Segueing with the former writing indissociable with the development of the SIP WORK number 25 within the casting of the Puzzle piece, aligned with final curation of the sculptural approach on this piece containing those aforementioned three parts to form the installation, the curation of the Metal workshop project and the SIP Work number 27 cannot be oversighted as a part of my solo exhibition in this case.
The SIP WORK NUMBER 27, concentric on the performance in the gallery space to photograph those neglected potions inwardly aside of those bulks of painting and artworks, I curate the outcome of the performance, incorporating the photographs, film, and the concrete camera which is the limelight toward the curation. Those outcome strewn amid the whole corner space, particularly the generic composition of the photographs, rather than the solely and mundanely rendered alongside the wall which conceives into a viscerally estranged and dead state like those Modern art, disposed to scatter alongside the floor, ceiling and the wall into a quite disorientated and immersive scene for the experiential engagement of the audiences. In original, I have contemplated to make taxonomy of those photographs accordance with their spatial relation, to aggregate the ceiling parts altogether, with the same manipulation to assemble the one belonged to the floor and the wall space with Photoshop, thereby able to curate into their corresponding space pragmatically. Whereas, there is hardly any divergence from the manner of the solitariness of the artwork in my unanimity aforementioned if I actually bestow such fulfillment in the space. Correlatively, the amelioration occurs at the concept of the spatial disorientation to further subvert the gallery space by rather place those photographs without their original spatial accordance, into an uncanny display of the photograph works. Adhering in inversion, upending, on the floor and ceiling even, emboldening with a novel experience of the onlookers, they even have to contemplate both downward and upward to clench the information within the pictures, intercepted by the concrete sculptural part of the camera set.
The inset of the camera, as a convulsive protuberance from the initial vision in my practice of the Absurdity, it not only garners the concept of the readymade within its essential presence during the performance, but also the processual quality of the photographing culture, to rather expose the sculptural form of the camera per se juxtaposed with its product within the space, which has been frequently overseen with the salient probing of the photograph technique rather. It is admittedly very whimsical to display the functional camera, toward a both irrational and rational discourse indeed, as those readymade in retrospective, concerned with the defunct fact by placing in the gallery context, while in my piece, the camera itself still has been serviceable axiomatically, as I still use it for the future works afterward. Its sculptural statement with its suspension by its strap and the hook also has been revealed, discretion from its mechanical concern and finalized into such installation work alongside with the photographs and the Monitor underneath rather as the ocular limelight.
Likewise, the Metal workshop project, within my early execution of the chain, seeking for the mutual impact between the natural elements and the industrial icon by transforming the immaterial condition of the Energy representing into the visible forms by the spinning act. Bound with the curation at same time, I in the end suspend the chain vertically on the ceiling, drooping by the metallic attribute to solidify the gravity into a sculptural form within a freestanding state. It is enthralling with the vertical effect, as the end of the chain, emerges into a slithering situation naturally on the floor comparison to the upper vertical part, rendering a bemused version to the spectators to whether be supported by the concrete foundation of the slithering part or be suspended by the hook? Moreover, the components surrounded the main chain cannot be neglected as well, encasing those natural elements abstracted from the original sites (Puddle-water, Lawn-grass and incense), into an absurd concern simultaneously morphed by the Shift of the Time and Space. The water, excerpted from the muddy puddle site, contained in the end a domestic glass with the precipitation per se rather to be limpid and pristine segregated from the vivacious rippling in the performance with the revelation of the energy, extended to the displayed grass and the incense, as the energetic act of the grass engaged in the performance finalizes into such unkempt, scattered curation on the gallery floor, and in the end, the extinguished, residual debris of the incense in that ceramic container. They rather have been sedentary in the scene of the curation alongside with the monumental quality from that rusty chain which also befalls with the Time as well, to be even a quasi-vestige situation in the display contradicted to the original sheen.
All those curative practices undoubtedly form the strife toward the concept commissioned to be the outcrop of the energy in the end, whereby the long-term retention of the elements inserted with the universal impact of the Time disembodied aligned with the apparition discourse of the energy, into both the philosophical and scientific concerns by my manipulation.
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