TUNG,YI P O RT F O L I O
an application to
THE BARTLETT SCHOOL OF ARCHITECTURE London
CONTENTS Biography
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Curriculum Vitae
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INTERVIEW 01 | “It’s just a pie and a fork and a whole bunch of art in the way.”
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POP - UP SHOP: ART SOLUTIONS
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ERRATIC SCULPTURES
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HELIOTROPISM
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PART 1 - Physical Variation PART 2 - Virtual Variation PART 3 - In-Setting Rendering
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BIOGRAPHY Born in Taiwan, raised in Singapore, currently resides in Vancouver, Canada. Graduated in 2015 from the University of British Columbia (UBC) with a BFA in Visual Arts and a minor in Art History.
+1 (778) 898 8217 tung11793@gmail.com
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CV* -PROFESSIONAL EXPERIENCEARTS UMBRELLA Vancouver, Canada [September 2016 – Present] Capital Campaign Coordinator | [February 2018 – present] Executive Assistant & Board Liaison | [October 2017 – October 2018] VIRIDIAN GALLERY Vancouver, Canada Assistant Manager | [April 2015 – August 2016] PRIVATE COLLECTION Vancouver, Canada Archivist [October 2015 – January 2017
-INTERNSHIPSROBERT LYNDS GALLERY Vancouver, Canada Gallery Assistant/Archivist [June 2015 – August 2015]
*Please see CV provided with application for further description details. 6
-EXHIBITIONSUPCOMING Congress 2019 of the Humanities and Social Sciences PAST 2016 | New Show, New Work, New People - Group Exhibition Viridian Gallery Vancouver Canada 2015 | Double Space UBC Audain Gallery Vancouver Canada 2015 | Monument to Mysterious Fires Offsite collaboration with Other Sights Vancouver Canada
-SKILLS & CERTIFICATIONSBilingual – fluent in both Mandarin and English Diploma of The Associated Board of the Royal Schools of Music (DipABRSM) for Instrumental Teaching – Piano
*Please see CV provided with application for further description details. 7
INTERVIEW 01 “It’s just a pie and a fork and a whole bunch of art in the way.” Medium: Google Daydream, SketchUp, Blender, Unity Dimensions: 5” Google Pixel XL - 1080 x 1920 pixels
An ongoing project to collect a sample of interviews that could be assessed in determining what artists want from their exhibition environments. Using data collection techniques, the project’s goal is to determine which patterns exist/ emerge thus helping to identify visibly missing structures that are needed. This particular project involves multi-step process beginning with research which included a studio visit with the selected artist. Part of this discussion would include looking at environments in which they may see their works being shared. The discussion is translated into a Google SketchUp model which is then exported into Blender and then Unity, eventually resulting in an app - becoming a virtual-reality-compatible experience. The purpose of this is to see the art created by the individual through their perspective and vision. In this first example, I interviewed my colleague Patrick O’Neill. Patrick’s practice focuses on mental health, personal agency, and power relations through explorations in mark making, text, and assemblage. Understanding this, we both felt that the environment needed to reflect the intent of his practice. Accessibility became a central topic of discussion.
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At the time of this project, I was actively involved in a community garden. Reflecting on this experience of the community garden as an environment, I realized it was an experience that brings the individual both outside and within yourself. For example, the garden allows for the stimulation of being with people, textures, and things while also allowing for the potential to be quiet and alone. My commitment to the community garden plot also meant I was invested in this dichotomy. Looking at this experience in relation to Patrick’s practice, I felt that the community garden would be an appropriate setting to experience his art.
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Proposing a temporary structure set-up, Patrick’s practice would be opened to those that were interested, whether they are active members of the community garden or just passing through. Traversing between these two spaces serves as a gentle interruption of one’s thoughts which reminds the individual of potential for either solitude or socialization. Finding parallels between the garden and Patrick’s practice, the element of spontaneity is a fundamental strategy in his process. As such, I wanted to include the act of improvisation in the environment to encourage individuals to understand the playfulness in Patrick’s works. Instead of providing written context as you often see in museum exhibitions, this virtual reality perspective encourages understanding through the situated environment. Another component of this artist’s practice is to understand the structures which guide their own thoughts and behaviour through their artwork and utilizing his practice as a medium to achieve that. The garden in this case provides its visitors with the opportunity to engage with themselves while walking through the plots, playing on the swing, or walking in and out of the structure. As Patrick’s practice is about his own thoughts, it was important that the structure in which his work was housed, was not necessarily the central focus of the environment. Instead, this social strategy encourages a new structure to experience Patrick’s works -- for example, structural influences can be through things like beliefs, attitudes, emotions, perceptions. I am not trying to recreate the artist’s state of mind as he was working but rather encouraging visitors to explore those elements also found within themselves.
To watch the VR piece in action, please visit: https://vimeo.com/313570563 11
POP-UP SHOP: ART SOLUTIONS Medium: Found Objects, Plywood, Paper boxes, Silk Screen Dimensions: 3’ x 3’
Art Solutions was constructed as a playful approach to critiquing the various structures found within the university’s curriculum. Meant as a portable structure, the intent was to set up shop wherever artists were present and sell artist centered objects to any interested visitors. I conjured four mockproducts and silk-screened appropriate packaging for each one. Each of these boxes were available for purchase, sold at various openings. The actual item was never included in the box. Instead, I included a photograph and description of how the object was to be used.
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The four objects included: 1. Thinking Cap To be used during periods where the artist has a shortage of ideas and difficulty generating creative solutions. 2. Pop-up Studio To provide those that need a studio to practice but may not necessarily be eligible for one or have the capacity to afford one. 3. Time Watch To be used during studio visits and for students, during critiques, as time is often perceived differently in these sessions. 4. Affect Shield To be used when an artist is in need of thicker skin to turn affect into effect.
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ERRATIC SCULPTURES Medium: Concrete, Chicken Wire, Beeswax, Electrical Wiring Dimensions: 1’ x 1’
With this project, I attempted to alter physical architectural features within the institution. The limitations posed by physical structures became obstacles which determined howmuch could be altered in a space. I was looking for flexibility. As a result, I started to turn towards factors which could be easily altered while also providing changes in an environment. Naturally, I turned towards forces that utilized our other senses. This project was an exploration looking at heat through its effect on warming up beeswax. Inspired by Malevich’s White on White, (white representing infinite space for Malevich), I wanted to make visible the kinetic energy. The two squares were set up as opposites of each other. Attempt 1 had the wiring in the centre with beeswax surrounding the central heating source. This setup allowed for the beeswax to flow and exit the structure. This was also the first attempt building a structure using concrete. Attempt 2 was a reversal of Attempt 1, the wiring surrounded the exterior canal, with the beeswax situated in the centre of the structure. Additionally, with prior knowledge of working with concrete, the result is a smoother surface texture. This project was my first exploration considering how to use an unseen force to effect and alter space/material.
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HELIOTROPISM
This project continued an interested that first emerged in Erratic Sculptures. It was a study on how spaces could be altered -- not necessarily through using architectural features, but with devices which reshape/redirect the experience of that space. In this particular case, I wanted to explore the effects of light on an environment. The proposed structure consists of two elements - light and an organic structure. Depending on how many pieces are attached together, the form of the proposed structure will take on various shapes. The hanging “blind�/ sculpture is designed to move organically in response to time of day, casting shadows and shade in an indoor environment. I had imagined the space without any sort of window coverings.
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PART 1
PHYSICAL VARIATION Medium: Vellum Paper, Balsa Wood, LED Lighting Dimensions: 16� x 13�
There are two primary components to the maquette - a wooden frame which houses the light source and the sculpture made of paper. The sculpture consists of a number of sheets of paper folded and sewn together. Due to the requirements for the functions of the sculpture, I experimented with a variety of paper types. The paper needed to be soft enough to allow for stretch and pull, while still letting enough light through. I discovered that many of the more translucent papers did not offer as much flexibility as drawing paper. The wooden structure (light source) is made from 24 pieces of balsa wood, and includes flaps on hinges. This allows for manipulation of how much light is cast upon the structure, hung just below. In the frame, I used a remotecontrollable LED light strip.
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PART 2
VIRTUAL VARIATION Medium: Qlone, JavaScript Graphics Library (three.js) Dimensions: 1080 x 1920 Pixels
I wanted to then create a virtual model of this idea online to better understand the relationship between the object and light. The web-hosted, three-dimensional, graphical example was created through the scanning of the physical sculptural object using a consumer-grade photogrammetry app called Qlone. Qlone takes a series of images from many angles encircling the object, after which it infers a 3D model geometry and texture. The 3D model was then presented using a JavaScript graphics library for providing interaction with the scanned mesh, including lighting and deformation controlled by the user’s mouse movements. Participating in the collaborative nature of the open-source community, the project was made using various sources (found on the next page). With further development, I hope to share this source code with my community of interest to allow for more flexible application.
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VISIT TO INTERACT https://s3.amazonaws.com/tungyi/index.html
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Open Sources from Community
three.js: https://threejs.org/ (homepage) https://github.com/mrdoob/three.js/ (source code) Loading Animation http://tobiasahlin.com/spinkit Base concept for the twisting deformation: https://medium.com/@crazypixel/geometry-manipulation-inthree-js-twisting-c53782c38bb
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PART 3
IN-SETTING RENDERING Medium: Drawing on Inkjet Print Size: 5” x 7”
Ultimately, the work needed to have application. As a next step, I have included sketches of environments in which I illustrate how the built-set could be experienced by the people. I imagine the final material chosen for the sculptural piece represented via paper would have a light, gentle texture through which light would permeate softly. The shape which the sculptural object holds would be responsive to the amount of other light it perceives in its environment; for example, the sculpture could hold different forms as a response to control how much light will get through. Taking from the solar-power industry’s solar-tracking technologies, the sculpture will respond to the amount and direction of light in its environment and adjust accordingly.
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Tung, Yi +1 (778) 898 8217 tung11793@gmail.com