Kw content

01 ILLUMINATION

expressing a sacred space through color

I am fascinated by how light enters a space to create forms and shadows. Inside Shinkel’s Friedrich Church, light filters through stained glass windows to colorfully render a space divine. I observed, examined, and analyzed the interior of the church to understand the dynamic relationship between light and color. My goal was to use color

to reimagine the interior of the church during three different times of the day. In the end, I compiled a short narrative, analytical diagrams, orthographic drawings, and different perspective views of the interior into a single book, which I Xerox transferred onto Lennox paper and then stitched together using the Coptic stitch.

Friedrichswerdersche Kirche

narrative

BERLIN,GERMANY

Across a plain clearing, past the brick veneer, under the identical towers, lies an entrance to the doors of paradise,

analysis

drawings | parti, perspective, diagrams

product

three instances of light during different times of the day

Those who seek to honor the House of God have found instead His earthly treasures.

intepreting light & color

Only natural light aligns the right kind in God’s earthly gold mine,

idea

Only vibrant colors of rainbow gems and golden hems are worthy of them,

There is no room for plain wallpaper, So let the light filter in, Let there be light, and more light there will be.

-autocad -photoshop -illustrator -indesign -bookbinding -handdrawing -coptic stitch

skills used

skills learned

-orthographic drawings -sectional perspective -interior perspective -building analysis

Only translucent panels illuminating light can render the fragile beauty and sacred serenity of the true deity.

02 POLYCHROME

expressing an animated city through color

I grew up in Taipei, a city of tall monotonous buildings.

With limited space to build, function is often prioritized over form. When I studied abroad in Paris, however, I was immersed into a city that prioritized aesthetics and craftsmanship. I learned about Paris’ long architectur-

al history and deeply appreciated (neo) gothic architecture for its animated interior and Baroque architecture for its ornate exterior. It is the amalgam of different building styles that makes Paris unique and alive. The goal for me while painting was to use a diverse color

range to emphasize Paris’ dynamic architectural spirit.

I tried to capture Paris’ vitality the way that I saw and experienced it, sacrificing some realism to allow for passion and imagination.

1. 10.5 x 15 in 2. 15.5 x 11 in 3. 15.5 x 11 in 4. 10.5 x 15 in 5. 7.5 x 10.5 in

3castle Sully-sur-loire

5 facade

-watercolor -copic marker -pencil crayon

skills used

skills learned

an alley in Le Marais

an alley in Le Marais

-observation -quick sketch -perspective -detailed drawing -reimagining the color palette

2 open

4 narrow

1 hidden

streets and buildings | PARIS, FRANCE

03 METAMORPHOSIS

expressing a nostalgic memory through color

This collection of paintings is inspired from the film The Return, an artistic film

by Andrey Zvyagintsev. The film is about the tense relationship between a Russian father and his two sons who he abandoned and later reunited with after 15 years. Inspired by the film,

I painted the relationship between my father and myself. My family immigrated to Vancouver when I was six years old, but my father still traveled frequently to Asia for his business. To cope with his absence and missing him, I found comfort in wearing his clothes. I

found a way to connect intimately with him through his belongings. The repetitive tri-colors representing his sweater connects the two parts of the painting, one of him and one of my 6 year old self. My goal was to use color to express the memory of that time in my early life.

-film reflection -narrative -painting on canvas versus wood

skills learned

2. 137 x 35 cm acrylic on canvas

daddy’s

skills used

little girl

1.diameter 60 cm acrylic on wood

-acrylic paint -color representation

04 CONFESSION

expressing a childhood sin through color

Before creating this painting, I have experimented with many ways of portraying food using paint, clay and collage.

This project became a capstone of my previous projects using techniques that I have already worked with. In the background, I named every chocolate-inspired art project I have ever made and count-

ed the number of representational chocolates in each project. Growing up with a sweet tooth, I often emptied the house candy jar and felt extremely guilty afterwards.

I played with this idea of after-eating guilt and related it to my projects for having had so many chocolates in art.

The irony is revealed in the

last line “I gained 0 KGs.” Circular shapes pop out of this painting to spell “4give.” The playful spelling juxtaposed with the rainbow palette brings the painting into a juvenile context, expressing my sinful love for sweets as a kid.

-11 heart-mending chocolates -14 dipped chocolates -42 I love you chocolates -63 sweet love chocolates -7 truffles -63 plain chocolates -3 times 63 white/ dark/milk chocolates -63 assorted tie-dye -11 heart-mending chocolates

their wrappers into

-11 heart-mending chocolates -14 dipped chocolates -42 I love you chocolates -63 sweet love chocolates I offered candy at -7 truffles my exhibtion and -63 plain chocolates -3 times 63 white/ viewers could throw dark/milk chocolates -63 assortedtheir tie-dyewrappers into chocolates

I confess

the installation trash can. The compilation of wrappers

juxstaposed against

-11 heart-mending chocolates -14 dipped choco- I offered candy at my exhibtion and lates I gainedthrow 0 KGS. -7 truffles viewers could -63 plain chocolates their wrappers into -3 times 63 white/ the installation trash dark/milk chocolates can. The compila-63 assorted tie-dye tion of wrappers chocolates

the “4GIVE” puts the

painting into context

juxstaposed against

the “4GIVE” puts the painting into context

I had...

chocolates -14 dipped chocolates -42 I love you chocolates -63 sweet love chocolates -7 truffles -63 plain chocolates -3 times 63 white/ dark/milk chocolates -63 assorted tie-dye

the installation trash can. The compilation of wrappers

I gained 0 KGS.

juxstaposed against the “4GIVE” puts the painting into context -mixed media

skills used

Mixed media clay with acrylic, ink, watercolor 64 x 49 cm

-molding clay -watercolor -acrylic paint -ink stamps

05 SHADES

observing reality in grey

In 2007 I worked with the Tabitha Foundation to build houses for a small village in Cambodia. I stayed in Prey Veng for three days and then visited the Tuol Sleng Genocide Museum in Phnom Penh. It was my first time in Cambodia, but meeting the Prey Veng children and learning about the Khmer Rouge oppression at the

Genocide Museum had a huge impact on me. I hope to revisit Cambodia in the future as well as build houses for other unfortunate communities. In Cambodia, I saw a similarity between the Prey Veng children and the photographs of the kidnapped children in the old Khmer Rouge S-21 prison. These were children that live without luxu-

ries and without expectations in life. Their greatest misery as well as happiness is that tomorrow will be another day survived. I decided to document some of the emotion-filled faces that I remember. The sketches are in black and white to symbolize the bleak conditions that these Cambodian children were forced to survive in.

-shading -drawing by observation -quick sketching -long sketching skills learned

PRISONER 302

another day lived survived

pencil F H HB 2B-8B

skills used

hello i am 408.

06 FIREWORKS

material exploration: candy wrappers

A material has to be sensibly chosen for every project. But every now and then, I just like to have fun experimenting with unorthodox materials. This project is entirely made out of candy wrappers, a material that is usually neglected and thrown away. My goal was to convert a mundane material like trash into a celebratory

product. I was first attracted to the striking gold and black combination of a Meiji Chocolate wrapper. As I noticed more wrapper designs, I collected the ones that were metallic, thin and easily foldable. The wrappers came in different sizes and colors, so I unified the project in form. I folded every wrapper into a trapezoid and

structurally connected them at the corners. I repeated this with every wrapper to create circular patterns. Finally, I added lines to create balance in the negative space. The project is massive in size with metallic colors popping out against the black background, reminding me of a firework spectacle happening in the night sky.

HOW TO FOLD & assemble

1. find same size wrappers

FOLD down line FLIP to other side

2. fold in half the long way

3. fold it in half again 5. flip over paper like so

4. unfold to see crease line

8. a single trapezoid shape

82 x 102 cm black acrylic candy wrappers

-origami -texture integration -pattern exploration

skills used

6. fold down the dotted 7. fold down the crease lines to line up with crease mark already made

07 INEDIBLE

material representation: thickened acrylic paint

For this project, I wanted to use acrylic paint—a single, orthodox material—to create a variety of unorthodox textures. I did this to creatively represent chocolate in different ways. In the process, I learned the characteristics of acrylic paint and how to best manipulate the paint to get my desired results in texture and color. White chocolate is not

pure white in color, but slightly beige with hints of yellow and red. It is mostly made out of cocoa butter, which makes it soft and silky. I carved and scraped applied paint to create curves and my fingers were one of my handy tools. Milk chocolate is best defined by its smooth and creamy nature, a complete combination of milk, cocoa butter and cocoa beans. I interpreted

this by drizzling and splattering paint and creating swirls to represent the three components.

Dark chocolate has a low cocoa butter ratio, which makes it less creamy and sometimes shiny on the surface. To translate this consistency onto a canvas, I added a thickening medium to the paint and applied it in layers.

Characteristics:

Characteristics: soft, silky

Characteristics: shiny, dark, raw

Representation: drizzles of brown paint and swirls allude to the different components in the ingredient

Method: 1) blending of different browns 2) splattering paint with brush 3) layering gradually

Method: 1) smearing with fingers 2) creating curves

Method: 1) addition of thickening medium in a 1:3 medium to paint ration 2) layering and then taking away with tools

bittersweet

milk

white

dark

smooth, creamy

acrylic paint creating texture

skills used

skills learned

-layering -carving -scraping -blending color

Ingredients: milk, cocoa butter, cocoa beans

08 EDIBLE

contemplation of lines with spices My purpose for this project was to create something that would allow viewers to fully experience my artwork, in sight, touch and smell. I wanted to find a material that would draw attention in both aroma and texture. Since we biologically respond to the smell of food, I made the decision to work with edible

materials. The challenge was to not let the artwork easily disintegrate or attract unwanted insects. I decided to work with spices for its stimulating scent and long-lasting shelf life. Sticking to a brown color theme, I used spices such as curry, cinnamon, and 5-spice to create 6 separate panels that come together

to form the shape of a heart.

When each panel is looked at individually, an element of line or form is highlighted by the change of spice. When the project was complete, however, I decided that it was more compelling as an abstract piece and that order of the panels no longer mattered.

cinnamon, cardommmon, 5 spice

skills used

30x26cm (per panel)

form line shape clay spices

09 FABRIC

material symbolism: satin clothing

In my graphic design class, I paired up with my partner, Emily Feng, to create this poster for the play The Libertine. The task was to capture the life of The Libertine using the word “outrageous”.

The play is set in the 17th century and is about a man torn between reality and the

world of theatre. The intensity of the red represents the Libertine’s tumultuous life of passion, addiction, and violence in the theatre world; embedded are symbolisms of lips, nude legs, and blood.

The background image is a photograph of a red robe made of satin. Satin was an easy and dynamic material

to work with. It can be flawlessly smooth or profoundly convoluted in its lines, form, and shadows. The goal was to use the color and texture of fabric to immediately bring the poster into the context of a play and the velvet theatre curtains. Poster typeface: FedraSerifA

for tickets

617-933-8600

stanford calderwood pavilion at the boston center for the arts www.bostontheatrescene.com

BRIDE REPERTORY THEATER OF BOSTON & PLAYHOUSE CREATURES THEATRE COMPANY - NY

Written by Stephen JeffreyS DirecteD by eric tucker

skills learned

in person at 527 tremont st

-photography VS graphic design -symbolism -denotative VS connotative meaning

Playhouse Crea info@playhouseCreautres.org www.PlayHouseCreatures.org

PLAYHOUSE CREATURES THEATRE CO

Introducing a F resh New T heatre Comp

Press Pack 2011

photoshop iindesign layering collaging

skills used

The Libertine loves the theatre world but is eventually ostracized from it. The black and white represents his life without the theatre—without meaning and color.

BRIDE REPERTORY THEATER OF BOSTON & PLAYHOUSE CREATURES THEATRE COMPANY - NY

black & white

09|05 09|22 2013

www.bostontheatrescene.com

The folds and creases of the satin fabric leave room for imagination. There are subtle hints of red lips, nude legs, ribbon, corset, and blood.

at the boston center for the arts

E

symbolism

stanford calderwood pavilion

D

in person at 527 tremont st

sion, addiction, and violence.

for tickets

C red The intensity of the red represents pas-

LiberTine 617-933-8600

Written by Stephen JeffreyS DirecteD by eric tucker

The

“ERT” in Libertine. However, it is lined up and sized exactly to represent a reflection. The world of theatre is a reflection of reality.

09|05 09|22 2013

B typography “THE” is not a perfect mirrored text of the

The

represents the Libertine’s two worlds.

Moreover, it alludes to the back of a woman’s corset.

LiberTine

A verticality This divide between the red and black

10 MIXED MEDIA

material coherency: printmaking, transparency paper

There is a lot going on in this project because of three major components: the fists, the background, and the cohesive polychromatic palette. My intention was to work with unfamiliar materials and techniques to create a unified piece of art.

The challenge was to learn how to combine different elements in an unobtrusive way, paying

attention to the color, flow, and placement of objects. The fist was carved with a handheld gouger into linoleum for a linocut print. The background image was created using illustrator and then printed onto transparency paper. The color palette of the fist and the background is consistent. To subtly separate the fists from the

background, I let them pop out three dimensionally using pencil crayons to create highlights and shadows. The placement of the fists, seemingly disordered, is in sync with the background.

The fists and the background flow in every direction, creating a balanced dialogue with one another; neither element outshines the other.

inkpad

copic

sharpie

felt pen

crayon

pencil crayon

image unity object placement object flow print-making linocut stencil transparency mixed media

skills used

Mixed Media 78 x 53 cm