Ephemeral Acts
Collected works by students from the course "Integrated Media - Performance by Artists", April 2024, OCAD University, thought by Julius Poncelet Manapul
16 ARTISTS: Mayne Bautista, Chlo Steadman, Michelle Mao, Lizzie Metropolyt, Neshat Neishabouri, Madi Nybog, Eric Park, Yixuan Qin, Ocelotl Rocha Vielma, Christopher Sanchez, Diva Surti, David Storey, Chenxuan Wang, Jobie Wayara, Shae Wu, Xiaolin Xu.
These series of performance work came out from the Performance by Artists class which demonstrates personal reflections on ways we confront challenges and society structures through lived experiences and contemplation. These 16 students tackle subject matters that are in our ever changing global landscape lingering in the personal, the public realm, the nostalgia, the political, the cultural, and the social realm. Touching on the tones of melancholy struggles that subverts ephemeral acts of being and existing.
We would like to warn any viewer that some of the contents of these works contains sensitive and graphic materials, viewers discretion is strongly advised.
"chlo steadman : side 1"
Medium: Audio (music, voice overs); Video; Vinyl; Record player; Headphones
Duration: 00:01:30 (loops)
This performance is inspired by my relationship to my childhood and my family, and how that inspires my creative process nowadays. I chose to display my video onto a vinyl, since the visuals consist mostly of clips of me and my friend in the music studio, working on creating music. The video is cropped circularly and turns to mimic the movement of a record spinning. The vinyl on display is self titled, on side 1, and each “track” is titled a different year from the first half of my life (my childhood). I used my own music I wrote as the audio to show the product after the process (the process being the clips in the visual component). The song is inspired by a video of me and my brother reading a poem we wrote when I was about 7, which led me to add several different audio clips of me, my brother, sisters and mom from throughout my childhood, over top of the music. I chose to do this over adding lyrics because I wanted to allow the audience to have a more intimate and unique experience with their own emotions, rather than me telling them how they should feel. To further the intimate experience, in an exhibition or gallery, the performance would be constantly playing, and the audio would be listened to through headphones, only one person at a time. I ultimately wanted to make this piece because it aligns very much with how I am feeling in the present moment; a lot of my work has come from a place of connecting with and healing my inner child. I also like to create pieces that the audience can experience in their own way and connect to with their own experiences, and even though the performance contains a lot of personal content, it is still open to interpretation.
"Chasing Hill"
Medium: body, white t-shirt
Duration: 00:01:00
In this performance, I utilized my own body as the primary medium of expression, with a sole focus on a white oversized t-shirt. This deliberate choice was made to ensure visual coherence with the chosen setting and to align with the symbolic undertones of my subject matter.
My motivation for creating this work stems from contemplating the significance of process versus outcome in artistic endeavours. I pondered whether the pursuit of a goal or the journey itself holds greater meaning—a question intertwined with utilitarianism. Additionally, as an artist, I grapple with the balance between visual aesthetics and underlying meanings in my creations.
Central to my creative practice in this work is the fusion of body language and choreography with visual storytelling. I aimed to integrate these distinct aspects of my artistic identity, presenting a piece that encourages introspection.
Two key experimental elements were incorporated into this work: the choice of location and the addition of meaningful audio. Selecting an empty park with a small hill provided a fitting backdrop, while the inclusion of the experimental music "La Monte Young - Day of Gammadion Part I" enriched the conceptual and emotional dimensions of the performance.
Throughout the piece, I envisioned myself as a majestic white bird, navigating the landscape with simple yet strategic movements in pursuit of an elusive summit. As a professional dancer accustomed to serving music rather than narrative, I embraced the challenge of conveying abstract concepts and emotions through physicality. From a compositional standpoint, I prioritized visual cohesion, employing overhead angles and minimal camera changes to underscore the interaction between my body and the environment. Aesthetic choices, inspired by the concept of wabi-sabi, sought to evoke a sense of thoughtful simplicity.
Colour adjustments were meticulously executed to maintain stylistic consistency and highlight my presence within the environment. This process of simplification aimed to enhance the overall visual impact of the performance. On a deeper level, my dual roles as both a designer and a dancer informed the genesis of this project. Drawing inspiration from choreographer Sarah Michaelson, I sought to bridge the gap between these two facets of my artistic identity.
Furthermore, the performance serves as a metaphorical exploration of the perpetual cycle of aspiration and achievement. Through the narrative of a white bird ascending a hill, I invite viewers to contemplate the cyclical nature of human ambition—raising questions about the journey versus the destination and the ever-evolving nature of personal growth.
"Peel Off"
Medium: Orange, Hands, Video Collage
Duration: 00:01:31
This wearable performance explores of the human experience which finds resonance in the simplicity and symbolism of oranges against a stark white backdrop. The orange, a humble fruit, carries profound connotations mirroring the layers of the human psyche. In its vibrant hue lies the essence of individuality, embodying our connection to the external world, our primal desires, and the interplay between our innermost selves and the societal constructs we navigate.
The act of peeling an orange becomes a metaphor for shedding societal masks, revealing the raw authenticity within. It is this transformative process that captivates me, inspiring my artistic journey towards self-discovery and expression. The choice of oranges as both subject and medium is deliberate, rooted in the visceral experience of revealing the tender flesh beneath the tough exterior—a visual testament to the unveiling of one's true essence.
At the core of my practice lies a commitment to natural and indirect storytelling, allowing themes to emerge organically through wearable artworks and performances. By donning these creations, I invite viewers into a realm where symbolism intertwines with personal narrative, prompting introspection and dialogue. Each performance is a tableau of introspective exploration, inviting viewers to peel back the layers of their own identities and confront the societal constructs that shape them. Central to my artistic ethos is a newfound emphasis on individual agency and self-expression. No longer bound by societal expectations, I embrace the primacy of personal authenticity, challenging viewers to reassess their own values and beliefs. Through my work, I seek to spark conversations about the intersection of personal identity and societal norms, urging viewers to question the status quo and embrace their true selves unapologetically.
In crafting my performances, every element is carefully considered—from the minimalist aesthetic of white and orange juxtaposed, to the deliberate choice of materials and props. Each decision serves to enhance the narrative, creating a visual language that speaks to the complexities of human experience. From the neutral expressions worn by performers to the subtle nuances of their movements, every detail is imbued with intention and meaning.
As I peel away the layers of societal conditioning, I am reminded of the inherent beauty in vulnerability and authenticity. Through my performances, I aim to challenge perceptions and inspire others to embrace their own journey of self-discovery. In a world that often seeks to confine us within rigid constructs, I strive to create a space where individuality reigns supreme a space where the act of peeling an orange becomes a powerful symbol of liberation and self actualization.
“Imulanak dita Pusom” (Plant me in your Heart)
Medium: Dried jasmine flowers, fabrics, candles, soil, garden trowel, bowl, basket, water, jasmine essential oil, foam.
Duration: 00:02:18
“Imulanak dita Pusom" (Plant me in Your Heart) is a performance piece inspired by my fear of being forgotten and feeling detached from my homeland. Until this day, I feel that a part of me is still stranded in the past, when I was the most alive and pleased with the place I grew up, as well as my family and friends. Moving to Canada at a young age made me feel very remote from my own culture and background, and now as an adult, I ache for those moments that made me feel comfortable and at home, which I can't seem to feel or even experience anymore. I feel empty inside, like a ghost lingering in a place where I don't belong. This piece explore and portray the sensation of emptiness, as well as the idea of a ghostly experience, in which my past appears to have been frozen in time, my presence becomes the ghost in my own body. In this performance, I opted to portray myself as a flower, namely a jasmine flower, commonly known as sampaguita in the Philippines. The flower represents passion, devotion and commitment. It is typically sold outside of churches on Sundays and is hung in many religious sculptures as a symbol of love and devotion in the Catholic beliefs. The smell of the flower itself still remains in my memory to this day, reminding me of the times when my lola/grandma would take me to church and home.
During the performance, I chose to portray myself as a holy statue, alluding to my need to be loved and attention as a child. Using a garden trowel and piercing it through my heart while shovelling/removing dirt from within me that signifies the desire to be pure and to be loved as a child. "Plant me in your heart" is an idiom that I use as a metaphor for wanting others to remember me in the past and what may occur in the future. The sampaguita represents a promise, as well as death and rebirth, accepting the grief of the past and exploring self-renewal.
"Chain mail"
Medium: Condoms, disposable lab coat, edited audio visual (00:01:08 loop), clock, 1986 condom advertisement, curtains, curtain rod, table cloth, parchment paper, fabric.
Duration: 00:02:21
In this interactive immersive performance, I work through the de-stigmatization of herpes through humor and uncomfortability. I speak on STDs and the dangers of misinformation spread through sex-ed and the media that further adds to the stigmatization. I sit on display swaying my feet as viewers watch one (catch a glimpse) of the most vulnerable moments of this performance through the sheer curtains. Time ticks away, while I remain perpetually trapped within the confines of that clinic. As viewers enter the room after being advised to take a condom off my body, they are forced to face their feelings of uncomfortability head on. Each time a condom is taken off my body it is removing a layer of “protection”, leaving me more and more vulnerable every time. The sheerness of the gown covering my body adds to that vulnerability, exposing myself to my viewers. I sit in silence throughout the performance, allowing the videos projected on the old TV monitor to speak for me, the same way the media has tried to speak on behalf of those with herpes.
They distell harmful misconceptions into viewers' minds, projected within our society. The videos shown are so evidently misleading that it’s almost humorous, highlighting the urgent need for societal change. The silence of my voice speaks volumes, echoing the silent struggle those with STDs are forced to face against the noisy backdrop of societal misunderstanding. An endless chain that until broken will leave its heavy imprints on our society.
"Sweet Flesh"
Medium: video projection, fabric, bell, pomegranate seeds and juice, fishing line, nail polish, table cloth, forks, dinner knives
Location: The Golden Mile Trail, Warden Avenue Scarborough, ON (nearest intersection: Warden Ave and Bertrand Ave)
Duration: 00:03:19
This collaborative performance explored the notion of what it means to overcome traditional conventions and what it feels like to be an outcast in this world. Using pomegranates as a symbol for unending love and devotion, we wanted this performance to elicit feelings of healing, melancholy, and interconnectedness with one another.
Pomegranates symbolize the human experience, we all want to be loved by someone else, and in the process, we lose ourselves by giving everything we have to the one we love the most. Just as we are willing to offer everything we have to get the person of our dreams, cutting a pomegranate into pieces is a similar devotional way of life. You must not rush, as doing so will crush the seeds in the inside, leaving you with only the liquid that remains. It takes patience and a soft hand, but the sweet seeds beneath the skin will be worth it. Us feeding the pomegranates to each other is a symbol of taking a piece of ourselves and feeding it to one another which symbolizes eternal life to one another and long lasting love.
When considering living in a dystopian society, our final resort would be to eat one another, which represents our common carnal instincts and desires. With our performance, we defied traditional standards by donning a veil covered with pomegranate seeds and juice, symbolizing the mess that this world had created, reflecting back on Adam and Eve from the Bible. Eating pomegranates represents finding each other's bodies and digesting them as our hands are linked, representing the idea of shared bodies and devouring one's identity in order to be free from the shackles of suffering and grief that we face in this world. In the end, the repeated ringing of the bell signifies the idea of death and resurrection.
Though our bodies are different, through shared experiences, we become one. Our stories intersect, linking us together for life, whether by choice, by chance, or by regret. A single interaction with someone can affect the trajectory of our lives, sometimes without our knowledge. The same rule applies when we deal with others. We are the centre of the chaos & around us lies the mess we’ve created, the mess that others have discarded onto us.
“Some Writings Are Forever”
Medium: Washable Marker, Water, Rag, Video (Shot on iPhone)
Duration: 00:04:35
In my artistic practice, I am intrigued by the interplay between process and performance, viewing the work itself as an embodiment of the creative process. This piece serves as a preparatory exploration for a forthcoming performance, where I delve into the concept of utilizing the body as a canvas. While not a novel concept, there's a profound reason why performers often resort to inscribing upon their bodies. For me, it's a form of resistance against erasure and a statement against the censorship of pertinent issues. This performance acts as a liberating exercise, merging movement with emotion, inviting viewers to engage with the process through the writings and imagery projected.
Through a combination of writing, movement, and projection, I utilize the body as both a medium and a tool for creation.
At the conceptual core of this work lies a desire to confront and interrogate societal norms and personal experiences. The choice to explore the use of the body as a canvas stems from a curiosity to challenge notions of visibility and censorship.
By merging written expression with bodily movement, I aim to create a visceral experience that invites viewers to contemplate the intersection of identity, agency, and protest. This work serves as a response to lived experiences, a deliberate effort to excavate and confront issues of erasure and censorship, while also celebrating the power of self-expression and resistance.
"The Shadows Look Very Nice"
Medium: Video (Shot on iPhone)
Duration: 00:02:24
Informed by Rojin Shafiei's exploration of cultural messages through video, my own practice delves into personal messaging within this medium. Inspired by the complexities of individual and societal routines, I've chosen to utilize the video format as a means to engage in a dialogue with myself, akin to Shafiei's approach.
I chose to delve into exploring the video format as a way to convey my own messages to the viewer. The messaging in this video is not one of particular cultural value, but is rather a personal message to myself, a dialogue with Neshat. As a young adult navigating the complexities of identity, I've found myself grappling with the dissonance between various versions of myself and the desire for stability amidst constant change. This internal struggle forms the crux of my artistic exploration. Through careful observation, I've come to realize the profound impact of routine and slow living in fostering a sense of ease within my life.
I’ve grown very frustrated by the dissonance between the different versions of “me”, and by my many phases. Through some observation, I’ve learnt that my mind, body, and soul crave stability, routine, slow living to inject some sense of ease into my life. Many a times I have wished for the ability to carry this sense of ease with me in my back pocket throughout my days. But nevertheless, it’s proven to be a difficult task. I love stability, and I love living with human contradictions, because these contradictions are immensely familiar, and real to me.
In executing this piece, I've employed a combination of video editing techniques and visual storytelling to convey the complexity of internal conflict. Through experimentation with framing, pacing, and narrative structure, offer the viewers a glimpse into the intricacies of personal introspection.
The subject relishes herself in the slow morning thinking about a past-version of herself climbing, a sport that requires focus, discipline, and strength. Perhaps this is a quality she feels distant to, but was once very well acquainted with. “Regret and regress” she’s thinking outloud.
"Repercussion Unknown"
Medium: Live performance, Human Body, Charcoal, Paper
Duration: 00:03:30
Repercussions Unknown speaks to current contemporary society in the era of information and the impact of the individual on the world as a whole. We are currently living through a time where access to information is available at the palm of our hands, where we find out information in current time and information that in the past might have been kept from the public is being leaked and provided to the people. However we find our self navigating a time where we no longer know the repercussions of our actions, we are fully aware that every action causes a reaction elsewhere, but we simply do not know the magnitude of destruction we are creating.
In the performance, the innocent bystander is standing before the audience wearing dirty military insinuating attire wet and with residue from charcoal on the ground. The innocent bystander’s hands are tight behind his body, also wearing a prisoner hood. The innocent by stander is a personification of all the innocent people affected by decisions made in developed countries. Decisions that create an unstable political situations, genocide, dictatorships and sometimes warfare.
The ground where the bystander is standing is layered by charcoal powder and bits, Standing on charcoal signifying the destruction the developed world leaves behind. The wall is covered by sheets of papers that will serve as a canvas, The paper sheet canvas representing the imprint of the reaction. The Innocent Bystander is then pushed by the audience. The bystander takes the push smashing into the wall, sometimes intensifying the hit sometimes minimizing. The repercussion of the audience’s action is unknown and will become evident once the bystander reaches the wall canvas.
Repercussion Unknown does not attempt to provide a clear solution, it attempts to call the audiences attention to the matter. The only clear way to change is through awareness. Being aware that our actions create a ripple in the world might help the audience be more thoughtful in future decisions.
"Possibilities"
Medium: Paint, Yarn, Fabrics, Ropes, Strings, Chains, Faux Plants, MDF, Feathers, Markers
Duration: 00:06:03
Copy the link to search audio: https://drive.google.com/file/d/1XnA9RNMTPAuO0oykkYmkTLSNwwcs41Ar/view?usp=drive_link
I explored the transformative and fleeting nature of a live performance through this piece by giving the audience consent to treat my body as a blank canvas. Inspired by Yoko Ono’s contribution to the Flux movement through ‘Cut Piece’ in 1963, I chose to utilize tools, props, and costume to create a piece that actively solicits audience participation and mimics theatre.
My choice of objects can be seen in the above images, and my costume consisted of a blindfold, white top, shorts and socks. Additionally, I added background music through the use of a speaker. In order, the tracks I used are ‘Breathe’ by Pink Floyd, ‘Sleepwalk’ by Johnny & Santo, ‘Hotel California’ by the Eagles, ‘Still Got the Blues’ by Gary Moore, and ‘Master of Puppets’ by Metallica. The music increased in intensity in terms of mood and pacing throughout the performance and acted as a way to organize time and encourage emotional engagement. My still body language mimicked Ono’s original piece, and similarly the audience were given the same instructions to exercise their free will through the tools presented to them. Additionally, the blindfold and music served to soothe my senses so that I was able to stand still and remain passive despite my vulnerable state.
I wanted to engage with the idea of presenting domination and submission side by side as Ono did, I was completely at the mercy of others yet it was through my own free will and constrained by my own time limit. I hoped to recreate how the core meaning of the influential piece was in flux and dependent entirely on the audience. It is interesting to ponder on how my emotions, the actions carried out on me, and the final product would vary based on environment if I were to repeat this piece in a different setting with strangers. Within the space of a classroom, I found that there was a sense of trust, familiarity and constraint, and participants took a more creative rather than destructive approach.
My personal affinity to present the female body in ways that confront pristine curated imagery, and used this project as a fun challenge for the audience and myself.
"Cumulus"
Medium: Video, aerial hammock, Dance
Duration: 00:03:12
For this pieced I focused on creating a dance using an aerial hammock which is a circus apparatus made of nylon tricot. I also used a peacock costume and makeup to show my character. Using both what I learned in class from object and wearable art projects we’ve done I wanted to mix those new techniques I learned and use it towards one of my favourite types of performances, circus arts. Inspired by Nicole Malbeufs “A Hen Called Freedom”, I create an aerial circus dance about this bird just hatching from an egg. They are just seeing the world for the first time and wobble in fear at the new experiences. Suddenly they have to learn to fly and its tedious work and even end up longing for the days that they were in the egg.
For this performance I had rented the equipment and studio space from a circus studio called Artists Play downtown Toronto. Filmed on an R100 camera by cameraman Matthew Calder. The costume were my personal circus performance clothing, repurposed, along with the peacock eye shadow, glitter and jewels representing its own theatrical opulence. The aerial hammock act as a second limb conversing with my body and gestures that relays its own visual language through acrobatic tableau. My body encapsulated by the fabric relays acts of breaking out of its matter and form.
This concept challenged me to relate to a birdlike character while evoking feelings of momentary movements partially intuitive and tapping into what I was feeling in the moment of mindfulness choreography. The character of the bird is a metaphor through its own costume and dance, communicating a story of restless flight.
"Entangled Ambitions: A Red Tape Allegory"
Medium: Strings, Paper Red Packets
Duration: 00:03:31
This project uses red packets and red strings within confined spaces to explore themes of bribery, corruption, and greed. The choice of these objects is deliberate, as red packets symbolize luck and prosperity in Chinese culture, while also embodying the darker connotations of blood and bribery. The medium of red strings further emphasizes entrapment and manipulation. This work stems from my belief in addressing societal issues through visual metaphor and symbolism, reflecting my values of social consciousness and critical inquiry.
This work employs a combination of performance art and experimental video techniques. Manipulating the red packets and strings within the frame, gradually increasing their presence to visually represent the tightening grip of corruption. The interplay between the hands, packets, and strings pushes the boundaries of traditional mark-making, exploring new realms of symbolism and narrative. Through meticulous coordination and experimentation with camera angles and lighting, I craft a visually arresting piece that challenges conventional notions of art making and invites viewers to contemplate the complexities of power and greed.
The conceptual driving force of this work originates from a deep-seated curiosity about the intersection of cultural traditions and systemic corruption. I am fascinated by the dual meanings of red packets in Chinese culture and how they mirror the complexities of power dynamics in society. By excavating these issues through visual storytelling, I aim to confront viewers with the realities of corruption and provoke critical dialogue. This project serves as a response to my lived experiences and a critique of entrenched systems of privilege and exploitation.
"About"
Medium: 3D Animation/Projection, Ink Painting
Duration: 00:01:55
This project, uses ink, paper, and a projection of 3D animation. I sought a space where the projector could cast onto a flat surface, allowing for the placement of paper. These mediums symbolize my dual practices, artistic evolution and the struggle to define my identity.
This work consists of 3D animation, projection, performance, and painting; it embodies the mediums commonly used in my artistic practice. Coming from a traditional drawing and painting background, I developed a liking for animation, specifically 3D experimental animation. By utilizing projection and performance art, I aimed to merge the two to depict my identity as an artist because I don’t fit into a cookie-cutter title of a ‘painter’ or ‘animator’. This project navigates my struggles of not belonging to a specific category but also the concept of artistic practice as non-binary. I am seen painting under the projection of my animation, replicating the forms and movements. I aimed to achieve a sense of unity by blending the animation and painting in a performative way that doesn’t detract the viewer’s attention from my art. Therefore, I intentionally place myself not as the focus but rather my actions as the storytelling aspect of the overall performance.
My performance was a way to tell the story of my ongoing artistic journey, allowing me to connect with my art. In the last year or two, I have made peace with the fact that my art is constantly changing and outgrowing the medium I grew up knowing, which is drawing and painting. Hence, I find myself replicating the animation projection with the act of painting.
"Embrace in Bloom"
Medium: Hands, Wire, Faux Flowers
Duration: 00:01:36
Embrace in Bloom explores the interplay of symbolism and movement, a narrative that shows themes of closure, warmth, and transformation. Through a performance using unconventional materials to wear on our body, I invite viewers to explore the connections between body, emotion, and meaning.
The initial scene sets a gloomy tone, with a hand wrapped in barbed wire clenched fist, symbolizing closure and isolation. The cool blue hues of the background give a sense of coldness and detachment, reinforcing the theme of emotional barriers. As the narrative unfolds, a second hand emerges, open and outstretched, representing welcoming warmth and empathy. Through repeated gestures and movements, the two hands engage in a delicate dance of tension and release, mimicking the complexities of human relationships. The gradual transition of the background from blue to pink signals a shift towards emotional warmth and acceptance.
The focus of the performance is the transformation of the barbed wire into vibrant blossoms which is a powerful metaphor for growth, resilience, and the potential for renewal. This metamorphosis speaks to the transformative power of connection and empathy, transcending the constraints of isolation and embracing the beauty of vulnerability. I question the conventional notions of humor, mimicry, exaggeration, and failure, putting each element with deeper layers of meaning. Humor, in its darker manifestations, serves as a substance for reflection, while mimicry and exaggeration highlight the patterns of human behavior and emotion. Failure, illustrated as an opportunity for experimentation and growth, highlights the beauty of imperfection and the limitless possibilities it presents.
As a wearable act, I wanted to reflect and make connection to not only me but with everyone. We all have experiences of the bad or trauma in our life time; sometimes these things lead into a long lasting impact of scars that makes us have closures to new opportunities. It is a journey of self discovery, empathy, and transformation, which is inviting viewers to reflect on the complexities of human connection and the power of care.
"Duality of Perception"
Medium: Hands, Paint, Knife, Cellphone
Duration: 00:02:32
This video performance titled "Duality of Perception" explores the complexities of societal judgment and the struggle for acceptance in a world that often values conformity over individuality. This performance is my reflection and response to the miseducation embedded in today’s society on the social media platforms. Whenever someone is different or unique, we tend to see others judged, oppressed, and even violated when one cannot blend in with the society. This work was executed with my partner Kayla.
The piece centres on the expressions of hands, each serving as a symbolic representation of different aspects of human perception. In the centre of these hands, one stands out to be painted entirely monochromatic on the outside but happens to have a vibrant rainbow within its palm. This central hand represents uniqueness and diversity, contrasted against the uniformity of the surrounding monochromatic painted hands representing the “normative society”.
As the video continues, the hands direct various forms of oppression and judgment towards the rainbow hand. They point fingers, shows gestures of indecencies, and even threaten violence, reflecting society's tendency to show ignorance to those who deviate from the norm. This behaviour highlights the pervasive influence of misinformation, miseducation and social conditioning, which often lead people to fear and reject what they perceive as different or unfamiliar. However, when the rainbow hand turns inward, hiding its colourful interior, fitting in with the crowd of other hands, others stop their hostility and instead offer gestures of approval and acceptance. This transformation underscores the pressure individuals face to suppress their true selves in order to avoid scrutiny and prejudice.
Through "Duality of Perception," I aim to highlight reflection on the harmful consequences of conformity and the importance of embracing diversity. By depicting the cycle of judgment and acceptance within a simple graphic, with powerful visual narrative, I hope to inspire audiences to challenge societal norms and celebrate the diversity of human differences.
"Melting Ice"
Medium: Ice, Watercolour, Fabric, Personal Archive Digital Projection, Cellphone Camera.
Duration: 00:02:52
This digital installation, uses water from ice which them melt back to water again as a metaphor to my life for this performance work. I put crushed ice cubes on a white cloth. Then, I keep brushing watercolour on the ice cubes until they melted into liquid. My performance was completed within the duration of 86 minutes. By wearing white I also become part of the screen that projected a personal old archived image of my Mother and I as a child.
I was born in a most northern city in China, which shows a big difference within other cities in China because there are almost no traditional Chinese buildings in its area, and there are more documented activities of Tsarist Russian influences within its origin. Though I am Asian, speak Mandarin and learned Chinese history in the past, I still feel an unsettled sense of cultural identity that influenced my vision of architecture, visual Chinese culture, and knowledge growing up. Another name for my hometown is “the city of ice” because it is famous for the frozen winter (The coldest temperature reaches -40 degrees Celsius every year.) In my vision the "ice and snow" represents my "hometown" and everything that gave me a sense of comfort and home. As I grew older, the symbolism of "ice and snow" gradually overlapped with my "mother", and they represented the roots of my family tree.
"Break"
Medium: Beads, Stretchy String, Scissors
Duration: 00:01:36
This work combines gestures, beading, and space. By creating beaded pieces that are meant to be worn on the body and danced in, I create a conversation between my presence, the materials and space. The bead work piece was specifically flexible as a crown that was crafted from red beads and strings for easy movement. The ubiquitous atmosphere of the arbitrary location lends its own immediacy of the act itself. The colours evokes a sense of play and contrast to my chosen black and white wardrobe. The space called the LEGO room in my residence building where I reside, intertwining rooms that is usually passed by and dismissed. The act of beading was a way for me to insert my interest in crafts and choosing locations that has a sense of connection to my daily environments. This piece tackles ideas of letting go of my burdens symbolically, and reflecting on my daily routine at the school on an ending point.
The colours, medium and symbolism evokes my journey on religion and the mental and emotional strains. This performance speaks of me freeing myself of the doubts and the feelings that I experience in my current state, going through the months to truly process my emotions. The cutting of the string attached to me, the strain, the burden, combined with cuts of my clothes being flung across the room, convey a sense of myself no longer constrained anymore, or acts of defiance.
"Double Vision"
Medium: Archived Personal Photos, Home Space, Digital Collage, Drawings
Duration: 00:01:43
As an artist, my journey has been deeply intertwined with the craft of film making, serving as my primary avenue for creative expression. In my latest work, "Double Vision," I delve into the profound contemplation of the past, present, and future as embodied experiences. Through this film, I explore the essence of longing for comfort amidst the nebulousness of memory and uncertainty. "Double Vision" serves as a poignant inquiry into the enigmatic futures we grapple with daily as human beings. Employing a blend of animation and video effects, I endeavor to evoke the dualities of past and present, akin to gazing through a foggy window—visible yet elusive. It is a testament to the ethereal nature of our beliefs and perceptions, challenging viewers to ponder the intangible essence of lived experiences. Ultimately, "Double Vision" encapsulates my personal interpretation of media's role in bridging the chasm between understanding and memory.
"Excessive Consumption"
Medium: Luxury Goods
Duration: 00:01:44
Excessive Consumption is a performance work uses dark humor and satirizes the phenomenon brought about by modern consumerism (the financial ability is not enough to buy luxury goods). There are three different scenes in the video: corridor, living room and bedroom. This also hints at the direction of the video, from being glamorous outside to making money through crawling efforts to finally losing everything and lying on the bed. The scene of spraying perfume in the living room is also a way to display vanity, suffocation from the handbag and unconscious consumerism. The inspiration for my work comes from the fact that I once bought some luxury goods to satisfy my needs for happiness through vanity, but unfortunately failed to satisfy other complex needs for happiness. When I buy a bag, I need to buy another pair of shoes to go with it. After buying it, I may also need a coat. This overlaying excess reflects on my consumption accumulation, as my living standard drops rapidly. This short performance reveals a social phenomenon within the needs of objects and the symbolism the luxury brands represents. Some people will spend several months of their salary to buy luxury bags to make themselves perform ideologies of richness, wealth and status in the hope of gaining respect from others. But as a hilarious narratives of acts this performance video asks us, is the effort really worth it? Always keeping up appearances.
"Covered"
Medium: White Robe, Acrylic Paint, Head Piece (plastic bag), Table Saw, Wooden Plank
Duration: 00:02:57
In this performance, I delved into the depths of my own experiences with emotional turmoil and transformation. I dressed in a white bathrobe with a white plastic bag obscuring my face and attempted to visually portray themes of inner turmoil, self-expression, and catharsis through my performance. The initial scene saw me gazing up at circular lights, symbolic of the cyclical nature of emotional struggles, before turning my focus downward, reflecting introspectively on the turmoil within. As the performance continued, I poured acrylic paint onto my robe, with each drop representing a fragment of my emotional landscape. The colours turquoise, purple, and blue were chosen purposefully with each hue imbued with its own significance and evoking feelings of longing, and uncertainty. With arms outstretched in a gesture of vulnerability, I allowed the paint to envelop me and instead of seeking protection from it I choose to embrace the chaos of fluidity. The most important symbolism occurs near the end of the performance. Holding a bottle of vibrant red paint, I hesitated before pouring it over myself as I had done with the previous colours. Instead, I turned to face the viewer, using the red paint to mark a frowning face on the plastic bag covering my head and a smiling one on the back. This is supposed to express how we all wear masks to conceal our true emotions, and the facade of happiness that is often concealing a deeper truth. I drew inspiration from Francesca Fini's "The Paperwall" and sought to explore the transformative power of art in confronting and transcending personal struggles. The use of symbolism and ritualistic acts served to externalize and then confront my own inner demons. The act of sawing multiple wooden planks with an electric table saw further pushed forward themes of altering the materials through transformation and change which symbolize the process of breaking free from emotional barriers and reclaiming of the self.
This show is proudly brought to you by "Outside the Box Collective" founded by Julius Poncelet Manapul & Neda Omidvar in 2022.