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I’ve been rethinking my direction lately. My previous research plan focused on themes of human behavior and social psychology—things like strategic interactions, playing chess, negotiation, and goal-driven communication. I originally wanted to use EEG to analyze brain activity and see if I could visualize it or even combine it with AI. But the more I looked into it, the more I realized that the project depends heavily on technology and equipment that I simply don’t have access to right now.

Because of this, and also because my own thoughts have shifted, I decided not to continue with that plan. I feel that the idea was interesting but a bit too conceptual and not practical enough. At this stage, I want to work on something more grounded and achievable.

I’m also aware that this means giving up part of my initial direction in product design, but I think it’s necessary. I want to expose myself to new fields and learn new things instead of sticking only to what I already know.

As for my current interests, I still care about social psychology, especially topics like gender dynamics and relationships. I hope I can explore these themes in a way that feels more realistic and doable.

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Reflection on the 100 Initial Project Ideas

For the 100 ideas, I mainly want to try out different materials and see what kinds of combinations I can make. I think this will help me build a base for future projects. Since I still haven’t decided on a clear direction yet, the process feels quite open. Fabric, silicone and paper art are all things I haven’t really worked with before, so I’m interested in exploring them and seeing what I can learn.

Thoughts After Seeing “More Than Human”

The exhibition gave me a lot of new inspiration, especially when it comes to materials. One work that really stayed with me was an installation made with seaweed skin and a kind of frame or structure. The colour looked like natural seaweed, a bit transparent and slightly cloudy. The whole piece felt very solid and grounded in a natural way.

I also noticed that many artists in the exhibition focused on the environment, nature and how these things relate to urban areas. Since the works came from different countries and regions, I could see how cultural habits and environmental concerns differ from place to place. There were even works that reminded me of the coastal areas in southern China, which felt quite familiar.

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Thoughts After the Tutorial

In the tutorial we talked about the direction and theme for my next project. At this point I don’t have anything very specific that I want to research. What I’m mainly interested in is exploring more materials. I mentioned a few possible directions, but they all felt too broad. My tutor gave me some references, including topics like feminism, so I think I still need some time to think things through.

Progress on the 100 Project Ideas

Right now I’m working with mesh fabric, metal, clay and different kinds of textiles. I’m mostly experimenting with shapes and seeing how these softer materials behave when combined with harder ones. I want to explore the contrast in textures and see what kinds of effects I can create.

As for difficulties, I think the biggest challenge is still figuring out what direction I want to move toward. I’m not sure yet if I should change my materials or keep going with what I have. For the next steps, I’ll keep experimenting with new combinations while also thinking about whether there’s a theme I want to stick with or develop further.

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Thoughts After the Tutorial

In the tutorial we talked about the direction and theme for my next project. At this point I don’t have anything very specific that I want to research. What I’m mainly interested in is exploring more materials. I mentioned a few possible directions, but they all felt too broad. My tutor gave me some references, including topics like feminism, so I think I still need some time to think things through.

Progress on the 100 Project Ideas

Right now I’m working with mesh fabric, metal, clay and different kinds of textiles. I’m mostly experimenting with shapes and seeing how these softer materials behave when combined with harder ones. I want to explore the contrast in textures and see what kinds of effects I can create.

As for difficulties, I think the biggest challenge is still figuring out what direction I want to move toward. I’m not sure yet if I should change my materials or keep going with what I have. For the next steps, I’ll keep experimenting with new combinations while also thinking about whether there’s a theme I want to stick with or develop further.

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There were so many artists and makers in the exhibition, and seeing all their work was really exciting. The show was divided into different sections, and many of the artists stood in front of their displays and talked about their work. Listening to their stories and experiences was very inspiring and I learned a lot from it.

One group of works that really caught my attention was a series made from woven metal. The pieces were incredibly delicate and beautiful. The metal strips, after being plated, created a kind of gradient when arranged together. The level of skill behind the work was amazing and honestly quite impressive.

But while looking at all these works, I also started to reflect on some issues. For example, some of the pieces by Chinese artists used elements that didn’t feel fully developed or taken to their full potential. Many relied on floral motifs to create small decorative objects, and although they were pretty, they didn’t stand out very much. It made me think more about how certain aspects of Chinese traditional culture are actually very unique and rich in meaning. But trying to make them more visible or blend them into contemporary trends is not easy. It is very easy to fall into a restrictive or repetitive approach.

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My progress this week was quite slow, and as a result I didn’t have many finished pieces to show during the tutorial. I think the main reason is that I still haven’t fully decided what I want to do, so I ended up getting stuck instead of moving forward. But I feel that I really need to change this. I should just start making things instead of overthinking everything. Once I begin doing, new ideas will naturally appear, and then I can follow those ideas and keep developing them.

Thoughts on the Theme and Its Connection to Wearable Pieces

Lately I’ve been thinking about focusing on the theme of belonging and alienation — how people experience both connection and distance when they enter an unfamiliar cultural space. There’s an almost invisible layer that separates people. Even when communication seems fine on the surface, that silent distance is still there. It’s not only about culture or language; it’s also emotional. It’s something you can feel but can’t easily cross.

This made me think about the idea of “liminality,” a state of being in-between. In this state, belonging and distance exist at the same time. People want connection, but there is always a slight gap that remains.

I still want to connect this idea to wearable forms, especially jewellery-like pieces. In terms of materials, I’ve been thinking about things like sheer fabric, frosted glass and other materials that carry a sense of softness, translucency or subtle separation.

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Reflection After Finishing the 100 Projects

After completing the 100 projects, I feel that my work was not systematic or focused enough. When I try to do too many things at once, I end up not going deep into any of them, and I don’t fully understand or explore the ideas behind them. I realised that while it’s good to generate many ideas, I also need to choose one structure or concept and explore it more vertically.

I also noticed that the quality of my work was not as refined as it could be. Some parts looked a bit rushed, like circles that weren’t really round or pieces that weren’t very neat.

Looking at other people’s work made me think even more about this. For example, Liu Han’s project explored scent in different ways. Whether she used traditional biological methods or combined fruit peels with jewellery, everything stayed within one clear area of investigation. I think this kind of focused exploration is something I should learn from.

Another example is Zhou Xiao’s work, where she made different “eggs” using various materials. It was also very vertical and consistent in theme. Seeing these examples made me realise how important it is to commit to one direction and really dig deep.

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One exhibition that really stayed with me at the V&A Museum was the work of Do Ho Suh. His way of exploring ideas about home, belonging and distance gave me a lot of new thoughts. Instead of presenting home as a fixed or heavy structure, he used very light materials to break down and rebuild the places he once lived in. The soft fabric, the mesh, the thin layers and the delicate stitching made the space feel familiar, yet also strangely distant. It reminded me that the meaning of home is not only physical. It is also emotional and cultural, and sometimes even fragile.

What impressed me most was the mixed feeling of reality and memory in his work. When you walk through his reconstructed rooms, you recognise door frames, switches and walls, but the weightless quality of the material makes everything feel like a memory that could fade at any moment. This made me think a lot about the idea of being in between. The feeling that you are part of a place but also not fully in it. The quiet distance that exists even when you think you are already connected.

Seeing his work also made me reflect on my own practice. It showed me that I do not need complicated materials or large structures to talk about deep subjects. Simple materials such as mesh, paper or thread can express a lot when they are used with clear intention. I also realised that I often rush through my making process. His careful attention to detail reminded me that I should slow down and be more precise. Every small decision matters, even the way a piece of fabric folds or the way a line of thread is placed.

His work also encouraged me to think about how these ideas could be expressed through wearable forms. The lightness and transparency he uses connect strongly with the themes I want to explore. It made me see new possibilities such as using thin mesh, translucent paper, layered textiles or soft structures that sit close to the body and create a subtle sense of separation. Materials themselves can express distance, closeness or the feeling of being in between.

Overall, the exhibition pushed me to reflect on my own direction. It reminded me that a strong project needs focus and patience. It also encouraged me to think more deeply about how I can explore home, identity and the experience of being in between in a clear and meaningful way.

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I interested in the way magnets attract and repel each other. It feels meaningful that one material can show two completely opposite states of distance. It can pull things together, but it can also push them apart. This idea of positive and negative distance, or closeness and rejection, made me want to explore it further.

Based on this thought, I made some sketches to see how I could use this idea in a piece. At the same time, I still want to bring fabric into the work. I think fabric can express the feeling of tension and pulling in a very direct way. The softness and movement of fabric might create a strong contrast with the firmness of magnets, which makes me curious about what kind of visual and emotional effect I can get from combining them.

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When a person or group breaks away from its original social status but has not yet integrated into a new role, it is in a state of "marginal" or "isolated". They seem weak in society because they have no clear identity and power, but at the same time they are believed to possess some special or divine power. The general public often fears and respects them: some people reject and punish them, while others worship and protect them. Religion or ritual often places or purifies them in specific ways, reincorporating this "force outside the order" into the social structure.

This porch is aimed at the architectural liminality, which is the process of transformation and transition from the noisy, secular environment outside to the sacred interior. It is a process of transformation and switching states, whether it is physical space or psychologically.

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After the presentation, I started to realise some gaps in my own research. Even though I mentioned the idea of liminality, I did not actually explain the theory or give any background. I used the term in a very general way, without showing where it comes from or how it has been discussed in different fields. This made my explanation feel quite weak.

I also noticed that I relied too much on my own thoughts and personal interpretations. I talked a lot about what I felt or understood, but I did not support those ideas with enough research. The cases I looked at were not analysed in depth, and I did not show a clear connection between the examples and the theme. I think this happened because I have not read enough theoretical texts or explored enough case studies, so my understanding is still on the surface.

Reflecting on this, I feel that I need to spend more time building a stronger research base. I need to read more, find more examples and really understand the theory before trying to develop my own ideas. If I can strengthen this foundation, then my explanations and discussions will naturally become clearer and more convincing.

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This salad basket uses an expandable folding structure. When it is fully stretched, it opens into a tall bucket shape. When it is compressed, it collapses into something that looks almost like a flying saucer. The key point of the structure is the connection between the two metal wires, which are held together by a single rubber ring.

The idea of folding and extending in this mechanism is something I think I can work with. There is a lot of potential in how the form changes and how the movement can be translated into new design ideas.

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After the tutorial with Simon, I realised that my current research is still very limited. I have not explored the theme, the materials or the techniques deeply enough, so my focus feels narrow and not very open. I also have made very few models, which makes it harder to communicate my ideas, and I think the tutor did not fully get what I was trying to do.

Looking at it from a longer-term perspective, I see that the work I am doing now is just one part of my research as a graduate student. I should try to think about how it connects more broadly rather than sticking too rigidly to one material or one way of presenting. It is more important to explore ideas and possibilities, and let the research develop over time.

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To toys, I realised that many of them can create very interesting effects and interactions using simple mechanical structures. One toy that really impressed me was the Screaming Drum.

At first, I imagined that there might be some hidden mechanism inside the drum, maybe like a kind of airbag that produces sound when it moves. But actually, the sound comes from the compression and friction between the materials as they move. I found that really fascinating. It is such a clever and light design, using materials and structure together in a simple way to create a more exciting effect.

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After the tutorial, I spent some time reflecting on my ideas. I have been thinking a lot about tensile structures and how they relate to connection and distance, tension and linking. I also thought about why I wanted to use tensile structures in the first place, and why I considered using magnets but then decided not to.

At the beginning, I tried to connect elements I already had in my project with ideas from other objects and works that inspired me. I started by making some models and experiments, and then I came to the idea of tensile structures. I realised that they are basically made up of structure and lines. Looking at the connection between tensile structures and the objects I was inspired by, I noticed that the central theme of liminality and folded structures in these objects kept coming up.

Right now I have many ideas, but I need to organise them clearly and choose one direction to explore more deeply. I should try as many experiments as possible instead of staying stuck. For example, I am thinking about accordion-like structures, paper folding, and other similar forms. I want to explore how these kinds of folding structures could connect with the theme of liminality. This means doing more research into origami art and more hands-on experiments.

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At the Oxford library, I looked at many old objects and how they worked using mechanical principles. Before they were gradually simplified, these objects still preserved the inventors’ most essential thinking about how things operate. I also saw items from all over the world, including natural science instruments, religious sculptures, masks, and weapons. It was interesting to see how different cultures approached function and design in their own ways.

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During the V&A visit, we focused on quick sketches and analyzing the exhibits. This experience gave me a very different feeling compared to how I usually look at exhibitions. In the past, I often used my phone to take photos, quickly leaving a trace without really thinking critically about the work. Doing that, I tended to miss small but clever details.

Sketching with a pen made me feel like my mind was moving along with the lines on the paper. I could really notice the clever ways things were connected, the patterns in the lines, and the emotions and energy the works conveyed. I found this method of recording very valuable because I could choose which parts of the work to focus on for myself. It allowed me to explore the exhibits from more perspectives and analyze them more deeply.

Most of the works I chose to sketch had qualities like connectivity, line, and the sense of distance or relation between people, which relates to my interest in the theme of liminality. However, I realised that I did not spend enough time reflecting on the exhibits or asking myself questions about them. I should try to think more about how to translate what I see into my own language and understanding.

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In our group session, we each introduced the progress of our projects, and everyone asked questions and discussed ideas. I think this was a really valuable format because it allows different perspectives and unique ideas to collide. The tutor acted more as a recorder and gave final summaries, but listening to other students’ projects also sparked a lot of thoughts and extensions for my own work.

For my project in particular, one question from Lucy stood out. She asked whether, when exploring liminality in human relationships, I want to focus on belonging or on separation. I realised that these could actually become two separate series of work. I also think I can continue to experiment using paper and other flexible materials to develop these ideas further.

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This week’s workshop was about making a wooden box. The main challenge was making sure the lid fit properly. I used a lot of machines for the first time, which made the process easier but also caused some size mistakes. Some cutters would take off a bit more material than I expected, mostly because I didn’t leave enough allowance for the blade thickness. So after cutting, I had to use the sanding machine to fix the size.

I also learned different ways to join wood, like nails, wooden dowels, glue and simple mortise-and-tenon joints. It was interesting to see how each method works for different needs. Overall, it was a good practice in being precise and getting used to handling tools.

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This week I looked at the elements of doors and mirrors for my project. A door represents transition and the space between inside and outside. I am especially interested in the half-open door, because it shows hesitation and temporary connection, which fits the idea of liminality. A mirror reflects the viewer but also creates separation, since we can see ourselves but cannot cross the surface. I think combining these two elements could express emotional distance in a simple way. I want to test foldable door shapes with reflective surfaces inside, to see how movement changes what we see and how close we feel to the object.

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When looking at the retractable tape measure in Collapsibles, I think it offers several useful ideas for my project on liminality, especially in terms of structure and movement. The main point is that the tape measure has an internal mechanism that controls extension and retraction. This makes the movement stable, predictable and easy to repeat, which is something my paper-based expandable structures cannot achieve at the moment.

The tape measure also becomes straight and tense when extended, especially the metal version. This is important because my paper blossom structures tend to bend or collapse due to their softness and lack of internal support. The tape measure shows a possible method for achieving a straight, supported extension without adding too much weight. It suggests a hybrid approach: combining a flexible unfolding structure with a controlled spine or tension element. This could help stabilise the form when expanded.

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This week I mainly went back and reviewed the work I have done so far. I started to organise my notes and projects and make proper edits, especially on my CRP, trying to make the structure and arguments clearer. At the same time, I continued with the practical side of the project. I tested different making methods, including ceramics, laser cutting and 3D printing, to see how the door frames and folding structures could become more finished pieces. Overall, it felt like a week of both cleaning up and upgrading my work.

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The piece I made last week was considered by my tutor to be below my usual standard. Reflecting on it, I think that’s fair. The craftsmanship was quite rough, and I don’t think I was fully careful or committed during the making process.

So now I plan to remake the piece with the same overall idea, but try to make it feel more like a resolved work, more refined and considered. I also think going back to paper as the main material might work better, as it can give a cleaner and more controlled result.

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I used ceramic to make the frame shapes and arranged them in an irregular way. For the “door” part, I used transparent acrylic to show the tension between something virtual and something physically present, especially in terms of texture and visual effect.

For the connecting part in the middle, I kept the idea of the paper honeycomb structure and its movement logic, but I changed the material. I used this kind of perforated mesh fabric and connected it using a sewing machine.

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Some references for artworks that use transparent materials

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This outcome was still not very successful, but I see it more as a process of gaining experience and learning some clear lessons.

First, I developed a new draft based on my tutor’s feedback and was ready to make it. However, because of my own carelessness, I didn’t use cork for the door frame as planned, and instead used plywood. This decision led to a less effective result. Also, during the painting stage, I wasn’t careful enough — the paint was applied too thickly and without enough control.

Through this process, I realised that material choice is not just a technical decision but directly affects the final expression. I also became more aware that a lack of attention in making can easily weaken the whole work. So this attempt helped me understand where my process failed, especially in terms of planning and execution.

Overall, even though the result is still quite limited, it pushed me to be more conscious of my decisions. For the next iteration, I want to be more precise and patient, and try to make a piece that feels more resolved and complete.

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I found this workshop really interesting, as it was my first time learning about the practical steps of exhibition installation. It made me realise that different types of work actually require different display methods, rather than using one standard way for everything.

What looks very simple and regular in galleries is actually quite carefully considered. For example, the spacing between artworks and the height at which they are hung are not random — they are calculated using certain guidelines or formulas, in order to create a more comfortable viewing experience. Even something like suspended display has its own logic.

This workshop helped me understand that exhibition design is not just a background decision, but an important part of how the work is experienced.

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Temperature tests for glass and ceramic materials.

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Temperature tests for glass and ceramic materials.

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In this new unit, I tested how glass behaves at different temperatures in order to combine it with ceramic.

From the results, 780°C is too low, as the glass cannot fuse with the ceramic. 820°C is still slightly too low, with only limited change. At 950°C, the glass fully melts and loses its original shape, spreading into a puddle-like form.

So for the next step, I plan to test a more controlled temperature range between 820°C and 950°C, to find a point where the glass can bond with the ceramic while still keeping some of its original form.

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Using line as an element to explore more expanded and outward experimental possibilities.

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I was thinking that line can be a strong way to express connection. It is flexible, and it can be shaped or woven, so I wanted to try using it to build some forms related to my concept and make the structure more interesting.

After testing it, I realised that this method is quite demanding for the ceramic process. If the slip is too thin, the piece easily cracks after firing, so the failure rate is quite high. Many of my attempts broke.

So for now, I will pause this direction. It was only a small experiment and the result was quite limited. If I add it into my overall concept, it might make the work feel too complicated and unfocused. I think it is better to continue focusing on glass.

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Building on the last test, this time I explored more temperature options, mostly staying above 800°C. The results were much better. At this range, the glass starts to melt, but it doesn’t fully turn into a liquid. It still keeps some of its original form, just becoming softer and more rounded.

At the same time, I also tested ceramic glaze under similar conditions to compare the two materials. After firing, the glaze melts as well, but it already has colour and is not transparent. Because of this, it can work more as a support or as small solid, raised details.

From this test, I think glaze is an interesting material, but it works very differently from glass. So in the next step, I will continue focusing on controlling the glass at this temperature range, and consider glaze more as a supporting element rather than the main material.

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Based on my tutor’s suggestion, I made a Möbius strip using clay, which is a mathematically “perfect” form.

I also tried the door shape that I have been thinking about for a while. The idea is to use these forms later for silicone or plaster moulds, and then attempt a proper glass casting process. So at this stage, I just made some quick and rough versions to get a basic feeling of the shapes and how they might work.

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Based on my tutor’s suggestion, I made a Möbius strip using clay, which is a mathematically “perfect” form.

I also tried the door shape that I have been thinking about for a while. The idea is to use these forms later for silicone or plaster moulds, and then attempt a proper glass casting process. So at this stage, I just made some quick and rough versions to get a basic feeling of the shapes and how they might work.

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This was a really strong exhibition. It showed a wide range of artists, with very different styles and types of work, from small jewellery pieces to larger furniture and installations. I think it was a valuable opportunity for both reference and exchange.

The work I was most interested in was the ceramic piece in the first image. It used a glaze that I have also experimented with before, but in a different way. I noticed that the artist used the glaze as a kind of support, forming unique and irregular structures. The piece was also displayed upside down, which gave it a slightly surreal and almost magical feeling. I really like this sense of randomness.

There were also many works involving glass, which were very helpful for my own project and gave me some new ideas.

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This week I continued working on silicone moulds, and I also reused a door frame from a previous project as part of the experiment. The wax model now only needs some refinement. Because wax is very fluid and solidifies quickly, the outer edges became a bit hard to control.

I also realised that wax casting has a very high level of accuracy, almost 100% in terms of surface reproduction. This made me reflect that if I think from the moulding process, my original model needs to be much smoother. For example, on this door frame, there are still some marks and uneven textures from how I made it before. Also, 3D printing naturally leaves visible surface lines, which I don’t want to keep.

So next time, before making the mould, I will be more strict in controlling and refining the surface quality of the original model.

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After the last test where I added more glass, I found that the amount was as expected, but the temperature was probably too low. The glass did not show a melting or flowing effect, and still looked quite solid, almost like stone.

So for this test, I decided to increase the temperature. I also added glaze onto a flat mould, to see what would happen when these two materials, both affected by heat, are fired together.

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This time I visited an exhibition by Chiharu Shiota, who is one of my favourite artists, and it was really overwhelming. The experience in real life was much stronger than seeing images online. She still uses thread as her main material to express thoughts, pain, emotional connections and memory. I feel that thread is a very powerful element — it creates a strong sense of connection and also invites interaction.

Most of her works are presented as installations, so the viewer can physically enter the space, which makes the experience more immersive. I also noticed the use of symbolic objects like doors and keys. These real elements, combined with abstract thread structures, gave me some direct inspiration for my own work.

Through this exhibition, I also learned about Yin Xiuzhen. Her work focuses on identity, belonging, and how personal experience changes across different cities. I found a connection here with an installation project I made during my undergraduate study, where I explored similar ideas. At that time, I also considered using luggage as an element, to represent personal experience, movement, and memory.

The idea of luggage suggests a state of being in between — not fully settled, always moving, and slightly uncertain. This links quite closely to my current theme. Her wider practice, especially her use of textiles, is also interesting. I found out that her mother worked in a textile factory in China, which influenced her material choices. This made me realise how personal background can shape artistic language in a direct way.

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This time I increased the temperature to 1380°C because I wanted to fire the glass together with the glaze. Unexpectedly, I found that at this higher temperature the glass became very clean and transparent, and blended naturally with other colours. However, due to the cooling process, cracks appeared in the glass. The glaze was successfully fired, but it sat on top of the glass. I think this happened because glass has a lower melting point, so it melted first, while the glaze melted later, creating this result.

Next, I will try more possibilities with this glaze to see whether it can show more fluidity at high temperature, like a dripping effect. As for the glass, I think this temperature is still too high, since it was only raised to match the glaze firing. If I fire the glass separately but still want this clean and transparent effect, I will continue testing to find the most suitable temperature.

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Testing the falling height of glaze. I set three different heights and fired them at 1380°C to see how the glaze changed shape at different distances.

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Increasing glass temperature and combining it with glaze experiments

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Increasing glass temperature and combining it with glaze experiments

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This time I increased the temperature to 1380°C because I wanted to fire the glass together with the glaze. Unexpectedly, I found that at this higher temperature the glass became very clean and transparent, and blended naturally with other colours. However, due to the cooling process, cracks appeared in the glass. The glaze was successfully fired, but it sat on top of the glass. I think this happened because glass has a lower melting point, so it melted first, while the glaze melted later, creating this result.

Next, I will try more possibilities with this glaze to see whether it can show more fluidity at high temperature, like a dripping effect. As for the glass, I think this temperature is still too high, since it was only raised to match the glaze firing. If I fire the glass separately but still want this clean and transparent effect, I will continue testing to find the most suitable temperature.

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During the holiday, I got some new inspiration from natural landscapes and began to rethink the form of my work. I have been thinking about how to abstract the door frame shape to better express my concept of liminality. I noticed that when raindrops fall onto the water surface, they create reflections, and these reflections are randomly disturbed by the movement of the water. I also observed that reflections on a lake change with light and weather, and sometimes disappear completely. I feel these natural effects are very close to my concept. They show a temporary and unstable visual state. For example, after the rain stops, the reflections in the water disappear, and lake reflections also change or fade depending on the environment.

Based on this idea, I would like to continue exploring and testing new forms inspired by these reflections. If the results work well, this direction may become an important guide for my final outcome.

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Before the holiday, I had a tutorial with Oscar. He suggested that I could use sugar instead of glass because they have similar material qualities. After melting, sugar can also become transparent and flexible. So I did a simple test at home using white sugar and poured it into a silicone mould I had made before.

In the final result, I found there was a hole in the middle of the piece. I think this may be because the gap in the centre of the silicone mould was too narrow, and the melted sugar was still quite thick, so it could not flow down properly. Also, the colour looked yellow, which is a common feature of white sugar. I am not satisfied with this colour, because I would like a cleaner and more transparent effect. So next I will try other types of sugar materials.

For this test, I used a temperature of 150°C and a ratio of sugar to water of 2:1. I also used a heat gun to do some further shaping after casting. I think this process was very interesting, but next I will change the material and continue with more experiments.

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The plaster mould I made earlier has now dried. Next, I used steam heating to melt the wax out and cleaned the mould to prepare for the following glass casting process. I also rounded the four corners of the plaster mould to keep the edges soft and reduce the risk of cracking during firing. The next step is to decide whether to use glass powder firing or a more standard glass casting process.

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I purchased a new sugar material, isomalt, which produces a clearer and more transparent result when heated compared to regular white sugar or brown sugar. This makes it more suitable for sculptural and artistic use.

After testing, the result matched expectations. The colour and texture became similar to glass, although there were some small air bubbles. This was likely caused by overheating during the cooking process, which made the sugar slightly boil even during pouring. To avoid this, the sugar should be heated slowly over low heat.

I first used my existing silicone moulds to create some basic doorframe forms. These are not intended as final outcomes, but rather quick form experiments to observe the material behaviour.

I then experimented with cake moulds available at home, testing whether the sugar could be heat-bent according to these shapes. The results were relatively successful and aligned with expectations.

I found that when using an oven to melt the sugar, the form itself cannot be precisely controlled. The only controllable variables are temperature and time. However, once the sugar reaches its melting point, it begins to soften and deform naturally, so excessive time or high temperature is unnecessary.

For isomalt, the melting point in the oven appears to be around 160°C, and it begins to show signs of melting after approximately three minutes.

Due to gravity, the material tends to spread and deform further during melting, creating more exaggerated and abstract visual effects.

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This model ultimately ended in failure. I used clay to create the form, which made the process time-consuming, and the final shape did not capture the fluid, ripple-like quality of a raindrop. I think at the beginning I did not yet have a deep enough understanding of either the material or the form itself, so the outcome appeared very rigid and static, almost resembling a football.

After making the mould, I realised that the result still did not resemble the intended raindrop form at all. For the next step, I may either explore 3D printing, or work with naturally flowing and meltable materials instead, such as wax, sugar, or even ice. These materials may produce a more realistic sense of movement, texture, and natural transformation.

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This workshop was very relaxed and enjoyable, although the techniques still require repeated practice in order to master them successfully. During the session, I learned three different crochet stitches and also listened to the tutor share some of their personal life experiences and artistic practice.

At the same time, the workshop gave me new inspiration for my groundwork tests. Crochet and weaving techniques can be used to create three-dimensional forms with varying densities, which could potentially be combined with physical objects. This creates a sense of enclosing and controlling space, while also conveying warmth and softness at the same time. Because of this, I am interested in applying these techniques within my own testing process to explore whether they can produce meaningful visual or spatial effects.

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I was very happy that Oscar opened the glass workshop course. In the first session, he showed us some glass works and teaching videos, and explained what we can do and what the limitations are. This fits very well with my current project. I also looked at some books about glass making, which gave me a lot of inspiration, as well as some physical glass works. I noticed one raindrop-shaped glass piece that is very similar to the concept and new ideas I have been thinking about. So in the next glass workshop sessions, my making may be related to developing this form, but I will also try some new shapes, such as forms inspired by reflections on a lake.

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Based on the previous test, I decided to use heated sugar to replicate the shapes of other objects through heat bending, in order to see whether the process could be successful. I first experimented with a cupcake mould, and the result appeared quite successful. This suggests that the same method could potentially be applied to reproducing other shaped forms, including some forms related to my project. It may also allow for secondary manipulation and reshaping after heating.

The second test explored deformation through suspended heating. Although the setup was relatively simple, both the theory and practical process proved workable. However, I noticed that heating reduced the remaining volume of the sugar, making the connection points quite fragile. Instead of creating the smooth and even dripping effect I had imagined, the material became weak in certain areas. This suggests that I may need to better control the overall temperature first, and then apply more localised heating in specific sections.

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During this tutorial, Oscar gave me a great deal of advice and guidance regarding the direction of the light work. At the same time, I realised that I need to broaden my perspective rather than limiting myself to repeatedly experimenting with ceramics, metal, and sugar within the same conceptual framework. It is also important to explore other materials and new effects.

From my understanding, the light work stage is about making bold attempts and challenging new possibilities, in order to build a foundation for the next unit. Because of this, I began considering a wider range of materials, such as plastic, mesh fabric, thread, and stitching techniques, to explore new visual and material possibilities within the project.

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This group show mainly presented the outcomes and experiments developed so far in the project. After listening to the tutors’ feedback and suggestions, I reflected on how I should continue developing the work moving forward.

At the moment, the overall approach and conceptual outcome seem too focused on explaining the idea itself to the audience, rather than bringing my own emotions and personal experiences into the work. I realised that I have been acting more as a narrator or translator of the concept, rather than expressing myself through it. Because of this, the work struggles to genuinely move people emotionally, as I have not fully placed myself within the project either.

The tutors also introduced several examples of strong artworks by other artists, which made me rethink my approach. Instead of trying to analyse and explain the feeling of the concept in a literal or overly direct way, it may be more important to tell my own story well. By doing this, I can create a stronger emotional connection and allow the audience to truly enter the atmosphere, emotions, and state conveyed through the work.

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This week I worked on sugar casting tests, focusing on the doorframe form and exploring how it can be pushed and distorted. Once the basic form was established, I started testing what happens when the sugar is allowed to behave more freely — melting, drooping, breaking, reforming. Each variation produced a slightly different quality. Some felt too controlled, others more interesting precisely because they had gone wrong. The material has a logic of its own, and I am learning to work with that rather than against it. The question now is which of these distorted forms feels closest to what I am trying to say.

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I started thinking about the Chinese bead curtain — the kind that hangs in a doorway and separates two spaces without fully closing them off. You can see through it, but not clearly. You can pass through it, but not without resistance. It creates a boundary that is always moving, never fixed.

This felt directly relevant to the project. The bead curtain is itself a liminal object. It marks a threshold without resolving it.

I began testing bead stringing as a making process. What interested me was how the pattern shifts depending on where you stand and how the light falls. The image the beads form is never stable — it changes as you move around it. This quality of instability, of a form that is present but not fixed, is close to what I have been trying to express through sugar and metal.

The combination of beads and sugar came from this. The beads sit at the centre, the sugar seals the edges. One material moves, one holds.