects, furniture, and projection mapping of sunlight that slowly sweeps across the rooms. Time, here, it’s meant to be read as collective moments as opposed to a chain of event.
The unconscious abides. Memories are motionless, and the more securely they are fixed in space, the sounder they are.
—— Gaston Bachelard
PROCESS
︎ Cutting mat for drawings
︎ Woodworking process for 9 different sizes picture frames
︎ Installation process for RISD thesis show at the Rhode Island Convention Center
