Beauty in the Unplanned

You know how in pictures people always pose and try to look glamorous, but trust me I do that too. But then again, I have to say I love the beauty of candidness in photography. I was scrolling through Vogue's albums on Facebook and they really have such selective taste in their albums. But anyway about the candidness it's why sometimes I really like all the backstage photos in magazines rather than the adverts or the glorious fashion spread featuring supermodels and stars in their idealised states of beauty. I guess I like seeing how the less glorious appeal in a way so fascinating, that such beauty can even exist in something previously unplanned. 

Taken from: Vogue's 2012 Couture Part One and 2012 Couture Part Two albums

Don't you see it? Just raw, unplanned beauty.

I think sometimes that's where the beauty of photography lies: capturing that one moment which is just there in its glory, unplanned and just precious.

Untitled for the Sake of having No Title

Sometimes I feel a little too conformed. After being in the same thing for so long, you just somehow become part of it. But no, I want to be different. 

I DARE YOU TO MOVE.

Random: Trust Me I'm a Designer II

Taken from: Trust Me I'm a Designer's Wall Photos Album

Balloon Tree, Installation, Myeongbeom Kim

Haha still scrolling through the photos from Trust Me I'm a Designer, and I'm quite inspired by the creativity of the artists! This is another work which made an impression on me. Despite being simple I find it an impactful piece, and I think it sort of encourages us to think bigger and more out of the box, exploring greater possibilities. It also reminded me a little of UP the movie:

Random: Trust Me, I'm a Designer

Taken from: Trust Me I'm a Designer's Wall Photos Album

The Sequence by Arnze Quinze

Brussels, Belgium

Came across this as one of the photos under the Trust Me I'm a Designer page on facebook! It looks pretty cool. I like the way the whole set up and installation is so vibrant and in a way it is playful, being reminiscent of the bald trees and their branches in the same street. It's almost as if there was a wave of creative energy suddenly bursting into the street and bringing it to life in a visual, artistic and expressive manner. 

Random: Dance as art.

I watched this video sometime back, and it made an impression on me being a dancer, and I thought their use of light while dancing was quite fascinating. Though not the most original idea, but like TED says it's an idea worth spreading. It has opened my eyes to the effect of light in video and etc. It is not merely for lighting up the stage: it can be part of the stage, creating visuals like never before.

Take a look!

Random: Tumblr Artist

Illustrations by Katie Faulkner on Tumblr

I came across these images while surfing on Tumblr, which really has many extraordinary artists, and I was taken in by the simplicity of the line art. Although I probably would not want to emulate it due to its tedious nature, I really like the graphic design the artist has used. As seen before in my previous blog post,

http://jubilartfolio.blogspot.sg/2012/01/random-stationery-doodle.html

it really appeals to me, and surprisingly I think my doodle was slightly reminiscent of the work. 

I also like the fact that the artist did not use lines to directly show the form of the animals, but rather the form is implied by the use of positive and negative space very smartly.

Writing 07: Les Valeurs Personelles (Personal Values)

Les Valeurs Personelles (Personal Values), Rene Magritte, 1952

In Personal Values, the objects are everyday objects from Magritte's own room and are actually very ordinary objects that we may observe to be in our own rooms as well, except the appearances of the objects may be different due to the development after time. On the left hand side there is a bed in the corner of the room while a giant comb stands upright on the bed while leaning against the wall. Adjacent to the bad is a matchstick laid on the carpet. The central focus almost seems to be on the glass cup which is in the middle of the room. On its right is a pink soap and behind the soap is an armoire with a mirror, which happens to reflect the insides of the room as well as a window which has not been depicted in the actual room, only in the reflection. On top of the armoire is a brush, seemingly for make-up.
Magritte has used the colors wisely. The cool colors are juxtaposed directly next to the warm colors, forming a greater contrast within the painting, as well as falsely creating an effect to make the colors in the painting brighter, also needed as it is hinted that there is an open window through it's reflection in the mirror. He has also used the juxtaposition of the curved edges of the objects against the rigid and angular. One prime example is the one between the curve of the back of the comb and the bed frame, as seen here:

Other examples would be the curvature of the cup against the edges and plank-like rigidity and stiffness of the armoire. These contrasts then bring a certain life into the painting and truly making it appeal more to the viewer.

Also, all the objects are blown up out of proportion and are larger than usual, and are placed alongside one another, but the composition has been planned such that they also do not overlap each other very much. This allows the objects to be seen as individual entities rather than being piled together to be seen only as a whole. This planning of position strategically allows them to carry separate deeper meanings to each object as compared to only one singular meaning from the big picture. It also induces the viewer to really look deeper into the painting as they have to analyze the objects one by one.

Now deconstructing the painting step by step, we will first look at the objects, individually, as possibly hoped for by Magritte. Starting with the armoire, it is somewhat a representation of personal grooming and presentation to the public world. This is highlighted through the use of a mirror on the armoire which is often and always used by people to check and evaluate their own appearances as "socially acceptable" before even appearing in public. The fact that an armoire is used to store clothes further highlights this personal check of outer appearance for public view, as the clothes and the dressing would be the very thing to speak volumes about them in public. This idea of public appearance is reiterated once again where the soap and the brush in front of and above the armoire respectively are concerned with public appearance. They are both items of personal grooming and beautification. The very clash of public versus private gives a slightly cornering feel to those who would view their bedroom as their personal space and almost a sense of intimate belonging, where one actually need not to glamorize themselves by grooming themselves with the objects in the room. It is in short, simply a representation of one's private (possibly even most private space) area in a bedroom or even a house. Then again, the grooming objects are so greatly blown up that they cannot be avoided despite being something that is supposed to be overlooked in a comfort zone and space where one need not be presenting themselves in a conformed way to the outside world.
The bed itself is another representation of one of our most intimate spaces where we are safe and sound, where we can rest. However this rest is disturbed by the idea of being constantly judged by the outside and thus the need for grooming again. This is shown through the use of the comb being placed uprightly on the bed as if exuding a seemingly uncomfortable feel in an uptight manner where even the comb blown up to human-sized proportions refuses to lay on the bed to truly rest.
Yet another interpretation of the bed and the comb's relationship would be in relation to the hair. The comb is used to groom specifically one's hair and yet the comb is being placed closely to where one would be resting their head on the bed, almost also indicating a slight mental/internal struggle (in relation to the head). This would be one of the more specific examples pertaining to the struggle between the private and public.

Other than the idea of struggle between the public and private space where in this case the public space is starting a silent invasion into the private quarters of a person's mind or literal private space, there are also some other seemingly random concepts.

For example, the matchstick on the floor is also has a hint of sexual connotation. The matchstick is presumably placed in close proximity to the bed, which is supposedly sending an intentional pun in the message of  'you turn me on'. There is yet another sexual connotation in regard to the wine glass placed centrally in the room. It is meant to be hinting at the sinuous and curvaceous shape of a woman very slightly. The fact that such a hint at the female figure is being placed in a bedroom setting makes the wine glass seem all the more with a sexual hint to it.

Also the sky itself is another smart juxtaposition which Magritte has incorporated into the painting. The sky is always something we see as a symbol of freedom, and always what we see outside of our rooms. However, in this case, the roles have been reversed where the sky is seemingly contained as a mere wallpaper in the room, only to be extended in space by the reflection in the mirror. It gives a sense of sudden constriction to what we usually see as endless and free. This is further explained below.

This depiction of the room can be seemingly harmless to anyone, but on re-contemplating its meaning, one can actually detect a certain insincerity to the painting's assumed innocence. It is actually a painting so subtly sinister and almost eerie. The room is filled with familiar objects,  but with their now dominating presence as large objects in human proportions, it confuses the viewer and gives a sense of ominous discomfort. It is as if the room turns cold being so overwhelmingly devoid of human presence and yet so strongly prevalent with the cold lifeless objects. Furthermore, with the way the objects are arranged, not overlapping (as mentioned before), it gives an almost confrontational feel as if issuing a direct challenge to the viewer and it seems almost threatening in a way. Even the very thing we seek comfort in, familiarity, is challenged. What is supposed to be within or outside of a room is also inverted; the wallpaper is one of a sky which is supposed to be the endless scene outside of the room, yet it is contained, and one is unable to determine what is outside of the window or room as it has not been painted into the artwork. It gives a sense of mystery, further disorientating the viewer. Normality is no longer able to even take a step into this painting at all. As quoted from a website,

"Magritte creates a paradoxical world that is, in his own words, "a defiance of common sense." "(SFMOMA, 2012)

This sums up the very essence of this painting. Obviously then, Magritte has been successful in putting across his message in the painting, doing it slyly and subtly yet so strongly.

Own Personal Values Room

Personal Space, 2012

Rather than naming the work personal values, I have chosen to call it personal space instead. It is meant as an intentional pun on the phrase 'personal space', i.e. like a space with my personal belongings as well as my mental personal space. This is because this work is really about what comes close to my heart, and in contrast with Magritte rather than using the objects to reflect some sort of social issues, my work is mainly albeit not wholly about myself, for a time of having my personal space. Also, I chosen to use the scale not to intimidate but in a way to emulate his work as well as use it to show the importance of the objects.

I will now explain the significance of the objects. Starting with the compass, it is actually a gift from my primary school teacher, and I remembered clearly how he told my class that it was a representation for us to find our way in times where we lose ourselves. As a primary school student, emotionally or mentally I actually did not have to deal with much, but recently I had just lost myself so badly that I had changed from who I was, my usual joy and happiness became tears and being self-absorbed etc. And trust me, it wasn't anything about puberty doing its work. However, when I dug it up again for this assignment, I really started to question myself as to who I really was and what I had changed into. I knew very well that I had changed and lost parts of me, but I didn't know in specifics what they were. For this reason, it is one of the objects that had been blown up in a relatively big scale, for it reminded of something that should have been more important in my life: keeping my self-identity.

The basketball in this picture is actually just a rather literal representation of my sudden interest in basketball. I picked it up more passionately than ever in the past few months (I had been trying out shooting some hoops in sec 3 for fun) but now I find myself wanting to play it a lot more and I'm willing to do it more seriously. I guess it's just like one of those random hobbies. However, it has been a hobby that I have dedicated myself to more strongly than others, also because I'm a very active person it serves as an outlet for my energy XD Then again, it became closely linked with someone special in my life and I guess that was one of the reasons why I pursued it more consistently than other passions.

Next to it is actually an orange bracelet. This bracelet actually symbolises for me the same special person as when I was talking about the basketball :) For some reason, it always reminded me of that person, which is why I decided to keep it close to me, as I didn't want to forget what precious memories there had been. In the time I made this artwork, I actually made it in a small scale as compared to everything else, was actually because it was depicting my inner struggle. I was trying my best to forget about that person having gotten somewhat hurt, yet I didn't exactly want to let go. As a show that I hoped to forget, in the artwork I actually downsized it, trying to almost disregard or sideline it in a way. However, the very irony here is that it has even been placed in the artwork, which would actually remind me of its importance. This irony is further shown through the fact that it has been placed centrally, almost leaving it as a subtle focus of the work.

Right behind is actually a card from my dance senior, but more importantly was the message on the photograph printed :) It says "NYMD: A family of dancers not made of their technique but their passion". NYMD actually stands for Nanyang Modern Dance, my CCA, which really had uncovered my passion for dance in the past four years of being in this CCA. Dance has been incorporated into almost every aspect of my life, be it just walking, talking or anything else I do HAHA XD NYMD itself has become a second family to me and I know how true that statement is. Every single word of it. This appealed even more to me being the the only dancer in my batch who entered my CCA with no dance background. This made me struggle a bit at the start and use to feel rather excluded as I would not be chosen for performances and such. However, that statement really showed me that hey, NYMD actually is really a very accepting CCA and family of dancers, because in the end, no one gave up on me and I myself had not given up on my passion for dance. It really is our mutual love for dance that pushes on to strive to be better dancers. The technique really had to come second to our love for dance. Looking back at the technicalities in the work, the card is also further highlighted in importance through the bright purple in comparison to the dull or earthly hues of the background, truly standing out in the midst of the other objects.

On the left hand side of the painting, are two objects I am associating with societal conformity, which is the liquid eyeliner pen leaning against the pin mold toy. The hand form being molded in the pin mold toy is almost in a way reaching out to the world in a seemingly desperate cry. Similarly, the liquid pen eyeliner is in a way showing conformity, by looking more socially acceptable through artificial means of make-up. I myself do not really like the idea of conformity, but sometimes I feel that I cannot fight very much against it, especially when you end up losing out if you choose not to conform. This is where my struggle as depicted by the outstretched fingers of the hands. This is in a way also in line with Magritte's using of objects to represent a certain struggle within the work, and they have got to do with society and self.

Lastly, I placed in the crystal ball (which is actually a soft gelatine like ball). It is in a way emulating Magritte's composition by placing a somewhat transparent object more centrally in the work, also with a curvaceous edge to it. This object actually represents my childhood memories, as we used have these crystal balls which would absorb water, turning from small seed like forms into these jelly like balls, no bigger than a 1 cent coin. Although they were actually for plants as a form of beautification in the vases, as illustrated below.

We dubbed them as water babies and used to play with them, storing them in used plastic water bottles and often pouring them out and seeing how much they could bounce before they would break. It was not as fragile as we thought. In a way this taught me a lesson, that no matter what, in facing difficulties, we should really just bounce back, otherwise, we would only crash and be smashed. 

In general the entire composition, like Magritte's, I made sure that there was as little blockage of each object's important elements, and despite the differing scales, every single object and it's significance is just as important as the other. Actually, as for the significance of the overall arrangement, there is not much distinctive meaning, but rather I have chosen to separate the most personal on the right end, and the objects pertaining to society and self on the left. I simply choose not to mix them as I prefer to keep the personal and public more separate, and I do not want to allow certain public/other's notions to be invading into my world again, and end up losing myself (thus the compass on the extreme right, representing the most intimate part of me, of soul-searching and self-discovery).

Also I chose to just use a simple cardboard box as background, as I really want to "keep things in perspective" (literally in some way). I did not want to distract the viewer by using other media such as mirror which would cause immense confusion and loss of focus due to the reflections. Since this piece of work is explaining something close to my heart, I also did not want to use anything fancy, not just to cut distraction, but also to be translating my message to the viewer in a more raw and real manner. It is a reminder that what I have been explaining through the symbolism in the objects are in fact from the very depths of my heart and are just simply real.

  

Writing 06: Piet Mondrian (The Journey from Reality to Abstraction)

Piet Mondrian developed his own unique painting style over the years, which is truly a journey from reality to abstraction. Let's take a look at a few of his paintings chronologically.

Avond (Evening): The Red Tree, 1908, Mondrian

This picture depicts a red tree against a predominantly light blue background. It mainly uses primary colours, which also offers a great contrast between the colours due to the polar differences in warmth of the colour. The tree is also painted in arbitrary colours, however, it is still distinguishable as a tree and it is still in some ways realistic. The brushwork is also rather obvious and appear almost like they were dotted on the canvas rather spontaneously. The lines created are then also affected by the syncopation of the brushwork; the lines are rather fuzzy and not clear cut. Some of the lines which are branches are more faded than the others, so as to create the effect of the branches being progressively further away from the viewer, implying a 3-dimensionality to the painting, rather than just a flat depiction of the tree as assumed from a glance of this work.

Grey Tree, 1911, Mondrian

In this picture, the tree is has been abstracted and simplified into curved lines. Rather than being a 100 percent realistic depiction of a tree, it is implied through the simple usage of lines, created by the overlapping and branching pattern. This painting is a very monochrome one and employs only different shades of grey, black and white. The brushstrokes are rather carelessly painted on, and it is apparent that in conjunction with the Cubist elements of this painting, Mondrian has also taken care to further this chase of Cubism in this painting by using a square flat-tip brush. Similar to Avond (Evening): The Red Tree, some of the lines are progressively faded to create a slight 3-dimensional effect, but for this painting, it is to a lesser extent. It is less obvious also due to the lower contrast between the tree as the main subject matter and its background. The subject matter has been flattened severely, almost as if to blend in with the background as one instead of a distinctive main subject matter as usual. 

Composition no. ii (Composition in Line and Colour), 1913, Mondrian

This artwork is predominantly done in pastel colours, but bold black lines are painted on clearly to create rectangular shapes, as well as some semicircles in the sea of rigid right angles. Similar to the previous two artworks there is a fade off effect, but this time round it lies not in tree branches but rather it is done as an edge blur in a vignette format. The lines eventually get weaker and lighter as they approach the ends of the canvas. There are visible patches of colour, indicating the slight carefree-ness of Mondrian despite the boundaries set through the boxes in the painting. 

Composition with Large Blue Plane , Red, Black, Yellow and Grey, 1921, Mondrian

 This painting consists and is formed by flat planes of colours encased and bounded by simple black lines which form boxes as they cross each other systematically. The colours used are also not very varied, but rather of simply primary colours, black and white, as well as a very faint grey. They are also placed in such a way that the bright colours are adjacent to the monochromatic hues of white, grey and black. 

One of the most obvious progressions would be that certainly, the subject matter of his paintings became increasingly abstract and simplified down to a more purely 2-dimensional state. Also, the variation of colour eventually became more limited, and he often re-used the same hues for different paintings. Another change would certainly be in the style he painted in. At the start in Avond (Evening): The Red Tree, it had inklings of being Post-Impressionist, taking after Van Gogh's style of using short brushstrokes, predominant in his works like Starry Night. However, in both Grey Tree and Composition no. ii (Composition in Line and Colour), they are most obviously following in the footsteps of Cubism, being flat and having colours of low contrast. 

The role of the colours in his paintings has also changed. Rather than just being accessories to the painting by bringing life into the otherwise dead and colourless compositions, or just constituting the painting, they seem to dominate the painting as individual entities. Gradually, the focus is changed from the subject matter as objects to having the colours themselves as the main point of the painting. The paintings can no longer possibly truly live without colour as they slowly grow more dependent on the hues to make the artwork the artwork. Certainly, the subject matter has changed.

Looking at the wider De Stijl movement e.g. Gerrit Rietveldt's chair...

I personally think that the De Stijl movement did have a certain lasting impact on the design and art. It has in some ways given rise to the popularity of minimalism. This is apparent through the simplicity translating from the De Stijl artists to the equally simple angular forms of minimalist architecture. 

Below are two examples of minimalist architecture:

As one can see, the forms are very straightforward - angular rectangles and geometric elements, devoid of decorative essence. There is little complication to the design.

Also looking at minimalist fashion, 

the designs do not incorporate printed pattern or add ons, but rather it leaves only what is essential and of worth to the design. It is also often single coloured, echoing the flat planes of colour Mondrian used instead of blending colours to form secondary ones. Detail is no longer the focus, but rather the big picture is highlighted.

Ending off with a quote...

"The emotion of beauty is always obscured by the appearance of the object. Therefore the object must be eliminated from the picture."   - Piet Mondrian

Certainly, this statement really sums up my newfound discovery of Mondrian, that the focus no longer lies on what we deem to usually be (an object, a living thing, a person etc.) but rather on what had been making up that subject matter - colours, lines, planes, everything but what had been given the spotlight for centuries.