It is quite a procrastinated writing to expound my further execution for the SIP Work number 25 as I later cast and curate the piece to finalize it in the studio project space. Marvelous to depict such progression as I am currently in the quarantine because of the coronavirus crisis. The curative practice attained at last week as I also curate the SIP Work number 27 and the Metal workshop piece in synchrony, into a solo exhibition even. The puzzle project expends about tree weeks to accomplish as there is profusion of experimental manipulation to ameliorate the original idea to cast quota of puzzle with plaster to recapture the original imagery of the puzzle into a non-representational puzzle, within the inset of absurdity element indeed. This non-representational puzzling has been also executed within the performative aspect as I documented the whole puzzling process by film as a performance, lasting for over 8 minutes to re-combine those cast puzzles accordance with the original image. Whereas, the shooting only has been placed on the scene of the puzzling per se without the outer information rendered about the original image and the identity of the performer and the like.
It is a mundane experience to watch the whole movie for the audiences as the element of the ‘Chance’ should be pivotal to my practice in this case. The time to finish the puzzle is arbitrary to the performer, being rather parochial than the impersonal concern of the chance contended by the contemporary theorist: Georges Bataille. It is ipso facto correlated to the insular implication to make such absurd situation to puzzle the non-representation, as if there would be an opportunity to further revamp the performance, the partaking of the spectators should be the domain of the performance, which the consummation of the puzzling for everyone is ramified indeed. The act to puzzle the non-representational image is the kernel point to sustain my performance, not only situated on a quizzical apprehension of the non-representation approach, alongside with those abstract paintings from Ad Reinhardt or Yves Klein whose desire toward the sacramental purification of the art regardless of outer components might be the meaning to be abstract, but also even a kind of frivolity situation to disorientate the onlookers to be bemused about the meaning and target to finish this non-representational puzzle, as how can the performer puzzle as there is no pictorial accordance to comprehend the meaning, even no outset to manipulate with.
The Chance contained by the puzzle cannot be negated, incorporating the time and space, the starting point to puzzle with, the manner of puzzling and so on, palpably nestling by the chance in subliminal means to my fellow human beings, embodied into the puzzling of ‘Nothingness’ in this performance outcome, to query about the putative meaning of the being of the puzzle game in everyday life. The axiom of the puzzle to mesmerize people is derived from its exquisite image upon the corporeal bulk, as currently, I subvert this vantage point, not only by the concern of the chance, but also the challenge of the perception to look and interact with puzzle, clenched as a concept to be fragments.
Likewise, extended to other parts of the holistic installation, incorporates the plaster puzzle fragmented sculpture on the floor, the piles at the corner built from the wax casting, and the freestanding sculpture from the remaking of the clay models with the dipping and brushing of the green bronze wax. The reframing of the clay models could be a king of improvised idea to valorize the sculptural form of the clay model for all those 207 pieces casting puzzle of the wax, a originary relation toward the further reproduction per se, while in the end, imputed to such times of reproduction by outpouring the wax in the clay models, the models have been degraded and dismantled by desiccation, the segmentation. This segmentation inspires me to morph the defunct models into the sculpture by its own, making me invoke about Jean Tinguely’s early assemblages of tools, to form mechanical structure rather by the tools per se than other materials, aligned with my shift of the focus on the clay models, able to valorize it by such.
Contiguous to the plaster casting sculpture which is admittedly my first experimental outcome of the puzzle casting, the fallout of failure superficially. Notwithstanding, I conceive this failure also as a bond with the concept of the Chance. The puzzle is embodied within its own fragmented attribute as a truism contributed to the holism of the image upon, and now, I manipulate this failure as the further fragmentation of ‘Fragments’, into superimposition to be fragments. At same time, the casting operation itself makes the puzzle lose its functionality to be combined accordance with the joints, as I merely am able to parody the effect by overlap each of them during the performance, protracted to the plaster sculpture part and the piles of wax puzzles, cultivated into an absolute expression of the failure of the quotidian usage into such either scattering situation on the floor and the glib piling at corner in disorder.
I would further introduce the rest of my ideas and the ensued execution in the latter blogs by my scale practice on the photography of the puzzle sculpture.
contemporarypoesis.art.blog 