從上述作品可以發現，環境對個人認知、行為、感受與經驗的影響，一直是藝術家感興趣的主題。Olafur認為無論是參觀美術館或置身公共空間，身體感知都是經驗總體的一部分，然而人們對社會賦予空間的意識形態已然內化，甚至視為理所當，一些對空間的文化框架，更使得我們對異己的包容與排除存在既定的偏見。因此，他企圖讓觀者重新意識到身體感知的主體性，鼓勵人們打破以往對空間全盤接受或者先入為主的觀念，重新思考自身與空間、以至於這個世界的關係。
http://passage.life/2015/09/olafur-eliasson/
Monday, September 21, 2015
Monday, February 2, 2015
NOTES - 5 other controversial art in Malaysia that pissed people off
original: http://cilisos.my/5-other-controversial-art-in-malaysia-that-pissed-people-off/
So because it’s a representation of thought, it also goes to say that no one agrees with you all of the time; and so there may be those who’ll like a certain painting, some who’ll hate it, and some who’ll be offended by it. Because, after all, most of us can’t tell a Monet from a Magritte, but what we CAN do is to stand around it and offer an opinion.
But of course, there are also artists who aim to offend or at the very least get a reaction out of their audience. Like with Charlie Hebdo for example, the magazine brought across their commentary on society via cartoons that were offensive on purpose. Even in a local – less extreme – context, Insert# artist Izat Arif (the Fa Qof t-shirt one) has stated that he was “proud” that his piece was removed, adding:
Why art can be so offensive
Actually, the question should be “What is art?” Art can be most simply described as a representation of reality, thought, or emotion put into a physical form such as paint, words, movement, or sculpture.So because it’s a representation of thought, it also goes to say that no one agrees with you all of the time; and so there may be those who’ll like a certain painting, some who’ll hate it, and some who’ll be offended by it. Because, after all, most of us can’t tell a Monet from a Magritte, but what we CAN do is to stand around it and offer an opinion.
But of course, there are also artists who aim to offend or at the very least get a reaction out of their audience. Like with Charlie Hebdo for example, the magazine brought across their commentary on society via cartoons that were offensive on purpose. Even in a local – less extreme – context, Insert# artist Izat Arif (the Fa Qof t-shirt one) has stated that he was “proud” that his piece was removed, adding:
“The removal of artwork is also an expression of opinion which I respect because freedom of expression works both ways.” – Izat Arif, via The Malaysian Insider
How we see art is a reflection of ourselves
With art being so subjective, we really can’t say if there’s a right or wrong answer to someone’s interpretation of it. However, it’s in how the person interprets it that’s interesting. There’s a local research paper that attributes our tendency to take things literally to a lack of critical thinking. Another is through how a Rorschach test works, by analyzing how a person puts meaning into a random pattern that has no meaning.Wednesday, December 18, 2013
苦闷青年的牢骚日记 - 在大马买个材料都难
刚到英国念书的时候，真的觉得他们的美术用品店东西少价钱贵选择也不多，回来大马才发现我在那里用的东西在这里一样都找不到!!!
你不要跟我讲不要拿这里来和外国比。好啦，我要找一种“最低磅数、质感滑、无硫酸”的素描纸，请见下图：
纸的质感还是其次，最重要的是我要的这种纸偏蓝（冷色调，才能配合我的创作构思），最好是常用的复印纸Double A那种色调，但是Double A太薄了。右侧的我试画过了，这泛黄的满满乡愁模式根本不是我要的啊！！
会让我如此激动，除了天气热以外，其实不是因为本地材料难找，找材料也是有种挖宝的乐趣，让我如此肚烂其实是因为我受到的服务。
抱歉我要在此点名了，因为你们的service真的是让我不敢恭维，反正我酸笑了你们也不影响你们的生意，东西也只有你们卖，所以你们大可继续拽下去。
Melawati 的 Art Shop！！！
你丫的我问你有没有卖素描纸，你们竟然端rice paper给我！！！给你看样本（见上图）之后竟然告诉我本店只有这些米纸（当然，马来西亚的说法是：没有wor... 全部就是在这边鸟...），过后不到五秒的时间我就在对面架上发现了印着“UA DRAWING PAPER”的包装A1素描纸。
你们这些外行就算了...店里有什么存货难道你们不知道的咩？？
过后转到另一个角落，试着拆开包装来看的时候竟然告诉我不能拆... 你们又没放样本，不拆来看我是要怎么知道这能不能买啊？？（好彩过后老板识相的发现我是圈内人，才拆了一包让我瞧瞧，过后友善的补上一句：那你慢慢看啊~ 这还差不多。
在英国我只是告诉他：I want the cheapest drawing paper。就拿到如此高品质的纸材了。
哎，卖美术用品的竟然对材料如此外行，亏你还是本地人不是外劳。我的天
难以置信我会有对材料计较到如此份上的一天，这也算一种进步？
（我最后找到的纸材是RM3.5一本的图画簿Campap Acid Free B4。如果作品卖出去的话，请你想想我花了多少时间、精力、车马费才找到这一款纸的啊！）
你不要跟我讲不要拿这里来和外国比。好啦，我要找一种“最低磅数、质感滑、无硫酸”的素描纸，请见下图：
 |
| 左起：英国买素描纸、The Curve 买素描纸、n年前纸厂买素描纸（日光阴影下照） |
会让我如此激动，除了天气热以外，其实不是因为本地材料难找，找材料也是有种挖宝的乐趣，让我如此肚烂其实是因为我受到的服务。
抱歉我要在此点名了，因为你们的service真的是让我不敢恭维，反正我酸笑了你们也不影响你们的生意，东西也只有你们卖，所以你们大可继续拽下去。
Melawati 的 Art Shop！！！
你丫的我问你有没有卖素描纸，你们竟然端rice paper给我！！！给你看样本（见上图）之后竟然告诉我本店只有这些米纸（当然，马来西亚的说法是：没有wor... 全部就是在这边鸟...），过后不到五秒的时间我就在对面架上发现了印着“UA DRAWING PAPER”的包装A1素描纸。
你们这些外行就算了...店里有什么存货难道你们不知道的咩？？
过后转到另一个角落，试着拆开包装来看的时候竟然告诉我不能拆... 你们又没放样本，不拆来看我是要怎么知道这能不能买啊？？（好彩过后老板识相的发现我是圈内人，才拆了一包让我瞧瞧，过后友善的补上一句：那你慢慢看啊~ 这还差不多。
在英国我只是告诉他：I want the cheapest drawing paper。就拿到如此高品质的纸材了。
哎，卖美术用品的竟然对材料如此外行，亏你还是本地人不是外劳。我的天
难以置信我会有对材料计较到如此份上的一天，这也算一种进步？
（我最后找到的纸材是RM3.5一本的图画簿Campap Acid Free B4。如果作品卖出去的话，请你想想我花了多少时间、精力、车马费才找到这一款纸的啊！）
Monday, December 9, 2013
载自《观看的方式》John Berger
麦田出版，第101页。
油画一词指的不是一种技法。他还界定了一种艺术形式。调和颜料与油料的技术早在上古世界就已存在。但作为一种艺术形式的油画，其出现时间就晚了许多。一直要到人们觉得蛋彩画合湿壁画这两种技法已不足以表达某种特定的人生观，于是开始钻研油彩技术并使之趋于完美（影响所及，画布随即取代了木板），油画的艺术形式才告确立。大约是在十五世纪初的北欧，艺术家首次使用油画来描绘一种新的性格，不过在那段期间，受到中世纪残留下来的种种艺术惯例的影响，多少还显得绑手绑脚。一直要到十六世纪，油画才真的确立了自己的规范，以及自己的观看方式。
我们无法确切指出油画盛行时期结束于哪一年。直到今天还有人在画油画。不过印象派已侵蚀了传统油画观看方式的基础，立体派更将他彻底摧毁。大约同时，摄影则取代了传统油画的地位，成为最重要的视觉影像来源。基于这种种理由，我们可以大致将传统油画的盛行时期界定为1500~1900年。
虽然传统油画的巅峰已过，但它的影响力依然强大，今天我们对文化的许多想法，仍受到它的形塑。我们所谓的“像画一样真实”，指的就是像“油画”一样真实。它的规范依然影响了我们观看风景、女性、食物、达官贵人和神话的方式。他为我们提供“艺术天才”的原型。而且这个传统教导我们，只要为这个社会拥有够多热爱艺术的人，艺术就会蓬勃发展。
只要为这个社会拥有够多热爱艺术的人，艺术就会蓬勃发展。
为这个社会拥有够多热爱艺术的人，艺术就会蓬勃发展。
拥有够多热爱艺术的人，艺术就会蓬勃发展。
够多热爱艺术的人，艺术就会蓬勃发展。
热爱艺术的人，艺术就会蓬勃发展。
爱艺术的人，艺术就会蓬勃发展。
艺术就会蓬勃发展。
艺术就会蓬勃发展。
艺术就会蓬勃发展。
艺术就会蓬勃发展。
艺术就会蓬勃发展。
艺术
就会
蓬勃发展展展展展展展展展展展展展展
油画一词指的不是一种技法。他还界定了一种艺术形式。调和颜料与油料的技术早在上古世界就已存在。但作为一种艺术形式的油画，其出现时间就晚了许多。一直要到人们觉得蛋彩画合湿壁画这两种技法已不足以表达某种特定的人生观，于是开始钻研油彩技术并使之趋于完美（影响所及，画布随即取代了木板），油画的艺术形式才告确立。大约是在十五世纪初的北欧，艺术家首次使用油画来描绘一种新的性格，不过在那段期间，受到中世纪残留下来的种种艺术惯例的影响，多少还显得绑手绑脚。一直要到十六世纪，油画才真的确立了自己的规范，以及自己的观看方式。
我们无法确切指出油画盛行时期结束于哪一年。直到今天还有人在画油画。不过印象派已侵蚀了传统油画观看方式的基础，立体派更将他彻底摧毁。大约同时，摄影则取代了传统油画的地位，成为最重要的视觉影像来源。基于这种种理由，我们可以大致将传统油画的盛行时期界定为1500~1900年。
虽然传统油画的巅峰已过，但它的影响力依然强大，今天我们对文化的许多想法，仍受到它的形塑。我们所谓的“像画一样真实”，指的就是像“油画”一样真实。它的规范依然影响了我们观看风景、女性、食物、达官贵人和神话的方式。他为我们提供“艺术天才”的原型。而且这个传统教导我们，只要为这个社会拥有够多热爱艺术的人，艺术就会蓬勃发展。
只要为这个社会拥有够多热爱艺术的人，艺术就会蓬勃发展。
为这个社会拥有够多热爱艺术的人，艺术就会蓬勃发展。
拥有够多热爱艺术的人，艺术就会蓬勃发展。
够多热爱艺术的人，艺术就会蓬勃发展。
热爱艺术的人，艺术就会蓬勃发展。
爱艺术的人，艺术就会蓬勃发展。
艺术就会蓬勃发展。
艺术就会蓬勃发展。
艺术就会蓬勃发展。
艺术就会蓬勃发展。
艺术就会蓬勃发展。
艺术
就会
蓬勃发展展展展展展展展展展展展展展
Thursday, August 22, 2013
.JPG)
Wednesday, August 21, 2013
Wednesday, July 31, 2013
artist statement (editing)
When everything goes computerized and digitized, our invention and intellectual are going more and more conceptual and fictitious, I like to perform, with hands, there are more sense of accomplishment after I engraft my effort through hand, it shows the uniqueness and existence of me placing myself in the middle of the epoch.
Like a leaf that falls on a rivulet, the ripple diffuses and does not leave any traces in the time and space continuum. My work questions our very existence and relationships within the continuum.
I create images with filmic atmosphere. Instead of placing emphasis on the aesthetic of the paintings, I am more concerned about the static and subtle feelings that the work resonates with our surrounding environment.
The conversation with the yesterday (2009~2011)
link 1 link 2
I start my practice by addressing subject through ruins and heritage spots, within the architecture and rigid form of these construction, there lies the wisdom of human modernization and civilization. I am very interested in questioning and reflecting the possibilities and existence of these site, nonetheless they seem awkward in nowadays cities developed with modern architecture. If they cannot be commemorate like the Great Pyramids and the Angkor Wat, what are the motives and destiny (whereabouts, direction, future) in the future developing plan without them?
After a civilization had vanish, these beautifully created stone, sand and wood will tell the stories of a glorious civilization in the history. The way we and our society treated them reflects the way we treated our own trace, culture, status and legacy, it metaphors our culture and in the same time it shows the expending of our wealthiness.
Being built and abandoned, the ruins cannot success to become the representative of our city architecture, but after being conquered by weeds and plants, the deadly skeleton become lively again. It shows a dialogue between human activity and mother nature, in these site inspire me to question myself: as a spark in the eternity, what are we?
Depicting the beauty of these stone skeleton, I hope this series of work will raise the awareness of us to these phenomenon (vanishing heritage and abandoned building site), and also by creating these works through appointing ruins and heritage spots, the work also question the existence and possibilities of myself, being one of the million artists.
A cinematic and imaginary scene with the absence of the protagonist (2011~2012)
link 1
The uncertainty of status and mind before going abroad derives me to make this series of drawing. I am fascinated by the picturesque scene from screenshots of some movies like 蔡明亮 Chai Ming Liang and David Lynch, it is a space that being frozen in the eternity of time and space. I started my cinematic drawing trying to create an image with sense of flowing time. The scenery is a stage created for the audience, a space with narrative connotation.
The paper is being covered and drawn with pitch black charcoal, instead of creating lightness, these drawing are creating darkness, a light bulb revealing clues of the scene, but yet the atmosphere is murk. The imaginary landscape are either a bench, an old truck, a small cottage or a corner of a wall. A pitch black background elongate until the horizon metaphored our consciousness. A scene of a stage or a drama without protagonist, the set is playing a monologue itself, the scene seems to fade out to black when the bulb burnt away anytime.
Revealing the trepidation and hesitation of mental state, this series of work also investigate the anxiety about identity, the relationship between consious and subconscious. How do we dealt with uncertain vision under the realistic world of mischieving.
the status of living and the agony of surviving （2013~）
link 1
Drawing becomes ‘archaic’ in the age of mechanical reproduction, yet this archaism makes contact with the tactility of the most up to date mediums.
The set up of an interior space reveals the characteristic of a person; the brand, arrangement, tidiness, selection etc, each of the item work as an individual symbolism, when they group together, they reflect the complicate and complex situation and status of the person.
Placing ourselves in this world, we are part of the society and system, each of the individual have their own function and possibilities, and we group together to form a culture and civilization. Instead of questioning the group, these narrative drawing also question the existentialism of the individual object by investigating the interior form by the conversation of the object and the environment.
Instead of concerning about revealing “beauty” from my work, I concern more about the status and relationship of my subject matter by looking into everyday object and matters. From this series of work, the discussion starts from the object I depicted. Conveying my visual language in a more subtle and static way deliberately, it create depth to the connotation and artistic conception of the work.
Like a leaf that falls on a rivulet, the ripple diffuses and does not leave any traces in the time and space continuum. My work questions our very existence and relationships within the continuum.
I create images with filmic atmosphere. Instead of placing emphasis on the aesthetic of the paintings, I am more concerned about the static and subtle feelings that the work resonates with our surrounding environment.
The conversation with the yesterday (2009~2011)
link 1 link 2
I start my practice by addressing subject through ruins and heritage spots, within the architecture and rigid form of these construction, there lies the wisdom of human modernization and civilization. I am very interested in questioning and reflecting the possibilities and existence of these site, nonetheless they seem awkward in nowadays cities developed with modern architecture. If they cannot be commemorate like the Great Pyramids and the Angkor Wat, what are the motives and destiny (whereabouts, direction, future) in the future developing plan without them?
After a civilization had vanish, these beautifully created stone, sand and wood will tell the stories of a glorious civilization in the history. The way we and our society treated them reflects the way we treated our own trace, culture, status and legacy, it metaphors our culture and in the same time it shows the expending of our wealthiness.
Being built and abandoned, the ruins cannot success to become the representative of our city architecture, but after being conquered by weeds and plants, the deadly skeleton become lively again. It shows a dialogue between human activity and mother nature, in these site inspire me to question myself: as a spark in the eternity, what are we?
Depicting the beauty of these stone skeleton, I hope this series of work will raise the awareness of us to these phenomenon (vanishing heritage and abandoned building site), and also by creating these works through appointing ruins and heritage spots, the work also question the existence and possibilities of myself, being one of the million artists.
A cinematic and imaginary scene with the absence of the protagonist (2011~2012)
link 1
The uncertainty of status and mind before going abroad derives me to make this series of drawing. I am fascinated by the picturesque scene from screenshots of some movies like 蔡明亮 Chai Ming Liang and David Lynch, it is a space that being frozen in the eternity of time and space. I started my cinematic drawing trying to create an image with sense of flowing time. The scenery is a stage created for the audience, a space with narrative connotation.
The paper is being covered and drawn with pitch black charcoal, instead of creating lightness, these drawing are creating darkness, a light bulb revealing clues of the scene, but yet the atmosphere is murk. The imaginary landscape are either a bench, an old truck, a small cottage or a corner of a wall. A pitch black background elongate until the horizon metaphored our consciousness. A scene of a stage or a drama without protagonist, the set is playing a monologue itself, the scene seems to fade out to black when the bulb burnt away anytime.
Revealing the trepidation and hesitation of mental state, this series of work also investigate the anxiety about identity, the relationship between consious and subconscious. How do we dealt with uncertain vision under the realistic world of mischieving.
the status of living and the agony of surviving （2013~）
link 1
Drawing becomes ‘archaic’ in the age of mechanical reproduction, yet this archaism makes contact with the tactility of the most up to date mediums.
- Michael Newman, ‘The Marks, Traces, and Gestures of Drawing’
The set up of an interior space reveals the characteristic of a person; the brand, arrangement, tidiness, selection etc, each of the item work as an individual symbolism, when they group together, they reflect the complicate and complex situation and status of the person.
Placing ourselves in this world, we are part of the society and system, each of the individual have their own function and possibilities, and we group together to form a culture and civilization. Instead of questioning the group, these narrative drawing also question the existentialism of the individual object by investigating the interior form by the conversation of the object and the environment.
Instead of concerning about revealing “beauty” from my work, I concern more about the status and relationship of my subject matter by looking into everyday object and matters. From this series of work, the discussion starts from the object I depicted. Conveying my visual language in a more subtle and static way deliberately, it create depth to the connotation and artistic conception of the work.
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