Shifting States

Proceedings of the URECA@NTU 2012-13

“Shifting States” Yew Yong Xiang Ivan School of Art, Design and Media

Asst Prof Ina Conradi Chavez School of Art, Design and Media

Abstract - Inspired by a love for coffee drinking and art making, this project captures the states of mind one is in while drinking coffee. The rituals involved in coffee drinking ties together people from disparate times, places and cultures. But how could one captures these feelings through art, and in turn evokes the temporary states of mind many claim coffee drinking induces?

While employing painting with fluids, sculpture and animation, the artworks create experiences of heightened states of consciousness where perception, experience, and movement are explored by compounding all sensory and tactile simulations. The outcome is an authentic art installation that challenges current artistic concerns and practices, to ascertain the significance of the materiality of aesthetic art experiences in contemporary art.

or minutes, but a chance to be, like be yourself, and have a second cup.”

– Gertrude Stein Altered States of Mind States of mind by definition means a temporary psychological state. Although the human mind naturally switches between different states of mind according to the current environment, situation, people or happenings of the individual, it is possible to artificially stimulate the brain into various levels. [7] During the ritual of coffee drinking, feelings, perceptions and attitudes were formed or changed, with part of it due to the effects of caffeine. For many years, studies by scientists have gone to show that coffee stimulates the release of the neurotransmitter, dopamine. The production of dopamine results in euphoria and other pleasant feelings. [32] Drugs that act upon the dopamine in the brain include cocaine, amphetamine, and ecstasy too. Despite being in the same classification as psychoactive drugs, caffeine is categorized under stimulants, which acts to stimulate the mind but does not alter the perception of its user. As such, caffeine consumption still remains as the world’s most consumed and legalized psychoactive substance.

Keywords – states of mind, art installation, materiality, art experience

1 INTRODUCTION The feelings and memories that were encapsulated within the times of coffee drinking have brought about the start of this research. How does one feels when drinking coffee? Some claims to feel relaxed while others felt extreme happiness. However, this all remained a formless expression every time it was experienced. How can art engage the senses to evoke similar sense of the euphoria and pleasant feelings, memories, and associations as coffee does? Using the states of mind coffee drinking induces as a content; the research followed the Kantian idea of the “aesthetic experience” and delved into the context of how art functions via its materiality. [23] It focused on how contemporary art in different forms and mediums were able to come together via art’s material qualities, to present the experiences of coffee drinking from an artistic perspective.

Altered states of mind allow one, not only to see the world from an alternate perspective, but they also enables one to tap into a formerly unused aspect of oneself. This could be very useful as projection, visualization, and sometimes even the aspect on its own helps unravel life’s mysteries. [6] In this instance, the process of coffee drinking can be regarded as a kind of sensory altered states where materials or the surroundings influenced the senses to behave in a heightened state of consciousness.

3 THE AESTHETIC EXPERIENCE The aesthetic experience in simpler term would mean the study of perception, as all experiences are based on the perspective of perception. [17] In visual art, it is as though having a good understanding of the combination between form and colours to create a distinct kind of art experience in the audience. Through the work of art, the artist’s point of reference or assimilation of thoughts, feelings, and experiences of coffee drinking is made public. The artwork then aims to extend a potential for resonance in its audience by suggesting an idea, impression or experience, which led to a departure for imagination. [20]

The aim is to establish a relationship between the work of art and its viewer through the manifestations of the material experiences. At the same time, it is also to ascertain the significance of the materiality of aesthetic art experiences in contemporary art.

2 THE COFFEE EXPERIENCE “Coffee is real good when you drink it – it gives you time to think. It’s a lot more than just a drink; it’s something happening. Not as in hip, but like an event, a place to be, but not like a location, but like somewhere within yourself. It gives you time, but not actual hours 2540

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the viewers through the materiality of art experiences and the possibility of fusing it with digital technology.

Materiality of Art Experiences Materiality, when defined as an aesthetic concept would means to look beyond formalism’s interest in the visual aspects of art and structuralism’s concern about context and communication. [20] The physical qualities of the works of art were more than just its physical matter, but rather to be seen instilled within formation and concepts that extends the aesthetic experience of its viewer. In the sense of materiality, the artworks would first inform and impact the content, which further led the viewer into its deeper meanings, and all these through the physical components of art over time. Through the engagement with the senses, each individual would experience uniquely and differently as art positions its viewers within their corporeal selves. Art plays a huge role here, where it sought to connect the ordinary coffee experience, thoughts and feeling all through the nature of the work’s physicality. As art forms a nexus between imagination and reality, an aesthetic experiences ensues when the art materials were transformed from thoughts and feelings to imagination and expressed by the artist, and then received by the viewers. [20] Meanings that were constructed shift through the course of time in each encounter with the work of art, as it is influenced by context, mood, circumstances, location, state of mind and other internal or external factors. Hence, one’s perception shifts continually as he or she relate to the works of art in different context, similarly to how one’s states of mind would shift along with the environment and process of coffee drinking.

4 VISUAL APPROACH With the states of mind from coffee drinking being subjects that were non-figurative and related to the inner psyche, the overall visual approach points towards abstraction as inspiration and references. As abstraction in art is free form and fluid, it allows room for open interpretation that further supports the context of the materiality in aesthetic art experiences. [28] At the same time, artists’ who worked with a manipulative approach to the materiality of the medium through unconventional techniques were referenced. Their methods of working defy categorisation and pushes boundaries of art itself to create fresh and dynamic forms of display while serving to create new aesthetic experiences. These approaches to mediums and techniques strived to produce inquiring works and redefine the materials of art during the process. [19] Helen Frankenthaler Helen Frankenthaler is an American painter and printmaker, who can be referred to as a secondgeneration Abstract Expressionist artist. Her works often provides the viewers with a revitalising sense of peace, stability, energy or playfulness with the spontaneously flowing and fluid gestures of paint. (Fig. 1) The images of her works are abstract, but at the same time recall images from remembered or imagined landscapes. Her staining techniques that worked directly on the canvas without priming allows the eyes of the viewers to sense the thread-ness and woven-ness of the fabric, which emphasised on the use of the canvas’ material qualities to enhance the overall impression of the painting. [8]

Presence and Absence in the Digital Age As the digital age progressed, the nature of how art could be physically displayed and understood changes as well. It is in the need to engage with the senses and provide a corporeal experience that perception can be made. However, the advancement of the tools in the digital age had distanced our perception of art objects, and removing its ability to function as one. It was in the physical experience with an object and their relationships to its environment that one attaches meanings to. [20] This in turn brought questions of actual experience versus virtual experience as one would at the same time be closer to and further away from art in the public space. [20] That said, can an artwork be experienced in its original intention even when the medium that conveys it was absent from any sensory interactions with its audience? Does the essence of a work of art still remains after it has been computerized? If people primarily view art remotely or in reproduction, they will lose a sense of scale and the experience of the presence of the work of art. Then, does it follow that they lose the aesthetic experience?

[20] It was intriguing to contemplate about the subject of materiality in art within the context of the digital era, where almost everything was controlled via electronic communication. As majority of the viewers were comfortable within their own liminal space devoid of physicality, it was in this research to attract and engage

Figure 1: Helen Frankenthaler, “Giant Step”, 1975 Rosemarie Fiore Rosemarie Fiore can be considered an unconventional painter, who produces artwork out of the actions of mechanisms such as lawn mowers, cars, and fireworks.

[25] The ethereal nature of the materials appeal to Fiore, who continues to experiment with a wide range of unconventional materials. Her original and inventive techniques produce unique pieces that combine both the force of her own artistic imagination and the force of elements beyond her control. [19] Particularly, she is 2541

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known for her “Firework Drawings” that is made by exploding and containing live fireworks on large pieces of paper, resulting in bursts of saturated colours that are overlapped and collaged into abstract compositions capturing the raw energy and childlike excitement of fireworks display. (Fig. 2) It has become a form of “conversation” and “collaboration of sorts” between herself and her tools and materials. [19] The openness to new ideas that allows her energy, drive and passion to ensure the conversation never stales but continues to develop and lead her to new places, was of immense inspiration to this research.

Figure 2: Fiore. R, “Firework Drawing #66”, 2011

5 METHODOLOGY It was through the outcomes of this research that sought to present the states of mind one experienced during coffee drinking in various manifestations of material art experiences. The outcomes include a sculpture, a digital animation, a print, and an art book.

Sculpture The sculptural piece was made from polyester resin, through the process of resin encapsulation using real coffee and coffee creamer. The use of actual coffee and creamer was a challenge to innovate new techniques of encapsulation with liquid. The sculpture was a representation of the state where one was separated from reality and encapsulated within the imagination of the coffee drinking experience. It was through the process of making via layering of the resin that portrayed one’s preservation of their memories or experiences over time, and has their perception shifted upon recapitulation. The semi-encapsulated glass coffee cup acts as the bridge to invite and engage the viewer into the states of mind coffee drinking induces. (Fig. 3)

Figure 3: Final Sculpture- Coffee and Creamer in Polyester Resin (Backlit) Digital Animation In relation to the sculptural piece was a digital animation, which was encapsulated within the resin sculpture below the glass coffee cup. It was a representation of the states of mind in motion from the first contact with coffee till the last. One would experience a shift between physical and mental interaction, and a contrast to the static nature of the sculptural piece. “...All Cares vanish as the coffee cup is raised to the lips. Coffee flows through your body as freely as your life’s blood, refreshing all that it touches: look you at the youth and vigour of those who drink it. ...”

– An Excerpt from the poem, ‘In Praise of Coffee’ by Sheikh Ansari Djezeri Hanball Abd-al-Kadir Through a mini screen projection, the digital animation conveyed the states of mind during the coffee drinking experience in three different chapters. (Fig. 4)

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Figure 5: Large Format Digital Art Print Art Book The art book, which could also be regarded as a form of coffee book, was designed to enhance materiality of art experience from a two-dimensional view, with visuals and texts to bring the viewer across the journey of coffee drinking. Designed with spaces around to create flow, the emotions within the images were further accentuated. (Fig. 6)

Figure 4: Shifting States; Chapter 1-3: “Connection”, “Interaction”, and “Recollection” Print The third outcome of the research was a large digital print, which captured one of the shifting states of mind during the ritual of coffee drinking. It was a representation of the moment when the coffee fluid clashes and interacts within the drinker to create a state of euphoria. (Fig. 5) The large digital print is printed via Diasec, a process used for face-mounting prints onto acrylic glass. Printed at a dimension of 1.8m by 1.08m with high gloss finish, the final image exudes an immersive aesthetic art experience in brilliant colour and sharp contrast when viewed at a distance.

Figure 6: Art Book Layout and Design 2543

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6 RESULTS & REFLECTION

7 CONCLUSIONS & FUTURE WORK

The results of this research was a showcase of all outcomes in an exhibition environment and presented to create an overwhelming view for the audience, in an attempt to strike a resonance with those who had the same aesthetic art experiences. Due to space and budget constraints, the initial idea of four large prints on acrylic adjacent to each other was modified into a singular exhibition booth. (Fig. 7-8)

Through the active engagement with senses, art locates the individuals within their corporeal selves and evoking the aesthetic experiences. Art here can be seen as the connecting element that brings together the material and the immaterial realms, which exists to embody ideas through materiality. It is only during the physical encounter with art of various forms that bears the potentialities to shift the viewer out of their ordinary thinking and into an imaginative dimension.

Simultaneously, materiality significantly informs the content of contemporary art and guides the viewer towards a sense of feeling that is encompassed only within their imagination and the unpredictably abstract art experience.

In future, this project can be of possibility to extend itself progressively in a few areas; firstly, the materiality of the sculpture can be improved and added with interactive elements to create interaction during the ritual of coffee drinking. Secondly, the manipulation of digital prints to evoke emotions can be developed further in the field of digital art therapy, where art therapy meets with digital art and computer technology.

Ultimately, there can be also a chance for this project to evolve into a new form of coffee branding project, where it targets at the emotional and spiritual interaction with coffee through art appreciation.

Figure 7: Pre-vis. of Four-Panel Exhibition Layout

ACKNOWLEDGEMENT Asst Prof Ina Conradi Chavez from the School of Art, Design and Media.

We wish to acknowledge the funding support for this project from Nanyang Technological University under the Undergraduate Research Experience on Campus (URECA) programme.

Figure 8: Pre-vis. of Singular Booth Exhibition Layout It is always in my mind to be able to fuse all the things I have learnt and of interest into a single project, yet at the same time displaying my skill set as a graphic designer and a visual artist. Having a passion for art making, the sculptural piece was my greatest achievement as I started off without any ideas on how to work with liquid in resin-encapsulation. The willingness to risk and embracing on the chance of imperfection have landed me into a new area where unconventionally beautiful and creative works can be produced. The attempts to figure out a way for encapsulating a mini screen projection to display the digital animation was another breakthrough for me, as it pushes the boundaries of how individual medium can come together and work with each other. .

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