The second curative practice for the wood print workshop project, as the aftermath and the amelioration of the Potluck curation project. I revamp and enlarge the scale of the curation from that narrow corridor to the project space in the studio, able to expose all of my pieces in the project out concomitantly as a transient quasi-solo exhibition. it is a convivial experience to crystallize my ideas by such disclosure of all works for the wood relief project commission.
The improvised element of this spatial practice cannot be neglected, as the displayed components, subsuming the trajectory around the table sculpture associated with the chess game performance, the wood debris scattered on the ground in certain position, the plaster and wax prints and the colored outcome of the water mark motif, aligned with the monitor on the wall. The effect could be conceived into an immersive setting accordance with my initiative, as all the pieces embrace the neutral space.
There are few new concerns executed about the curation differential to the Potluck one. The wood debris firstly, set on the floor into a triangular situation generically, protruded in their own self-emergent form inward encased by the outer circular shape, as a revelation of the wooden materiality per se and the making credence to signify the trace of carving. The debris has been hoarded during the whole engraving process as the buttress for further wood relief. The scattering also denotes a latent correlation between the glass and the wooden table, as the piles could be the freestanding sculpture by themselves into a Post-Minimalism setting, interacted by spectators’ walking amid the space, beguiling them to crouch down to some extent as a my experiential concern as a part of my study of the perception.
The holistic setting invokes both the surge of confounding and the eclecticism as the avalanche of the message toward the viewers from floor to walls, as they have to ruminate about the semantics beyond the retinal pleasure because of my conceptual approach of the game in the performance. The Chess game performance itself, correspondingly connotes the concern of the ambiguity by the absurdity abutment, through the improvised, arbitrary and contingent facets in the performance to fulfill with. Whereas, this improvised factors is the reason to mesmerize the audiences to stare at the monitor for long time, urging them to rummage about the principle albeit of the finalized condition to fail, or a mulish imposition to address the performance with certain logic as the common response from the spectators.
I later set one of the piles of the wood waste into a cup cast shape, by my inadvertent discovery by fill it in the glass ensued with the compression, thereby able to resonate with the binary relation aforementioned, in literalism by the oblique representation on the appearance.
Art is the origin of the Artist and the Artwork, as the affixed phenomenon mentioned by Heidegger, it is the truism without the doubt beyond the obsolescent concern about the provenance of the art on the artist. It is quite enthralling point to inspire me about the concept of the art making. It is the manifold dissection in semiotics bound with the concept of this project, in an exaggerated way as I mingle the representation of the Screaming posture, Chess game and the like as constellation of the human recognition toward those protracted imageries from the originary water mark , thereby attaining the absurd effect in such iconographic practice as a part of my plumbing of the human perception with quotidian signs.
The wood print workshop project consequentially is accomplished palpably within such fortnight, as the only contemplated betterment is the interaction factor of the table sculpture with the onlookers though I have already sanctioned enabling the audiences to sit beside the table on the chairs set, I scarcely perceive any meanings to make audiences re-play the chess game empirically. Indeed, it would establish the possibilities as the order of the game grows much more contingent by such, yet the re-enactment by audiences might be anti-climax in the end by the repetition. Whereas, it might be a serviceable point for the further development if I have desire to re-enact the project in the future.
contemporarypoesis.art.blog 