p or tfol i o of
YI HAN FU
2018
Intro
My research interests are very much inspired by the fields of haptic design and the phenomenology of perception.
The journey began from the project taken in my f i r s t y e a r, w h i c h w a s t h e body project. My intension was seeing textiles as one wearable platform which c o u ld p o t e n t ia lly c o n ve y a n d c o n v e r t p e o p l e ’s e m o t i o n s into physical language, like a s kin , f u n c t io n in g a s a lin kin g point between living things and the outside world. The process of making the project was crucial for my later research, at that time I gradually realized that the tension in between the object and the subject is constantly in flux and not able to be manipulated. The role of such skin then s h o u ld p e r f o r m it s e lf a s o n e evocable surface neutrally a n d m o r e h o n e s t ly.
“the torso” by Rachel Whiteread is an important inspiration of such idea for me. It recorded the intangible moments whilst embody the softness on the solidness, responding t o t h e m o m e n t h o n e s t l y, simple and clear. In a textile context, I started to question the importance of tactility and how do I interpret textile as one surface in between the object and the subject f u r t h e r ly?
The experience of visiting t h e Te s h i m a A r t M u s e u m strengthens my intension to develop a sphere where contains untouchable materials, unpredictable moments, and individual memories. The reflection of the previous project also struck my further exploration, which underlines the concept of “touched, yet untouchable”, leads my research into a more environment-led notion: would the perceived surfaces, which var y in light, di s ta nce a nd depth, crea tes “form” and “texture” through the sense of sight instead of the s ens e of ta cti l e?
Before study at Royal College of Art in textile design, I was a visual and graphic designer. Fascinating by 3D forms and semi-3D texture, I currently work in crafted pieces and object-led production. By investing such pieces and object, it allows me to evaluate and enrich ideas for surfaces and textiles design. In addition, I loop back to pervious design experiences, and progress my work digitally and g r a p h ic a lly, s im u lt a n e o u s ly.
Touched, yet Untouchable "There is no science without fancy and no art without fact."
1
-Vladimir Nabokov
Converting 3D texture into 2D graphical pattern, aiming to re-interpret tactilities through the sense of sight.
Left: hand stitched form, archive of the body project. 2017 Right: laser stitched pattern shown on solid surfaces, hand dyed. 2018
Left: textile with pattern stitched, 2018 Right: archive of the body project, 2017
The collection aims to explore the process happened in between the psychical materials and user's experiences. Characterised by different light reflection which vary textures, the collection allows its patterns and c o lo u r s p e r f o r m s u b t ly a lo n g the interaction of recieve simple input, therefore be able to present a unique experience to the audience..
Each piece has been carefully designed as its pattern and colour are i n s p i r e d b y t h e d e s i g n e r ’s i n t e r p r e t a t io n t o wa r d s t o t h e n at u r a l e n v ir o n m e n t .
The colour palette through the collection presents one neutral language which suitable for interior concept o f liv in g s p a c e a n d g a r d e n , aiming to create a fresh h a r m o n y i n p e o p l e ’s d a i l y lif e .
2
"It is good form because it comes into being in our experience." -Merleau Ponty
Per form - ance
How do you perceive FORM?
How does FORM investigate you?
Archives of the body project, 2017
Extanding, expanding, streching the body form, presenting re-structural skin, framing some in t a n g ib le la n g u a g e s . T h is i s t h e s t a r t in g p o in t o f m y f o rm e x p lo r a t io n .
It might as simple as only about dimensions, n e v e r t h e le s s , a s r ic h a s o u r p e r c e p t io n s .
Work in progress: form investigation, paper crafting, 3D programing.
I am looking for textures which formed within people's perceptions. C h a lla n g in g a n d e vo kin g t h e sense of sight that trigers the memories of softness, curveness, smothness, sh ar p n e s s , s o lid n e s s . . . e t c .
3 Fields
"Our perceptual field is made up of ‘things’ and ‘spaces between things." -Merleau Ponty
Left: Archive of the Haptic Textiles project, 2016 Right: Photography of early project, the shadow of plastic, 2015
The existed and the semi-existed. Instllation of Light-responseive texture investigation and experiment. 2018
The vision of scaling the model, 2018
4
Softness
Embeding softness on solidness, converting flatness into strctures, utilising making techniques of mixed-media textiles, emerging surfaces design with more artistic apporaches,therefore, proposing the aesthetic for CMF and space-led context.
Had-stitched textile structure in silk, 2016
Digital embroidery textile, ceramic thread, PVC. 2018
Digital embroidery textile, ceramic thread, PVC. 2018
Pattern combo of laser cut, hand dyed, Acrylic, 2018
Woven stitch textile sample, Mixed media. 2018
About
Y I- HA N F U y i- h a n . f u @ n e t wo r k. r c a . a c . u k
E d u c a t io n :
+447533163738
M.A., textile design, Royal College of Art, (expected graduate: 2018) Concentrations: mixed m e d i a , s t i t c h a n d e m b r o id e r y
flat 4, 6 Elsham Road, L o n d o n , W1 4 8 HA
Graduate Diploma, Art and Design, Cambridge school of Visual and performance arts, (2014-2015) Design industry and visual communication art, Chang G u n g U n i v e r s i t y , Ta i w a n , (2008-2012)