Š 2013, Nanyang Technological University, School of Art, Design and Media Lee Mei Xian Aurial U1030723B Prepared for DD2011: Pattern, Art, Design and Architecture
Faculty Asst. Prof Ina Conradi Chavez
Project 1 Concept
We carelessly pollute the sea each day, without realising that these pollutants harm not only sea creatures, but make their way back to us. It is cyclic. Much of our environment is neglected and we fail to care for it, prioritising our wants and needs that may be harmful to our earth.
In this piece, I explore the combination of controlled and unpredictable elements to create new visual effects. The end product is a “pretty� facade from far, representing our surface wants and needs. Upon closer inspection, one then realises the harm that is done.
Preliminary Research Irezumi 入れ墨 My preliminary research stems from a personal interest in Japanese traditional tattoos, Irezumi (入れ墨), which refers to to the insertion of ink under the skin to leave a permanent, usually decorative mark; a form of tattooing. Typical subject matter in Irezumi includes the snake, koi, tiger, cherry blossoms, mythological creatures or images of the Floating World (geisha, samurai). I was particularly interested in full-body suits, also known as horimono (彫り物) and works of Horiyoshi III, an acclaimed tattoo artist specializing in Japanese traditional full-body tattoos. Internationally renowned tattoo artist Horiyoshi III is a great supporter of traditional japanese culture, history and craftsmanship but yet he embraced the modern western world, observed it, understood it and changed his art, evolving but keeping it japanese. However, the motifs were made up of extremely controlled lines and I wanted to include an element of chance/ unpredictability, which brought me to the next phase in my development: enamel and water.
(above) Scarf series by tattoo artist-turnedscarf designer Horiyoshi the Third
Enamel interacting with water producing oil spill-looking patterns
Illustration Elements of Control If the overall illustration style were to follow that of the Irezumi style, the individual elements would get way too intricate, which is not optimum for the final scale: approximately 0.4m by 3.5 m. Hence I illustrated other sea creatures as well —using brush and ink for more pronounced lines, and changed the direction of my concept.
Attempts at merging both elements. The edges of the spills were too stark, the marine creatures could not mesh well.
Preliminary Research
Motoi Yamamoto 山本基
Another artist that has inspired me throughout this process is Japanese artist - Motoi Yamamoto. Motoi is known for working with salt, often in the form of temporary, intricate, large-scale installations. Salt, a traditional symbol for purification and mourning in Japanese culture, is used in funeral rituals and by sumo wrestlers before matches. Participants are asked to dismantle these salt installations by scooping up the salt and pouring them into the sea. Writer Amelia Thomson of Charleston City Paper, who participated in the dismantling, wrote, “And with that, we poured the remains of Yamamoto’s exhibit back
into the eco-system, confident that it will cycle back into our lives.” This act symbolises man’s close relationship with the sea— it is one we hardly give thought to. ”All of us have in our veins the exact same percentage of salt in our blood that exists in the ocean, and, therefore, we have salt in our blood, in our sweat, in our tears. We are tied to the ocean. And when we go back to the sea -- whether it is to sail or to watch it -- we are going back from whence we came.” — John F. Kennedy
These words and Yamamoto’s giant salt installations perhaps suggest an alternative way for society to view the ocean. Not as a source for food, money, and recreation, but rather as a place to come home to, something that is intrinsically a part of us and deserves our very best care.
Illustration Narrowing It Down
Upon closer inspection of the random spills, it was clear that the contours meshed best with that of the curves and scales of the fish. Hence I eliminated the rest and concentrated on developing motifs of fishes.
Final Assembly Composition Screenshots
Final Assembly Screening
In order for the fishes to blend in more seamlessly, the screening effect was predominantly used, along with reduced opacity.
setting up
ta-dah!
Close-up of final outcome
Project 2 Installation
Preliminary Research Dianna Cohen
Dianna Cohen is a Los Angeles-based multimedia visual artist, painter and curator. She is best known for her works using recycled plastic bags ranging from small hanging pieces to room-sized installations. Dianna is also the co-founder of the Plastic Pollution Coalition. The mission of Plastic Pollution Coalition is to stop plastic pollution and its toxic impacts on
humans, the environment, and wildlife worldwide. Plastic Pollution Coalition provides a platform for strategic planning and coherent communications; increases awareness and understanding of the problem and sustainable solutions; and empowers action to eliminate the negative impacts of plastics on the environment, wildlife, marine life, and human health.
“le poisson” 2001 plastic bags, handles and thread 45” w X 54” h
“bridge” 2002 plastic bags, handles and thread 25”w x 11” h
Mock-up gallery placement
Close-up of two layers
Project 2 Concept I
In this concept, I make use of an overlaying effect to camouflage the elements of control (the fishes). Behind the acrylic sheet is a canvas with the same enamel and water effect.
I placed it in a gallery space where the target audience is narrowed down to gallery goers only. Concept II complements this aspect. Again, the idea is similar to that of Project 1. However, Project 2 serves as an extension as there is a more “call-to-action� aspect.
Pencil drawing of fish form (frontal)
Scrap plastic
Pencil drawing of fish form (side)
A more accurate representation of the lattice that should appear on the fish forms (made of scrap plastic)
Adding a “scrap plastic� effect
Project 2 Concept II
As mentioned, this serves to complement Concept I as this is more of a public art piece, set to be placed in an aquarium for public viewing. This reaches a wider audience in hope that the masses understand the message to reduce environmental pollution.
This piece is envisioned to be made up entirely of scrap plastic, more specifically potential pollutants retrieved from the sea or beaches. The structures are hollow because of their lattice structure and allow viewer interactivity.
Project 2 Concept III
This piece is intended to be placed in public washrooms to reach a wide audience. It is most relevant since we are unaware that the soaps or cleaning agents we use can have adverse effects on our waters as it passes down the sewage. And these pollutants return to us in a cyclical manner. Hence, we are
not only harming the marine animals, we are inadvertently harming ourselves. By placing it in public washrooms, the viewer is made to pause while washing his or her hands to view the illustration followed by reading the message. A web address is provided for people
to access and learn more about how it is possible to reduce the amount of pollutants entering the sea and other useful information. The illustrations and words are etched onto the mirror surface, producing a frosty effect.
Soaps and cleaning agents used here are phosphate-free. High phosphate levels can kill life in rivers, streams and oceans by causing algae slimes dense enough to suffocate marine life. We are doing our part to keep our waters safe. Are you? www.savethesea.org