-Artists:
Lygia Pape
Lygia Pape is a major member of Grupo Frente which embraced notion of concrete art. They penned the neo-concrete manifesto, arguing for a geometric style that would allow some degree of expression and an art that provided viewers with a corporeal and phenomenological experience.
She talks about her works :"My concern is always invention. I always want to invent a new language that’s different for me and for others, too. I want to discover new things. Because, to me, art is a way of knowing the world, to see how the world is, of getting to know the world”.
TTÉIA 1,C. golden thread and light.
The Ttéias recalls Pape’s enduring spatial investigations, and the the references to weaving can also be seen in her woodcut series Tecelares (1951–1960)
By seeing Pape's work at first sight, I really love the way how she builds geomatic shapes in a three dimensional way: repetitively using threads to connect different location by the time building cubs, layers. Also, the way she position the light makes the objects pop up/high lighted/disappear which I enjoy to see a motion of changing, loosing, transforming. I think it is a very important reason for artist to portray a sense/abstract expression which can link to audiences by creating artwork in a simple, minimal way and offering a chance to interaction. Because when the object matters are simply abstracted it becomes a common daily shape which exist in everyone's consciousness. It is helpful for audience being part of empathy, synaesthesia, phenomenological experience.
Meanwhile, the light and space changes as the viewer moves. It is also a personal experience created by audience themselves inside the artist built environment. There is not accurate/fixed pathway to engage with artwork. Every viewer will explore their own visual/physical experience once they arouse a empathic emotional reflection.
Mona Hatoum
Mona Hatoum challenges the movements of surrealism and minimalism, making work which explores
conflicts and contradictions of our world. Her works mostly use domestic objects that often, on closer inspection, reveal menacing qualities. Her sculptures and installations incorporates motifs of containment and violence, from steel cages and sandbag walls to barbed wire and grenades.
Light Sentence, 1992, Wire mesh lockers, slow-moving motorised light bulb, 198*185*490 cm.
This artwork aim to reflect artist experience about the Palestinian refugee camp. In this work, walls of industrial wire mesh lockers and a single moving lightbulb create geometric, staggering shadows that transform Tate into a disorientating unstable place. It sounds a bit like a washing machine. In this installation works that Hatoum divulges political uncertainty and battles with national and personal identity as a concept that can be at once familiar and uncanny.
Using artwork to transfer the whole space into another use is be considered as a process, experience that artist provide for viewer. The wall is full of shadow. The wire mesh locker repetitively exist one behind another. The light and shadow not only enlarge the artwork itself but also offer an overwhelmed environment. It offers a better effect for viewers to process empathic communication. Hantom talks about her work: “They come with this preconceived idea of where I come from,and therefore what I’m putting in my work, and they tend to over-interpret the work in relation to my background.”
Richard Serra
Serra's art was “experiential” long before that word started appearing in every 21st-century tourism brochure to describe immersive, striking encounters. The art of Serra is what it does to you—how “it propels you". His creation is related to the process art. Serra’s biggest works have always been ferocious and meditative, elegant and, in a moment, threatening. For example the Reverse Curve is all that: suggesting, in spots, a wall of protection or exclusion; a building collapsing; or a bolt of rust-colored cloth suspended and swirling. It is, for something hard and mean and powerful, gorgeous.
Combined and Separated, 2019 – Forged steel, Six rounds in two groups – 78″ high, 79 3/4″ diameter; 72″ high, 83″ diameter; 48″ high, 102″ diameter
Taken together, the group of rounds can put you in mind of a shipyard, or a well-defended military field with concrete pillboxes extending into the distance. The bulkiness is startling. But their surfaces yield up surprisingly delicate effects, with rosy pinks glowing beneath cracked and blistered gray skins. I really enjoy to see how he use these large round transform the gallery space in to something he attempt viewer to think about, something only arouse when viewer participate with the works of art in that space. An empathetic way of understand what he try to express.
Television: <<Love Death + Roberts>>
Number 14 episode: Zima Blue.
Background Information: Zima Blue is Episode 14 of the Netflix series Love, Death And Robots. The story is centered on a renowned artist who is about to unveil his final work to the world as he takes people through his past. This short film is quite philosophical and carries a simple message in the end. Here’s the plot analysis and Love, Death And Robots: Zima Blue’s ending explained, spoilers below.
Zima’s final art would be his return to where he ‘born,’ rebuilding the pool he once cleaned. The artist reveals the origin of his name to be the color of the tiles he was once cleaned, the manufacturer had called them ‘Zima Blue.’ the first thing his robotic eyes ever laid upon. That night Zima Blue would reveal his final art piece. Jumping into the pool, Zima would deconstruct and uninstall all of the upgrades that came before. As his human-robotic shell is peeled away all is left is a little robot programmed to clean the pool once more.
Zima explains that his search for truth was outward, into the cosmos and he soon realized that the universe was already speaking its own truth. Meaning, the cosmos was way older and had its own purpose of existence. So Zima’s focus turned inward, he began looking for his origins and located the swimming pool which he first cleaned. He states that at last, he understands the thing he sought through his art. He says that he was a crude little machine with barely enough intelligence to steer itself. But it was his world. Cleaning was all he knew, all he needed to know.
The meaning here is pretty deep yet straightforward. Humans seek the purpose of their existence, and everything we set out to conquer in this search is outward. However, we end up looking for the wrong things – riches, power, status, etc. If we started looking inward, we’d begin to realize that happiness is extracted from the simple things we do and feel. From the people in our lives. What one has, even if it is mundane, might be far more meaningful than the seemingly majestic options. One might be happier embracing their true self rather than creating a falsified outward appearance to seem more impressive. The purpose of our existence is merely to be a harmonious part of our ecosystem which in turn is a part of the universe. For Zima, the blue in his murals was his true calling. His purpose that once was. Why he had been created. He simply goes back to his beginning and embraces his truth. And I think it also show us a way to find out the reality, a way to improve your thought, a way to meditating : do things again and again, repetitively.
Lee Ufan
Lee Ufan is recognized for his unconventional artistic processes which underscore the relationship between the viewer, the artwork, and the spaces they inhabit and for philosophical writings that challenge prevailing notions of artmaking with attention on spatial and temporal conditions.
From Line, 1978, Oil paint and glue on canvas, From Point, 1979, glue and mineral pigment on 1818 × 2275 mm. canvas, 161.9 x 130.2 cm.
Lee's From line, From point series of painting, he restricted his palette to a single pigment applied onto the white canvas: cobalt blue or burnt orange, evoking sky and earth respectively. He draws a fine balance between the painted and unpainted, with progressively larger amounts of empty space left between points, allowing the interaction of negative and positive space to transcend the canvas surface. Some people said Lee Ufan's work is an invitation to slow down, step outside the world - with its endless influx of imagery and communication - and focus our attention on perception itself. I agree with them. Also when Ufan talks about his role in work, he suggest artist should work as a meditator between objects and others.
Yayoi Kusama
https://www.youtube.com/watch?v=j0lttLTvKxA
Infinity and self-obliteration are central preoccupations for Kusama, who frequently uses polka dots to conjure the impression of vast, endless space, with the motif appearing throughout the oeuvre. She once recalled:"
One day, after gazing at a pattern of red flowers on the tablecloth, I looked up to see that the ceiling, the windows, and the columns seemed to be plastered with the same red floral pattern. I saw the entire room, my entire body, and the entire universe covered with red flowers, and in that instant my soul was obliterated and I was restored, returned to infinity, to eternal time and absolute space." In Kusama's piece titled Infinity Mirror Room - Phalli's Field, she first used mirrors to transform the intense repetition that marked some of her earlier works into an enveloping, seemingly endless experience. After returning to Japan in 1973, she continued to develop these installations with mirrors, creating truly immense and immersive environments. Each of these rooms offers a truly extraordinary experience and a sensory journey through the artist’s world.
Viewers step inside the rooms, each a singular vision: polka dots, tentacles, brightly-colored pumpkins, amoeba-like protrusions and the mirrors that surround us and multiply the scenes endlessly. Stepping into the Infinity Mirrored Room–Aftermath of Obliteration of Eternity feels like being in the middle of the action of one of Kusama’s “happenings,” her live 1960s art performances in New York City, with polka dot-painted live models. These are some of the many visual tropes that Kusama connects back in time to her early life experiences.
Kusama’s “obliteration” is her introspective process of self-effacement in the face of creation. One in which she realizes she is only one infinitesimal part in the cosmic energy of life and the endless cycle of life and death. The Infinity Mirror Rooms are the center of Kusama’s art-making process, that in the course of her lifetime of making art, took on various forms of expression: repeating physical shapes, reproducing photographic images and what feels like an epiphany in a box of wonder, of reverence.
Saerom Yoon
Saerom Yoon is an artist based in Seoul, South Korea. His work is inspired by the effortless beauty of nature, particularly the colors of both sunset and sunrise. He wants his sculptural furniture to have a similar appearance and feel as a water color painting. Furthermore, he hopes to express natural textures in his work; such as the interplay of clouds, calm water, rippling waves, frozen ice and the bark of trees.
There are some installation he made by using acrylic glass. I was so inspired by the materiality. He used coloured acrylic glass to re-image the nature sense. Also, he install painting and glass made sculpture together in same room as a refection to each other which help viewer to join a visual extension.
Also, he hung the acrylic glass from the celling inside the exhibition space which kind of prove my imagination about making my proposal happened.
