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From his works, it is not difficult to find that he likes to use some building materials to express his works, such as cement, steel bars and some wooden in nature. My first instinct was that he wanted to express some of his ideas about nature. His sculptures use more single of sculptures and place them in a larger space. At present, although I have a strong desire to do some large sculpture works, but no idea. The inspiration from Oscar Tauzon is that I can also start with some single simple geometry shape and then further expand my ideas.

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These simple geometry sketches are preliminary rough drafts.

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Research Essay : Hammer Project, Oscar Tauzon ,FEB 6- MAY15, 2016

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Research Essay : Hammer Project, Oscar Tauzon ,FEB 6- MAY15, 2016

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This essay is about Tuazon's 2016 Exhibition: Hammer project. The tension created by tuazon's combination of architecture and natural elements is not only an expression of art, but also a tangled relationship between citizens, industry and organic matter in his own city.

https://hammer.ucla.edu/exhibitions/2016/hammer-projects-oscar-tuazon

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This is a sketch in my mind after the research. A cube made of stout stumps and wire. In the middle of the cube there is a big trunk fixed by wire. This trunk seems to be protected very strong, but this protection is also a kind of restraint. It may want to get rid of it, it may have become numb to the status , or it has no idea of its current environment.

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The works of this project can be composed of many works in a series. It can be a number of different geometry, using different materials, different materials will produce different energy fields, and bring different feelings to the audience. They tell different stories. Their final exhibition can be arranged separately or assembled.

About this series of works, in my opinion, each of them is a different environment. People respond differently to different circumstances. These environments may not have such obvious boundaries, but people always encounter them. When people meet, how to face it? Maybe everyone's answer will be different.

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Gypsum has always been the material I want to use. The first thing I want to think about is to make a big cube out of gypsum and then destroy it. Put these broken pieces of gypsum together with some materials. The choice of materials is still being explored.

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This sketch starts with a small block, then sticks to another block, and so on. This drawing only shows one possibility of finished product. The final work should be different from the draft. I want to use lighter foam and newspaper. Newspapers are used to make collage on the surface of foam blocks.

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This sketch is a column of three simple pieces of wood stacked together. At the top of the column there will be a container filled with liquid, but the liquid in the container will flow out and flow naturally on the column.

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I suddenly thought of Anthony Gormley's exhibition last year. I think I like his use of space. How to arrange a space and how to use materials to help artists think for themselves? When I watch this exhibition, I will connect Gormley's works with myself. There is a strong contrast between the shape of the work and the negative shape in the exhibition hall and my body. I will feel that I am also a part of the works in the exhibition hall.

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His works make me feel that he is around the words "home" and "house". It is also easy for the viewer to interact with his works, so as to better understand his works.

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His works have a unique form of expression, not only focusing on the sculpture itself, but also connecting the sculpture itself with the surrounding space. Irregular shape and trivial colors, plus some colorful ribbons, will have a strong sense of bondage.

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Material: wood stick, aluminum wire
Size: 20 x 20 cm

There is difference between the sample and draft. I think the choice of materials is still very important. Because the aluminum wire is too soft, the structure shape of the final product is not strong enough. This directly led to the atmosphere of the sculpture did not achieve the effect of the draft.

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Cornelia Parker's works will be made up of many small pieces. These fragments will have different shapes, but they are arranged in an orderly way, with a strong sense of rhythm. Light is also used in some of her works. The whole work is like an energy field.

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An Exploded View consists of a garden shed and its various miscellaneous contents, which have been blown up by the army. The exploded shed is suspended from the ceiling of the gallery with a single light source at its centre. The various pieces of shed and contents are hung as if in mid-explosion in the shape of a cube (4m x 4m x 4m approx.) The central light source of the piece casts shadows of the miscellaneous fragments across the gallery walls, heightening the dramatic dynamic of the work.

What attracts me is not only the sculpture itself, but also the shadow on the wall. What I think of from the title is that even a cold exterior has a different interior. Some people say that this work is imitating the big bang. These explanations are all acceptable. What matters is how the author thinks when he creates it, and how the audience thinks today. In my opinion, it is not only an energy field, but also a time frame. If we analyze all these, maybe the work itself and life are like this.

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From his works, it is not difficult to find that Erwin Wurm's perspective and ideas of observing things are very unique. The vitality of the work has gone beyond the sculpture itself. Erwin Wurm has been exploring the possibilities of various expressions in sculpture, which he thinks is expressed in a variety of humorous ways. His works are closely related to nature and human body.

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Although the finished products of sculptures are independent, actually, they are connected. Every sculpture I create are different living environments. People always meet different situations and respond differently. And these sculptures record these different situations or environments. I use these sculptures as metaphors of the different situations people encounter in their lives.

Here is general theme of the project. I think compared with what I want to express, what the audiences sees seem to be more important.

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The wire in the draft one is wrapped around the thick tree trunk in the middle to protect it from falling down. But this kind of protection is also a kind of bondage. The trunk won’t hurt and lose its freedom. Maybe no one know what is thinks.

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Draft 2 it is a big broken gypsum supported by sticks. The broken places are sad places, but after being sad and falling, there will be hope to start again.

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Draft three is a large sculpture composed of several small piece. I use this sculpture metaphor daily life. Life will give me the same feeling. There are friends, family, colleague, even people you hate, and there are many countless things and the future, it’s all around you.

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What is special about the sculpture in Figure 4 is the liquid used, which may be some pigments or some alcohol. What this sculpture wants to express is very simple. People often celebrate with wine. Sometimes alcohol can help people escape from life.

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For this draft, there is a large blanket spread on several cabinets. The idea is very simple, that is, I feel very safe when I stand in the gap between the blanket and the cabinet.

This is also a installation that needs to be created on a large working space.

Many details of the installation have not yet been clarified. At present, it is just an idea. The material and style of the blanket, the cabinet supporting the blanket or other things need to be further studied.

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An irregular cube cut from a potato.

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These kinds of bottles are also the materials I can find. But how to use them has not been well thought out.

Maybe you can put a small light bulb in each bottle to make it shine. Use these to make a installation？

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The idea of this building model comes from the church outside the window. I don't think my building model has much to do with the church. But it's connected to this big stone

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‘...as it has everything to do with how our comprehensive of space, however confined or expansive, still affords an opportunity to encounter the boundaries of the self just as they are about to give away.’
( Mark Z.Danielewski, P8)

‘ The lock doesn’t exist that could resist absolute violence and all locks are an invitation to thieves. A lock is a psychological threshold.’
( Mark Z.Danielewski, P8)

My thoughts：
This passage directly makes me think about the relationship between the object itself and its boundary. The boundaries of all objects exist naturally, but is such existence necessarily true? The boundary undoubtedly gives us a kind of constraint, and also makes the object look recognizable. If the balance between the object and the boundary is broken, what will happen to the world? What are the new changes in the form and state that have existed for many years? Erwin Wurm's works undoubtedly express a good possibility.

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Find some natural gypsum stone by the sea.

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Find some natural gypsum stone by the sea.

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There are the gypsum stone I collected. I love the shape and texture of their surface, that are made of waves, wind and sun.

These stones are very good materials I've found at this stage, and I'm still thinking about how to use them.

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About the final exhibition plan of this project

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About the final exhibition plan of this project

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Although it may be a little early, I can start to think about it. For the most part, as I originally thought, this project is connected by several independent sculptures. The final product I'm thinking about now is to put it directly on the ground, so that people can observe it around the sculpture and walk between the sculptures.

I'm not sure how many sculptures there will be in the end. At present, I'm satisfied with four of drafts. I want to try to get more draft drawings and materials, because I think these draft drawings can around on the theme of the project, so the creation of draft drawings has reached a bottleneck, and I will continue to research.

Another important factor to think about is the specific size of the final product. It's about 1 cubic meter to 1.5 cubic meters. The more accurate size should wait until later. The exhibition hall is a very high place where all the sculptures can be put down. The sculpture will be laid out neatly.

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This practice is a collaboration with nature. I like the shape of these stones. The combination of stones of different sizes has different shapes. This practice is also a record of these stones.

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I tried to join some dolls. The doll was like living people, and they were exiled to a desert island. Some friends also said that the little pig had found a new home.

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When I first saw her works, I would think that Thea was expressing the relationship between line and space geometry. Or, abstract the image of life into geometry.

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Clare's sculptures undoubtedly use many different and common elements in life.

However, the presentation of these materials has formed a great contrast with daily life. They all show up in ways that are less common in life. This may be an exaggeration and breakthrough in concept. There is no fixed logic in any physical form.

‘Barclay's hybrid sculptures are centred on the physical and the psychological tensions that exist between contrasting materials. They are at once recognisable and foreign, acting as a surreal reflection of the world around us by toying with formal associations. One of the key influences in her working practice is an ongoing fascination with historical and anthropological artefacts. ’
https://www.stephenfriedman.com/artists/30-claire-barclay/biography/

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The color of Vincent's sculpture doesn't change much. It looks like a rolled up paper ball, and its texture and structure are stronger than the paper ball. This is my personal understanding, the author points out in this series of works. The emergence of these works may begin with a state of unconsciousness, a pure abstract way, without the existence of any way of understanding.

Unconscious works are undoubtedly a challenge to traditional ideas. What seems to have made people feel that they are conformist, such as the existence of external and internal opposition, but Vincent's sculpture ignores these.

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‘Untitled 2019 is typical of Fecteau’s work in creating a tension between pure abstraction and evocation or reference. Fecteau has commented on this in a compelling way: ‘I long for the form that exists free of so-called understanding and that operates in a purely abstract, maybe unconscious way. Yet this utopian desire hinges on an idea of abstraction that not only might be impossible, but in the end, might even be undesirable. Pushed to its logical conclusion, such form might end up like a kind of binary code stripped of any humanity.’ (In Barlow and Fecteau 2014, accessed 29 March 2019.)

https://www.tate.org.uk/art/artworks/fecteau-untitled-t15342

My thought:
I always like that freedom is everywhere,no matter what kind of idea, concept or something else, just forget the stereotype.

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My reaction is that she creates a lot of path ways that don't know where to go when I first saw her work. This strong feeling can make me directly ignore the expression form of the author's sculpture and the use of materials. Her sculptures form and atmosphere is no longer a single large space, but a long strip or irregular link of multiple spaces.

Charlotte's works have expanded my thinking and understanding of sculpture, not just as a sculpture form of expression. Many works of art can break through the shackles of their own forms. As I said before, forget all stereotypes.

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Research Text：Chatlotte Posenenske ：work in progress

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Research Text：Chatlotte Posenenske ：work in progress

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‘Using construction materials, serial repetition and industrial manufacturing, Posenenske developed a form of mass-produced Minimalism that addressed the social and economic concerns of her time, circumventing the art market and rejecting established formal and cultural hierarchies. Her modular sculptures enabled the ‘consumer’ – the curator, viewer or owner – to decide and change the configuration of the installation according to their preference, thus surrendering some of the artist’s authorship and opening up the work to others. In a statement published in Art International in 1968, Posenenske asserts: ‘The things I make are variable, as simple as possible, reproducible. They are components of a space, since they are like building elements, they can always be rearranged into new combinations or positions, thus they alter the space. I leave this alteration to the consumer who thereby again and anew participates in the creation.’

https://www.macba.cat/en/exhibitions-activities/exhibitions/charlotte-posenenske-work-progress

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Charlotte posenenske had a place in the early minimalism and influenced the later development. Her works are really simple. There is no complex structure, just some simple blocks. These blocks are also placed freely, which makes it easier to interact with the audience. She also said, "I leave these blocks as gifts for the audience to rearrange them according to their own ideas and create new things.".

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The first thing that attracts me about Karla's works is its color, and the second is its material. Its color is very soft, not too much publicity, plus materials give people a soft and light feeling. It makes the work powerful and peaceful. The atmosphere of her sculpture is quiet.

And the color of Karla's works can directly bring me emotional fluctuations. I don't know why, but I will be happy to see it!

Karla's works also provide me with a new perspective to think about works. I can think about material selection from the weight of works. Different materials will directly affect the feeling of works

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Research Text：Black in Practically in Shadow

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Research Text：Black in Practically in Shadow

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She is interested in ideas of play and early childhood learning as well as the primitive, creative moment when art comes into being and draws on a range of artistic traditions from expressionist painting to land art, performance and formalism. Everyday matter such as soap, cotton wool and toothpaste are explored alongside traditional art materials including plaster, pigment and paint, expanding the limits of what sculpture can be. Her work operates in an area of uncertainty, existing in a place she refers to as, ‘almost painting, almost installation, almost performance art.’ (quoted in Kraczon, p.12).

Usually made in response to the space where they will be shown, her works have ranged from delicate cellophane, paper and polythene hanging pieces suspended with ribbon or tape to large-scale floor-based environments made from plaster, chalk powder and soil. Her sculptures are often full of contradictions; they command an entire gallery space yet hover on the brink of collapse, and combine a fascination in raw, physical materials with an interest in psychoanalysis and language.

https://www.nationalgalleries.org/art-and-artists/features/karla-black

⬇️Karla Black Story Of A Sensible Length 2014, Polythene, plaster powder, powder paint, thread, 300 x 300 x 300 cm, Installation view, GENERATION: 25 Years of Contemporary Art in Scotland, Scottish National Gallery, Photo: John McKenzie, Courtesy National Galleries of Scotland, Edinburgh and Galerie Gisela Capitain, Cologne

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Research Text: Black in Practically in Shadow

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Research Text: Black in Practically in Shadow

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Her relationship with materials is intuitive and she often explores their less conventional properties in experimental ways, inviting us to understand them in a new way. Conflicting surfaces from matt, shiny, wet and dry come together in a range of formed and formless shapes. She has said, ‘I want the work to be attractive, but also for the materials to remain as raw and unformed as possible.’ (quoted in Black, p.176). Plaster is left as a fine powder spread across the floor, chalk crushed into a pigment and smeared across surfaces and paint mixed with petroleum jelly or body lotion to stop it drying out.

https://www.nationalgalleries.org/art-and-artists/features/karla-black

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I think it's a very risky and fascinating thing to explore the properties of an object other than its own properties and discover different normality. In such a process and ending, there will always be unexpected things, artists will add some different elements, such as the spiritual field, self-awareness and so on. Such a move will enrich these.

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I think the materials and elements used in Gabriel's works are very simple, which are almost forgotten or even abandoned by people in life. These insignificant roles are almost invisible, but they are a kind of witness of people's life.

It's easy for me to reflect and think about other things that are actually very important in life, but are ignored by people.

The form of his sculpture is also very interesting, magnifying some small things. We can get more information in the enlarged works. It's a strong emotional and formal impact.

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‘Focusing on the objects and space that mediate human relationships, Gabriel Kuri explores the potential for transformation latent in familiar situations when observed from an unconventional angle. Playing with the principles of minimalism and the history of consumption,’

https://www.kurimanzutto.com/artists/gabriel-kuri#tab:slideshow

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About the final exhibition plan of this project update

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About the final exhibition plan of this project update

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After these artists' research, I have some new ideas about sculpture. Sculpture forms and materials, and how to use materials to express some ideas and significance.

If I could have a large exhibition hall, I would place the sculptures more freely and not neatly. It can be arranged according to the time line of the sculpture draft.

What I thought before was that my sculptures should look like a cube as much as possible, but now this idea has been broken. The appearance of my sculptures or devices should be combined with the properties of the materials, instead of limiting the idea to a cube.

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I found this picture on Ig. I like this apple very much, although I don't know which artist created it.

This fruit sculpture simply uses an apple and a fruit knife, but it is a good interpretation of the relationship between the object and its own boundary and volume. This is a challenge to the existence of boundary. Once an object loses its boundary, it will produce more interesting things.

‘ The lock doesn’t exist that could resist absolute violence and all locks are an invitation to thieves. A lock is a psychological threshold.’
( Mark Z.Danielewski, P8)

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This practice is a process in which gypsum stones are destroyed and self boundaries are broken.

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The plaster powder here is pushed away by fingers.
If use the wind to blow, let the gypsum powder spread with the natural point, the effect may be better.

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The beginning of this idea is a paper ball. Paper has been everywhere in people's lives, and it is also a very important daily necessities. At the same time, it is also an existence that we can easily ignore.

This draft is a stack of crumpled papers.

The final product, I want to use pulp to make, or other. The selection of materials needs further researched.

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There are some different papers I  funded  in my  home .

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If I think in front of a piece of white paper, I have some fear. I'll associate white paper with exam papers, and I'll think of some paperwork.

I think what everyone sees and thinks may be different.