It is elongated process to work in the wood print workshop for both strenuous manipulation of carving and the printing, being tentative sporadically. The wood printing workshop project, as the ideation have already ripened for days, is anticipated to engrave those patterns of the water mark imprinted by the domestic glass, lasting for 32 days to collate the archaic patterns per diem during that period. Mused by my everyday experience to fetch a glass of water to my study room upstairs to sustain my whole night study after the dinner, the coaster to the glass draws me preoccupation about its functionality within its quizzical position between the table and the glass, an emergent chiasm amid such matrix on the table. Its initial aim designs for the protection of the superficial part of the table from bespattering, contamination and the like for both the drink and the table. Whereas, till the moment when I saw the circular water mark pattern on the table, I realize the sculptural formulation of the outcome itself through such transmission from the original drenched glass. The wooden attribute of the table per se, makes me contemplate about the relief printing idea of the pattern, to re-morph it into a perpetuated form rather enshrined by the wood itself, to make such deliberately jeopardized situation on the table than the avoidance by that corporeal impediment of the drink coaster.
It contains profusion of imageries by the print itself, seemingly salient as an abstract form by active painting in such circular manner, as later I have printed the patterns into groups of colors akin to the pop art’s ocular consumption approach yet the motif rather derived from the mundane everyday objects alongside those pop artists’ usages of the celebrities, events and the like. Moreover, the choice of the colors for the printing bemuses me about the attuned conceptual preference prevalent to my works, as the colors cannot only become the superficially aesthetical festivity on this work. Though in original, there is no rumination to place more than one color on each of the prints, till I have conceived toward the mandate on the project brief associated with the variegated color usage, mull of the concept of the colors’ conflation grows pivotal to the main visual concern of the work.
The aesthetic approach of the colors is one of the most leaden thing in my perspective to my art making, as I tend to the reference of the dematerialization concern of the art object frequently, the materials rather being the inevitable fallout of the conceptual product, and aside from this aspect, I hardly gain any wherewithal for the aesthetic or formalism thinking of the colors thereby making me divert from the practice of the pigment. Notwithstanding, this could be the opportunity for me for such practice, as I later perceived about the translucent and fantasized character embraced by the vision set by the domestic glass, efficaciously helping me to rather directly mimic the colors rendered by those everyday scenes by the viewing through the glass. As I have already made the experiment in the scene of the workshop, to simply pose the colors bestowed by the ordinary objects permuted subliminally in the scene, within the sense of the arbitrariness indeed.
Likewise, I further develop the painterliness thinking to subvert the common printing technique of the wood relief, as I even directly deploy the striper of the pigment on the prints and spontaneously situating the certain color in uncanny composition rather than the rollers always used, thereby creating alternative effect by the wood print disorientating those audiences’ concern about the flattening relief technique with such delusion to clench the illusionistic spectacle through the viewing of the glass. I should make more experiments for the colors per se as the each of the prints will be labelled with the its generated date with pen as well, aligned with the main word ‘Glass’ carved which has been printed in segregation with the dominant pattern, able to practice with the linguistic concept of the representation as the pattern’s advent is the glass, yet what could be connoted to that original glass on such abstract motif? Every pattern engendered could be a neophyte toward the unitary mother of the glass, clade into such absurd identity of the Big Mother, while in the end, it is only water assembled with the periphery of the circular glass underneath.
The perplex correlation amid the significances of the glass, water, wood and table, even more representational aspects hinge on my composition to place few motifs together in the same surface, not only flattening their presence belonged to their initial time and space, but also able to present a new image of Screaming or Disney Logo for instances, made by the juxtaposition of three motifs chosen randomly from this month. I would make more possible scenarios for the printing, even envisioned to directly print the pattern on a table if I succeed to recycle a wasted table from somewhere beyond the surface of the paper for more meanings bound.
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