this book is a compilation of the works completed during my first year of study in glasgow school of art singapore pursuing a bachelor of arts with honours degree in communication design Kong Wen Da 2014
Kong Wen Da + 95 9119 6924 gideon.kongwd@gmail.com be.net/kongwendagideon
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Works
Identities Mixed Media, Artwork 4 – 23
Knowing Typography Typography, Book 90 – 97
Underground Culture Research, Artwork 24 – 35
Drawings Research, Illustration 98 – 111
Illustrations from Haynes Manual Book, Artwork 36 – 47
Stevie Wonder Illustration 112 – 123
Portrait of Bras Basah Complex Research, Film 48 – 63
Singapore Cityscape Photography 124 – 137
Fragments in Time and Space Exhibition 64 – 85
Forming Cityscapes Research, Photography, Publication 138 – 157
Stikfas Alphabets Type Design 86 – 89
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Identities
Mixed Media, Artwork
A series of works created through various analogue manipulation methods with a found photograph. The initial random explorations came to reveal certain patterns which informed the process of experimentation at a later stage. These experimentations were varied through the use of multiple materials and processes in printing, therefore resulting in a range of textures and effects. A few selected works from the many experiments were then curated and presented together as a body of work, surrounding a common explorative theme.
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Stefani, found photograph
Various exploration work
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I d en t i t i es
Mix e d m e d ia , A rtwo r k
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Hidden Identity Series of 6 photographs Print on fabric 210 mm x 297 mm
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I d en t i t i es
Mix e d m e d ia , A rtwo r k
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I d en t i t i es
Mix e d m e d ia , A rtwo r k
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Distorted Reflection Series of 4 photographs Paper folds 210 mm x 297 mm
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I d en t i t i es
Mix e d m e d ia , A rtwo r k
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Delicate Strength Series of 2 photographs Print on fabric 210 mm x 297 mm
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I d en t i t i es
Mix e d m e d ia , A rtwo r k
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I d en t i t i es
Mix e d m e d ia , A rtwo r k
Other explorations Movements with scanner 210 mm x 297 mm
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Endowed Devotion Texture exploration Transparency sheet over concrete surface 210 mm x 297 mm
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I d en t i t i es
Mix e d m e d ia , A rtwo r k
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Zenith Long exposure photograph 210 mm x 297 mm
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I d en t i t i es
Mix e d m e d ia , A rtwo r k
Thinner on print 297 mm x 420 mm
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Freckled Charcoal stick and pastel on watercolour paper Drawing over printed photograph 297 mm x 420 mm
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I d en t i t i es
Mix e d m e d ia , A rtwo r k
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Underground Culture A process of creative research into a chosen theme that belongs to an underground culture. ‘Underground Musicians’ was the selected topic of research and various primary and secondary research methods were used to investigate the topic. A few examples would be the use of video documentation, interviews and sketchbook keeping. An artwork was then created in response to the gathered research findings. The result is an abstract representation of the process these musicians go through to create genuine and original works. It describes the process of creation through cycles of repeated images
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Research, Artwork
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Sketchbook pages Thought process and development
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U n d erg ro u nd C u ltu r e
Re s e a r ch , A rtwor k
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James, 24 Singer/ Musician
Jason, 25 Singer/ Songwriter
Seth, 25 Singer/ Guitarist
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U n d erg ro u nd C u ltu r e
Re s e a r ch , A rtwor k
3 Interviews with James, Jason and Seth Video Stills Film, Research documentation
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A series of 64 drawings 120 mm x 120 mm
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U n d erg ro u nd C u ltu r e
Re s e a r ch , A rtwor k
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A series of 64 drawings 120 mm x 120 mm
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U n d erg ro u nd C u ltu r e
Re s e a r ch , A rtwor k
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A series of 64 drawings 120 mm x 120 mm
An attempt to bring the beauty of the entire process of creation (of any art form) back into the attention of the viewer. It takes reference to the creation of elements from nature, the growth of a plant almost perfectly describing the maturing of an artist, the different stages of growth which describes the process of creation.
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U n d erg ro u nd C u ltu r e
Re s e a r ch , A rtwor k
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Illustrations from Haynes Manual
Book, Artwork
Through an introspective approach and process, this typographic experimentation led to a ‘manual’ without any form of text, filled with enlarged illustrations that came from the original Haynes manual. These illustrations were presented in a considered manner through the form of a book. This work stems upon the fact that manuals are disappearing slowly, as objects of use are becoming intuitive. The question of its afterlife resulted in the removal of all other elements which mostly include texts, conveys the disappearing functionality of the manual. No longer bounded by function, it is able to take on a bolder form and transcend towards a purer form of expression. The original illustrations that was once hidden behind rigidity is now given a new life, allowing us to once again appreciate the beauty of a ‘manual’, hopefully bringing back the familiarity or connection we once had with this manual.
Chosen material for typographic experiment Original Haynes Service and Repair Manual Fiat Uno, 1983 to 1995
Exhibiting in the 26th International Biennial of Graphic Design Brno 2014 38
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I l l u s t rat i o n s fr o m H a y n e s M a n u a l
B ook, A rtwor k
Illustrations from Haynes Manual Front Cover Book, Artwork 297 mm x 420 mm, 53 pages
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I l l u s t rat i o n s fr o m H a y n e s M a n u a l
B ook, A rtwor k
Illustrations from Haynes Manual List of Illustrations
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I l l u s t rat i o n s fr o m H a y n e s M a n u a l
B ook, A rtwor k
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I l l u s t rat i o n s fr o m H a y n e s M a n u a l
B ook, A rtwor k
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I l l u s t rat i o n s fr o m H a y n e s M a n u a l
B ook, A rtwor k
Illustrations from Haynes Manual Back Cover Book, Artwork 297 mm x 420 mm, 53 pages
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Portrait of Bras Basah Complex
Research, Film
Team: Rowell Tan, Kong Wen Da
A short film made from an observational study of a location, which explores the actions and events that take place within its social and political realm. An honest depiction of everyday happenings, it reveals the extraordinary in the ordinary. With the current renovations to catch up with its younger neighbours and younger crowd, new issues are appearing that seems to be affecting shop owners and customers. The idea of a revamp and the fact that it is not under conservation plans also questions the existing value of this space. Extensive documentation was carried out through the observational study of five days, which included behaviours and conversations that filled the complex. While there are struggles between the old and new, there are discoveries made that defy these tensions, which is the warmth found in the relatioships and community within the complex. The film aims to reveal insights on how a space can encourage and allow for interactions to occur, and not just for economic reasons. It challenges our motives for change.
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Proposed additions and alteration works to the commercial podium of complex
Chosen location of investigation Bras Basah Complex January 2014
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00 : 21
Many were seen being comfortable at each of their found spaces within the complex, some reading, eating or resting.
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Po rt rai t o f B r a s B a s a h C o mp le x
Resear ch, Film
00 : 50
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00 : 42
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Po rt rai t o f B r a s B a s a h C o mp le x
Resear ch, Film
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00 : 38
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Po rt rai t o f B r a s B a s a h C o mp le x
Resear ch, Film
00 : 47
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00 : 56
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Po rt rai t o f B r a s B a s a h C o mp le x
Resear ch, Film
01 : 00 Dancing to festival music
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01 : 40
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Po rt rai t o f B r a s B a s a h C o mp le x
Resear ch, Film
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01 : 35
01 : 42
One of the music stores in the complex
Shop Owner
Most shop owners were warm and welcoming, interviews with them revealed their thoughts and opinions about the location and its relationship to other places.
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“ Customers are like friends here, we just get together to talk about everything” – Guitar shop owner
Po rt rai t o f B r a s B a s a h C o mp le x
Resear ch, Film
02 : 04
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04 : 48
Portrait of Bras Basah Complex can be found online at: https://vimeo.com/90296311
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Po rt rai t o f B r a s B a s a h C o mp le x
Resear ch, Film
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Fragments in Time and Space
Exhibition
Team: Joanna Teo, Ong Ming Han, Rowell Tan, Kong Wen Da
- pop-up art exhibition consisting A of a series of artworks have been created in response to the Time Space Compression* phenomenon by David Harvey. These works include prints, paintings and installations. Questions about the meaning of space and time in the environment we live in; ideas about the past, present and future; the influences and impact we have on our environment, are a few of the chosen themes explored through this body of work. The idea of the exhibition was to fragment each individual exhibit and scatter them in a chosen space, examining the relationship between each art work and the viewer through their broken perception of time and space. It also confronts the reality of how most of us live our lives today, either through multiple social networking platforms or various communication networks. It is perhaps the reflection of us making sense of the fragments we take in every day.
* Time–space compression, first articulated in 1989 by geographer David Harvey in The Condition of Postmodernity, refers to any phenomenon that alters the qualities of and relationship between space and time.
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Chosen location for exhibition: An empty rooftop space with a view that overlooks the city
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Frag m en t s o f T im e a n d S p a c e
E x hibition
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Frag m en t s o f T im e a n d S p a c e
E x hibition
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Frag m en t s o f T im e a n d S p a c e
E x hibition
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Frag m en t s o f T im e a n d S p a c e
E x hibition
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Frag m en t s o f T im e a n d S p a c e
E x hibition
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Description labels for each work were placed in random either in isolation or next to a work that it might not belong to. There is also not one prescribed path for the audience to follow, but instead they were left on their own to explore this space. This often caused chaos in several ways, but it created surprising engagement and interaction between the audience and the works.
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Some found objects from the space were being used in setting up the exhibits. The ambiguity of these objects used in the exhibition further explores the idea of the way we consume the fragmented information around us.
Frag m en t s o f T im e a n d S p a c e
E x hibition
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Frag m en t s o f T im e a n d S p a c e
E x hibition
Fragments in Time and Space does not aim to create a perfect scenario or formula to allow viewers to eventually piece the same story but to discover connections and relationships between different exhibits and themes.
Intrigued about the space, people were also examining found objects that co-occupy the space, discovering new meanings and interpretation that formed alongside the exhibited works.
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Frag m en t s o f T im e a n d S p a c e
E x hibition
Exhibition Handout Front (left), Back (top) Folded: 145mm x 105mm Open: 290mm x 420mm
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Inside: Details and description of each artwork
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Frag m en t s o f T im e a n d S p a c e
E x hibition
Outside: Exhibition concept and details
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A video documentation of the exhibition can be found online: http://vimeo.com/90296544
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Frag m en t s o f T im e a n d S p a c e
E x hibition
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Stikfas Alphabets
Type Design
A classroom exercise that looks into interesting ways in creating type through finding letterforms in objects or our environment.
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Stikfas – G2 Alpha Male Baseball Grey Stikfas Figure on Scanner
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S t i k f as Al p h a b e ts
Ty p e D e s ig n
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Knowing Typography A typography workshop exercise that requires students to first source for content regarding to the fundamentals of typography, then present them in a form of a book and a few spreads.
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Typography, Book
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K n o w i n g Ty p o g r a p hy
Ty p o g r a p hy, B ook
Knowing Typography Front Cover and Spine Mock-up book 110 mm x 180 mm
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K n o w i n g Ty p o g r a p hy
Ty p o g r a p hy, B ook
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K n o w i n g Ty p o g r a p hy
Ty p o g r a p hy, B ook
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Drawings
Research, Illustration
An ongoing series of drawing experiments that documents my own creative process through the act of drawing. The method of experiment is to draw from three different state of consciousness; the imagined, observed and from memory. Having these different points of departure expands vastly the possibilities of both visual results and conceptual ideas. It also allows for personal discoveries to be made in identifying and understanding what works for each process or method. Different mediums and mark making approaches were also explored through these drawings, which will create a personal library of drawing techniques and methods.
All drawings are uploaded into an online journal: drawng.tumblr.com
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Typewriter, Imagined Wooden ball with ink on watercolour paper 297 mm x 420 mm
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Typewriter, Imagined Blind drawing, Marker 297 mm x 420 mm
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Draw i n g s
Re s e a r ch , Illu s tr a tio n
Typewriter, Observed Pen 297 mm x 420 mm
“I hate the dazzlement of skill, being able to draw something freehand from life, or – even worse – inventing or putting together something entirely original.” – Gerhard Richter, Notes, 1964
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Shoes, Observed Pen 297 mm x 420 mm
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Draw i n g s
Re s e a r ch , Illu s tr a tio n
Bird, Imagined Blind drawing, Charcoal stick 297 mm x 420 mm
“A good drawing is one that you want more out of.” – Claude Heath in What is Drawing?
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Dial Telephone, Observed Rendering marker 297 mm x 420 mm
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Draw i n g s
Re s e a r ch , Illu s tr a tio n
Dial Telephone, Memory Rendering marker 297 mm x 420 mm
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Cat, Observed Ballpoint pen 297 mm x 420 mm
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Draw i n g s
Re s e a r ch , Illu s tr a tio n
Cat, Memory Watercolour 297 mm x 420 mm
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Birds, Observed Charcoal stick 297 mm x 420 mm
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Draw i n g s
Re s e a r ch , Illu s tr a tio n
Birds, Memory Rendering markers 297 mm x 420 mm
“In the case of abstraction, content is its point of departure, its cue and its theme. To abstract is to draw out the essence of a matter.” – Ben Shahn in The Shape of Content
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Draw i n g s
Re s e a r ch , Illu s tr a tio n
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Stevie Wonder
Illustration
A blind drawing experiment that explores the drawing of a portrait through study drawings made from various photographic references. The method was to draw without looking at the drawing, but only at the subject. Through the process of finding right proportions and shapes, the many quick drawings manage to capture visual essences of the chosen subject, with various surprising results. The work is presented as a series of developmental drawings. Although the final one of the series is indicative of a more refined result, it does not define or reflect entirely on being the only motivation for this experiment. Instead, the whole series portrays an evocation of the subject, with each drawing representing different qualities yet giving the same impression and sense of a person. Stevie Wonder was chosen for his unique yet consistent style through the years of his career. His movements and immediately identifiable features challenges the success of this experiment. It also allows the drawings to take on different directions of emphasis, tapping on his rich and vibrant personality.
All drawings are uploaded into an online journal: portrts.tumblr.com
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Stevie Wonder Chosen subject for portrait drawing Image from various video stills
1 / 42
Attempt to capture movement Drawings created in sequence
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4 / 42
“I am judging proportions and emotions more accurately when drawing blind, compared to drawing them with careful study. The judgement of space and distance, along with emotions expressed through movements of the hand is much more innate than I thought.�
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S t evi e Wo n d e r
Illu s tr a tio n
8 / 42
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12 / 42
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S t evi e Wo n d e r
Illu s tr a tio n
22 / 42
“Drawing blind was indeed a liberating experience because I no longer need to care about what is ‘right’ in drawing, it is almost an excuse to break the rules in drawing unintentionally.”
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24 / 42
“The idea of drawing blind is not new, it has even been a common game in the past, but the beauty and quality of it is not just in its occasional displacement or its surprise element when done,
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S t evi e Wo n d e r
it is the wonder of how an essence of something or someone could be most of the time captured so accurately in sort of an abstract yet skillful way�
Illu s tr a tio n
35 / 42
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36 / 42
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S t evi e Wo n d e r
Illu s tr a tio n
41/ 42
“It is naive and mature at the same time: naive in a way that it is an attempt to portray the essence of something in a few minutes through the act of drawing; which the result is also similar to a children’s drawing,
and mature because it is also not the result of that few minutes in which the activity is taking place, but the experience in seeing and drawing prior to that act of intuitive judgement.�
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S t evi e Wo n d e r
Illu s tr a tio n
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Singapore Cityscape
Photography
Travelling in the city of Singapore, these photographs are quick snapshots taken while journeying to various places. Without much of a plan on the routes of travel, or even the use of proper equipments, these images taken using a cellphone reflects the everyday commuter’s journey throughout the city. The subjectivity of these blurred images, a result of mostly intuition, is perhaps a reflection of the photographer’s response to the city, its people and happenings. In this series of work, a picture is merely a beauty of coincidence, a simple moment captured with the smallest of an everyday tool, revealing the fact that almost anyone would be able to capture these moments. Yet this also acts as a challenge for us to constantly examine the way we look and see things around us.
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S i n gap o re City s c a p e
P h o to g r a p hy
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S i n gap o re City s c a p e
P h o to g r a p hy
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S i n gap o re City s c a p e
P h o to g r a p hy
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S i n gap o re City s c a p e
P h o to g r a p hy
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S i n gap o re City s c a p e
P h o to g r a p hy
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S i n gap o re City s c a p e
P h o to g r a p hy
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S i n gap o re City s c a p e
P h o to g r a p hy
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Forming Cityscapes
Research, Photography, Publication
A rewinding process from the notion that we already understand a city through images of cityscapes, this photographic project tries to achieve more than just the depictive in cityscape photography.It aims to create mental images and narratives through the piecing together of fragmented details, creating deeper awareness of the environment we live in.
This research is similar to that of visual ethnography, but it is also more concerned with the intuitive and subconscious approach of making, organising and presenting images. Although this might not have direct returns, but it brings about alternative viewpoints and therefore reveal valuable insights that is not easily quantifiable based on reason.
Through the use of photography, intuitive documentations of everyday observations are archived into initial typological systems and series. Analysis is carried out to look beyond visual or physical associations among these collected images to identify patterns of ideas and behaviours. Groups of images will then be presented in a considered manner through the form of an ongoing series of publication, each conveying ideas of a selected theme. Due to overlapping themes, there will be images repeatedly used in different books. This reinforces the idea that it is not what each individual photograph depicts, but what we see in a series of images when placed together in context of a common theme.
Located in the city of Singapore, this study taps on the dynamism of a multi cultural city that is undergoing constant growth, a place that has much to offer for the curious observer. The relationships between people, things and their environments can be much more insightful with the high diversity of people and places.
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In result, Forming Cityscapes is a reflection of the author’s process of observation and choice of approach in presenting collected information. A visual documentation of objects, environments and our relationship with them.
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Fo rm i n g C i ty s c a p e s
Re s e a r ch , P h otogr aphy, Publication
Forming Cityscapes (Series) 01/ Communication, 02/ Behaviours, 03/ Unattended Objects Front Cover and Spine 129 mm x 160 mm, 44 pages (each)
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Behaviours are actions that people act upon. It can be a result of an internal desire to complete a task, or an external object stimuli, that allows for a certain way of manipulation. These behaviours that we act upon create a collective impact on our environment, be it temporary or permanent.
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Fo rm i n g C i ty s c a p e s
Most of the time, these behaviours override the original intention of use of a particular product or space. It is often interesting to observe the many unexpected affordances, often creating patterns that reveal the common ways of which we interact with existing structures.
Re s e a r ch , P h otogr aphy, Publication
02/ Behaviours is a series of selected images from an observation of various response to desires and external stimuli. Through this, we can see what solutions the users of the urban environment have created for themselves, which signifies or guides future behaviours to happen.
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Fo rm i n g C i ty s c a p e s
Re s e a r ch , P h otogr aphy, Publication
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Fo rm i n g C i ty s c a p e s
Re s e a r ch , P h otogr aphy, Publication
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Fo rm i n g C i ty s c a p e s
Re s e a r ch , P h otogr aphy, Publication
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As much as we try to keep our environments away from clutter, there are bound to be foreign objects left behind occasionally, be it out in the open or in hidden corners. The nature of these objects or behaviours varies greatly and an understanding of the different context behind each observation would reveal a great deal about this phenomenon.
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Fo rm i n g C i ty s c a p e s
Looking at the different objects, from its value to the possible narratives that precedes the final captured image, it is possible to develop emphatic viewpoints instead of just passing some of these everyday castaway as improperly disposed items. Whereas for some of the others that are not a result of abandonment, it brings about other questions in regards to its worth and function in the built environment.
Re s e a r ch , P h otogr aphy, Publication
03/ Unattended Objects is a series of collected images from an observation of various objects left behind in the open environment. Each of these items tells a story of its own when placed in contrast with other objects.
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Fo rm i n g C i ty s c a p e s
Re s e a r ch , P h otogr aphy, Publication
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Fo rm i n g C i ty s c a p e s
Re s e a r ch , P h otogr aphy, Publication
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Fo rm i n g C i ty s c a p e s
Re s e a r ch , P h otogr aphy, Publication
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