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Critical Annotation

I initially didn't know where to start and didn't have a specific theme I wanted to pursue. My advisor Dr Chi suggested that I review my own work from the previous semester, which discussed the relationship between thought and death, and at the same time she gave me some artists she wanted me to learn about, in which I was greatly influenced by the work of Chiharu Shiota, whose large-scale installations convey strong emotions by displaying everyday objects that inspire memories and resonance in the viewer.

This prompted me to want to start by drawing scenes from my memories, and Vilhelm Hammershøi was a big influence on my drawing style, which became the three illustrations I showed in my first evaluation, and which actually led me to consider the connection between dreams and memories and death as I drew the illustrations. I drew a series of illustrations of scenes from memory, using cool tones.

At the same time I started experimenting with miniatures, I tried various materials, clay, wool felt, wood, etc., and eventually used wood for a lot of miniature furniture, such as tables, chairs, etc. Candida Höfer's photography gave me a better understanding of absence, and Cathy Wilkes made me consider moving from a single type of furniture to experimenting with different types of objects Jake Chapman's choice of size and presentation of miniature models also gave me good ideas about the scale of the work in relation to normal things.

Liz Larner's bacterial culture and Damien Hirst's presentation of living things in the work was very interesting and made the work dynamic and made me think about the relationship between the work and life. And the way Jim Hodges adds his own presence to the work is new to me.

I gained a lot from making miniature furniture models, a better understanding of the sense of absence, the combination of objects, etc. I made many models of chairs and tables, as well as experimenting with growing moss and cultivating mold, experimenting with wool felt and clay.

Sarah Sze and Tony Feher's inclusion of everyday objects and inexpensive raw products in the work made me think about the use of materials and the impact of the work's own qualities. My work is also largely based on everyday objects, which in themselves can bring the viewer more of an association with their own daily lives.

Interior With a Windsor Chair (1913, Ambassador John L Loeb Jr Danish Art Collection)

Ray of Sun in the Salon, III (1903)

Vilhelm Hammershøi's subjects are mostly portraits of family and close friends, alternate interiors and some landscapes. He avoids the loud themes and colors favored by his contemporaries and limits his palette to soft grays, blues, blacks, whites and ochres. I really like Vilhelm Hammershøi's use of color and brushwork, there is a very quiet atmosphere, and my illustrated series have a lot in common with his paintings, drawing furniture, cool tones, I use more monochromatic colors, I add a lot of line use to them, and I am thinking about this more subtle painting style of Vilhelm Hammershøi.

Forms Without Life Damien Hirst

The implied contradiction between the pursuit of knowledge and life is reflected in Damien Hirst's series, Forms Without Life, where the inevitable loss of life is strongly ironic when scientific research such as dissection of cadavers is conducted. Creatures are added to Damien Hirst's artworks to express their emotions with artworks, and this essay reverses this relationship by interpreting human emotions in light of artworks. The author of this essay discusses Damien Hirst's work, which is creative and explores the various ways in which emotions are expressed in artworks, such as DH's use of literal parody to express emotions, the use of verbal symbols, the use of real objects (flies and sugar), to stimulate a faster and more immediate emotional response from the viewer.

The article provides a precise description of the emotions discussed through a more theoretical and scientific approach, using theories about emotion - a specific individual's organized knowledge of what emotion is and how it works (Smith 1995) - and I began to think about the use of pictorial symbols in relatively objective language, subjective emotion. My art making is usually personal, and I should strive to understand what the work looks like in the viewer's mind, or whether the work resonates with the viewer. Although aesthetic experience is generally considered highly subjective, we can strive to understand the nature of aesthetic levels and judgments, just as literary critics do in order to judge works as objectively as possible. Of course, different people will behave differently when they are exposed to a work of art in different contexts. This work made me consider how best to convey my emotions. In many of Damien Hirst's works on death, the lifelike corpse becomes poetic with its title, and the viewer can pass through the middle, while death itself is a constant topic in philosophy and science. Death itself is an eternal topic in philosophy and science, which applies to everyone and causes everyone to think.

Disasters of War Jake Chapman, Dinos Chapman

The models are made of injection-molded plastic. As artist Jake Chapman explained in an interview, the artists transform the parts by cutting them with a hot knife and then gluing them together with strong adhesive or epoxy glue. Chapman's war disasters demonstrate the reduction and encapsulation of events with significant emotional impact. The tiny size of these figures transforms the horror of war into a representation of war between toys, a kind of recreation of a brutal cartoon image. I am also working on miniatures, and the variation in the size of objects and ordinary creatures creates a sense of strangeness and unease in the reader. The confusion of proportions not only creates absurdity in the visual effect, but also distorts the order that people take for granted.

Usually we create miniatures because we want to create a perfect world, a small space that can be manipulated by ourselves, but this work is full of disturbing elements that make me think about more possibilities in my own models, such as threshold space, and also injection molding is a hint that I am currently considering resin overmolding of already made models, using molds that allow for experimentation with more liquid materials.

Also, the huge white base provides a wide space between the figure and the viewer, and I like the use of plexiglass boxes in the work to isolate the figure from the viewer, all of which add to the reductive and distancing effect of the work. The hours of careful work required to cut and reconstruct the small figures to represent grotesque human behavior during a time when society was out of control, and the act of making the process turned into an interpretation of the work.

Stiftsbibliothek St. GallenI Candida Höfer

This photograph was taken from an elevated position, looking down a baroque hall with nine glass display cases on a patterned wooden floor. höfer's images are almost always devoid of human presence. Unusually, this photograph includes images of people, but Höfer needed a long exposure to take advantage of the available light in the hall, which makes the people blurred. The building and the books and artwork that fill it look much stronger and more durable than the people passing by.

I like the absence of the figure in the photographs, the absence of a clear figure presence, but the trace of someone and its disappearance creates a sense of absence. My work, whether installation or illustration, does not have a clear portrayal of the figure, in a way that would reflect the longevity of the objective versus the ephemeral nature of the figure. The human body itself is relatively ephemeral and can express life with the absence of life, and I will consider these traces of expressions.

The Acquired Inability to Escape Damien Hirst

Hirst's work deals with the dilemmas of human existence, including the fragility of life and society's reluctance to face death. A desk and chair are enclosed in a steel-framed glass case or cell. On the desk are a pack of cigarettes, a lighter and an ashtray. According to Hirst, the cigarettes are associated with the cyclical nature of life, with the cigarettes representing life and the ashtray representing death. The inevitability of death is also evoked by the trap suggested by the title and confirmed by the closed glass outer frame.

Much of my inspiration comes from Damien Hirst's interpretation of death and his allegory of the elements of the installation in his work, such as the glass that reminds him of claustrophobia and the cracks in it as an outlet for his thoughts. Hirst's glass window aesthetic references the sculptural forms of the American minimalists, and the simplicity and clarity of this exhibition-cabinet-like approach was very appealing to me, and I wanted to make complex works while having such a brief transparent cover on the outside, which would serve as a contrast.

Seamless 1999 Sarah Sze

The work includes functional, human objects, such as ladders and buckets. Other handmade elements, such as a small bridge made of matchsticks, used by Sarah Sze include inexpensive, everyday objects that connect the work to contemporary consumer culture. Its structure and shape relate to constructivist, abstract art that reflects the modern industrial world. Using proportions associated with fictional miniature worlds, the spiral structures also suggest the microscopic scale of molecular science. They resemble the double helix shape of DNA, the molecule that determines the growth and reproduction of all living things.

Sarah Sze uses almost worthless things - common, mass-produced, easily accessible, easily replaceable - and puts them in a position to make and juxtapose them in ways that they seem valuable, which gives them a strong translation.

What I also make in my own work is essentially creating everyday objects, such as tables and chairs, miniature models made using inexpensive wood panels, elements that have relevance to the everyday objects, miniature worlds, etc. in Sarah Sze's work. But my work is more realistic and I am trying to generalize them better and learn to use a more abstract approach.

Installation view of The Whale Died (detail), Hagia Sophia, 8th International Istanbul Biennial, Istanbul, Turkey, 2003, blue painter’s tape on glass windows.

(Crystalline), 2007, glass jars with metal screw lids, 32 1/4 x 6 inches diameter. Photo by Gordon Christmas.

The obscuring relationship between colored transparent tape, the interplay of light and color between marbles, and the way glass blocks the view by using the incoming light, he uses the qualities of the material itself to make the relationship that arises within the work and to respond to the sense of scale. For example, how a grain of sand defines an entire beach, he compares the tiny fragments to the top of a mountain, and although the specifications become smaller, the broken glass can express the top of the mountain, such as an avalanche, a natural phenomenon full of power. This is the difference between the symbolic, the imaginary and the real. Symbolic is when we start trying to explain things and give them meaning; imaginary is when we use a composite of things we have experienced to create things we have not; and real just happens. feher strips away the original identity of the material being used in the creative process and gives it a new interpretation. I earlier fretted about the interpretation of my own work, searching for a good, logical definition. Perhaps it is not necessary to justify the work, its very existence is its own justification, and then to explain it or define it.

Heather Dewey-Hagborg and Chelsea E. Manning, Probably Chelsea, 2017. Thirty possible Chelseas generated algorithmically from her DNA. 3D prints. Dimensions variable. MU artspace.

The faces tremble a bit as people move around the room, which gives the viewer an amazing sense of life, like walking through a crowd. And being able to see the inverted faces from behind makes them look like masks, emphasizing the idea of identity as performance.

The use of silk threads to connect the faces increases the interactivity with the viewer and adds a sense of vulnerability to the work. In many works, the threads become more visible as a form of expression, as a connection, whereas in this work the threads become more subtle, but work well.

Stag and Mister Komplex Cathy Wilkes

On the left side of the work is a folding card table and on the right is a ready-made store display cabinet. These two elements are shown together in the exhibition (albeit in different forms and configurations) and are named Stag (display case) and Mister Komplex (folding table) respectively.

The use of readymade objects, an aspect of Cathy Wilkes' construction process, has become central to her work. She has developed a sculptural vocabulary in which common objects and materials are combined into minimal but highly focused assemblages that often address issues of femininity and sexuality. While each element is chosen by her because it has subjective meaning, the work is characterized by its representation as a group of objects that manifest as fragments in a complex network of relationships. Wilkes' installations are difficult to read or break down into recognizable parts. Instead, they function as suggestive provocations of ideas in which personal experience is inextricably linked to the process of construction.

I have experimented with combining many single objects in my installations, but they are all of the same kind (chairs), so perhaps changing the variety is an option that adds interest, and more variety with its qualities also allows me to explore more.

Chiharu Shiota specializes in the use of large-scale installations and performance art. Her works explore and investigate the issues of life, death and human relationships. Through large linear installations, she explores human existence in different dimensions. These installations often begin with a large, visually striking image that captures the viewer's attention, a moving, poetic large-scale environment, followed by smaller elements within it that enable the viewer to engage in sustained reflection.

In Chiharu Shiota's work, there are often many everyday objects, such as suitcases and shoes, and then Chiharu Shiota uses thread as a link between the objects. Most of her work is autobiographical in nature, her work is an expression of her feelings and inner struggles, her work is a physical and emotional experience, and as she uses her work to bring out her emotions, she takes that memory and emotion and makes it both hers and the group's, Chiharu Shiota makes these works to connect with others. The use of everyday objects provides a lot of inspiration, and when we talk about memory, we associate something that has been in our memory for a long time, and this kind of thing with a sense of life is also a good choice to stimulate the viewer's emotions.

At the same time, based on her own experiences, she ponders the connection between her body and the universe and where her consciousness will go once her body disappears. She is exploring this relationship between life and death.

This is the same question I pondered in my work last semester. Our minds can still exist after death, our memories survive in other ways, and I was thinking about how to better preserve memory and make it better understood.

Orchid, Buttermild, Penny, 1987. From the Cultures series. Liz Larner

Liz Larner stains the agar red, yellow and blue. The bacteria would be introduced on the agar in a Petri dish, where it would ingest the nutrients suspended in the medium and grow or culture; the color this produced was called a flower. What he was after was the endless back and forth generation between these different kinds of cultures, of which death eventually becomes a part. Cultures have a lifespan, and then they become dead and begin to decompose. the first works Liz Larner made were more combinations in scientific containers, using "cultivation" as a performance. In the "culture", the bacteria feed on the same medium and have a certain poetry to them. Liz Larner decided to abandon the purposeful introduction of bacteria and move on to other parts. These are considered to be the uneasy friction of opposites, and he studies how they coexist and influence each other.

It is difficult for the same person to have two opposing views of something at the same time, and it is increasingly difficult to create a space where different kinds can coexist. This can be used to discuss many issues related to conflict, such as the conflict between memory and imagination that I was thinking about before, the conflict between the past and the future, and combining scientific means with the work, including medicine, which I want to try to include elements related to this in the work.

The bacterial culture reminds me of my attempt to grow moss in a closed container, and the right environment allowed white molds to grow inside, and they competed with the moss for territory, because it was an accident, and I did not color the medium beforehand as Liz Larne did, and these molds would change from white to black, and this color change over time is also interesting, as well as I think in Liz Larne's bacterial culture In addition to the different colors of bacteria competing with each other, the glassware and the mold are also a conflict. It may be my future work to explore the living and the non-living, the soft and the hard.

Untitled (One Day It All Comes True), 2013, by Jim Hodges

Made from familiar materials, Jim Hodges' work explores themes of vulnerability and temporality. hodges' work expresses a deeply felt emotion and encourages an internal, shared response. Whether using materials such as woven rayon flowers for curtains, metal chains, glass, or saliva to create ink transfer marks on paper, Hodges' work has a physical presence. In his choice of media, and articulated in text and image, is a narrative of human experience, a narrative of life and death, and the proximity of contingency that affects all people.

I see the addition of physical presence to the work as a way to integrate the creator with the work. I experimented with adding hair to the wool felt material work and fingerprinting the handmade chairs with paint. The viewer cannot see the process of making the work directly from the work, but as the creator is able to experience his or her connection to the work in this process of addition.

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