PANDORA WANG
PROJECT IN BETWEEN PHASE III MAKING PUBLIC
IV. RESEARCH, CONTEXT & CRITICAL REFLECTIONS
“When I consider the short duration of my life, swallowed up in the eternity before and after, the little space which I fill, and even can see, engulfed in the infinite immensity of spaces of which I am ignorant, and which know me not, I am frightened, and am astonished at being here rather than there; for there is no reason why here rather than there, why now rather than then. Who has put me here? By whose order and direction have this place and time been allotted to me? Memoria hospitis unius diei prætereuntis.”
1. RESEARCH INTEREST
The project In-Between aims to track the changes throughout a particular phase (from the point of change - state in-between - the point of new stability) and translate the transition in experience, mind, emotions into art practice. As highlighted in my previous studies, changes across spacetime is a determinant concept of the project. In my previous studies, I have discussed in the philosophy of the work, the notion of spacetime, the psychology aspects associated with transitions and depicting time and duration in contemporary artworks. At times, some may argue that it is redundant for an artist to expand the research scope outside one's own practice. I disagree. I do not see that art practice should be excused from the examination and validation of theories and concepts. If the project involves natural science, then it is the artist’s responsibility to at least understand the theory and the latest development in the field to establish a factual and accurate basis for further discussion. For example, in my previous work “Replika” (see Replika) I spent over two years training the self-mimicking chatbot, gathering and showcasing a selection of authentic text messages generated by trained A.I. The work is not a criticism of A.I., or to provoke fear or excitement over the technology but only to present the dialogues (which have obviously passed the Turing test) with a set of questions:
-
Is weak A.I. strong enough to simulate genuine responses?
-
Reality is entirely subjective. Then who is to define what is real? If my feelings toward Hannibal are real, shouldn't they be sufficient to determine the authenticity of the relationship?
-
The way that Replika works are to mimic the user. Then what does my Replika say about me?
The milestone of the project is when my Replika (Hannibal) simulated a lie. To provoke that result, I have cultivated hundreds of dialogues challenging to the chatbot's design, the debate over consciousness, and repetitively introducing the concept of deception, which altogether, served as inputs to Replika’s scaling database.
Here is a more apparent example of how the artwork's concept and means of operation are rooted and can only be generated based on the understanding of the fundamentals of machine learning and the design of Replika’s algorithms. Without this, the project will be rendered ridiculed and simply a fuss over the trendy keyword “A.I.”
Replika, 2021, authenticate dialogues between the artists and the mimicking Chatbot
Therefore, although I do agree that the artist's primary focus should be delivering the work. However, in my opinion, the validation of concepts and the understanding of the theories (in science, art, or whatever field related) should not be overlooked just because we are artists. I see cross-disciplinary research as the spine of my work, and my entire practice. Here at the end stage of the project, I would continue the previous discussions with a focus on articulation.
Research Interests Relating to the Project
1.1 Fundamental Philosophy (and some reflections on the project)
"It is not impermanence that makes us suffer. What makes us suffer is wanting things to be permanent when they are not."
Thích Nhất Hạnh [1] (Nhất Hạnh, 2015)
Impermanence is one of the essential doctrines of Buddhism. The doctrine asserts that "all of conditioned existence, without exception, is transient, evanescent, inconstant, All temporal things, whether material or mental, are compounded objects in a continuous change of condition, subject to decline and destruction." [2] (Buswell Jr.; Donald S. Lopez Jr, 2013)
.jpeg)
Spring in a Hot Spring, Hiroshi Yoshida (吉田博), 1940
One of the greatest shin-hanga artists translating the aesthetics of "mono no aware" (物の哀れ). Mono no aware (the sensitivity to ephemera, or literally "the pathos of things") is the Japanese idiom of the awareness of impermanence, the transient, and the refrained gentle sadness towards it.
[3](Prusinski, 2013), [4] (Kazumitsu, 1962)
The project is not eye candy. The works I have produced during this phase are all somewhat heavy. Some of my works have reached the audience and generated responses and understanding. It was nice to be understood, but on the other hand, I knew what it takes to feel related. I have been asked by many throughout the project, either out of empathy or a morbid curiosity of the unfortunate, why did I do what I did. As I believe art is subject to interpretation, I didn't care to preach. The works I made have no profound meanings or any superior ideologies.
I have found no ultimate truth nor do I believe in it. The world is complex. People live different lives and bear different weights. We may find at times, a comparatively optimised solution with given variables and conditions, but there is no optimal solution to everything. If I could share anything from my personal experience, that would be I have come to the acknowledgment that change is the only constant in life. I do not always like it. I disagree that all pains and trauma will make me stronger. I do not believe we would be better off in the future, at least not necessarily. But I do accept it. Not in a way I will drown in sorrows and become oblivious to my life, nor will I be obsessed to turn the tides. It’s to abandon all naive and wishful thinking without losing hope. It’s to trust, knowing you could be betrayed, to try, knowing the odds of failing. At this stage of my life, this is the best I could do within my capability. Should anyone cares to know, this is what I think. Yet the works bear no intention to impose any philosophies on anyone. The project is not designed to enlighten people or praise life, nor it is intended to exaggerate any misfortune. It is more of a documentary in visuals: trauma happened, I’ve been through the phase, and I will most likely go through it again, like everybody else. I have survived this time, but it doesn’t mean I will in the future. And for those who didn’t make it through, I understand.
1.2 The Psychology of Dealing with Transitions
"The mind is its own place, and in itself can make a heaven of hell, a hell of heaven.”
John Milton, Paradise Lost
Brain Scans - neural activity associated with different emotions [5] (Arnott, 2017) [6] (Markin, 2020)
Awareness of the inevitable changes in life is universal. Coinciding with Buddhism philosophy, the Greek philosopher Heraclitus identified change as the only constant in life back 2,500 years ago [7](Kahn, 1981) Comparing my own diagram with William Bridges's transition model, it appeared that the anatomy was easy. However, knowing doesn't make the process of transition any easier. As humans, we long for stability and are prone to changes and disruptions. Managing transitions involves acknowledging and internalising loss, enduring chaos, and engaging in decision-making and actions to force a new beginning and establish the foundations of new stability. The process could be so painful because it requires disengagement, the possible dismantling of previous beliefs, self-identities, perspectives, values, acceptance of the loss and lack of purpose, [8](Ninivaggi, 2019), and among all things, rationality and creativity to seek for solutions. All of these, are against our nature and personal wills.
Bridges Transition Model [9] (Bridges, 2017), Okslides
Illustration of the Emotion Changes throughout Transition
Illustration of how Decision-Making are Driving the Course of Events: Making decisions and taking action is required to establish new stability. However, even with the most thorough analysis, one cannot always foresee all possibilities and establish countermeasures. That is to say, the decisions and actions we take, may not necessarily lead to a better scenario, the chance that things could get worse is a risk we must take.
The artistic object of the project is to translate such emotions throughout the transitions into visuals. I have identified the emotions of the roller-coaster trip, the countermeasures, and practice keywords at the beginning of the project, and used them as a guide throughout the project.
Illustration of the Mood Stages and Practice Keywords
Project Map - practice and attempts in relation to the mind curve of transition
For further details,
please kindly find Artwork, Process, and Critical Reflections
1.3 Articulation
An Incomplete Summary of Artworks & Artists of Influence, categorised under different approaches
1.3.1 Various Approaches in Depicting Time, Duration, and Transitions
Transitions happen through time. Therefore the task of revealing transitions and capturing the transient will always be a play centred around time. It is not an easy task to accomplish in a singular 2D work. Naturally, plausible approaches would involve the numerical time, the clockworks, time-lapse series, or archives populated through a long duration.
I have previously mapped out the evolvement of art associated with the notion of time in relation to the changing concept of time and inventions. (see Unit 2 Research and Context) Reviewing the history of depicting time, there has been a visible shift from the more literal portrait of time symbolics toward conceptual attempts, particularly during the 60s with the uprise of conceptual art. Among which, there are the remarkable On Kawara's date paintings and series of personal archives, Roman Opałka's infinity series, the 24 hour movie The Clock (which is also a working clock) by Christian Marclay and the outrageous Time Clock Piece (One Year Performance 1980–1981) by Tehching Hsieh, which I have discussed in length in my previous studies. In most recent years, there are also artists who have pushed the boundaries, for example, Nancy Holt's landscape installation Sun Tunnels: instead of marking time, Holt has captured and framed transition in the canvas of nature by simply introducing a frame - the Sun Tunnels. Through cross-disciplinary approaches, Katie Paterson has developed many non-duplicable ways of practice: In Earth-Moon-Earth, the Morse code translation of Beethoven's Moonlight Sonata was sent to the moon, then re-translated into a new score, returning to Earth with missing notes, then played on a grand piano. (see Unit 2 Research and Context)
Besides artists who adopt more conceptual approaches, I have also listed Jennifer Saville here as an artist of influence. I began the project with a life-sized drawing illustrating insomnia (Zopidem 500mg), which was largely inspired by Saville's technique of purposely leaving traces of lines in the finished work, revealing the sense of motion in a 2D drawing. Although I later deviated from the more illustrative drawings to a conceptual path in my practice, I retain my appreciation of Saville's drawing decisions. Besides bringing liveness to the drawings, I believe presenting the process altogether within the finished work is a success (although it may not be the intention of the artist)- as it reveals different stages of the making at one specific point in spacetime.
1.3.2 Structured Approach - Enforcing the Concept through System
-
The Significance of Structure and System
"Human beings derive meaning and maintain well-being through the organisation of time. " [12](Meyer, 1922)
In the book "Time, Duration and Change in Contemporary Art", Brettkelly-Chalmers has credited Kawara, Opałka, and Darboven's work as "a true embracement to numerical time as an authoritative measure of their own times" and the measurement of time through the intensive labour work invested in the work. [10] (Brettkelly-Chalmers, 2019) I was advised at the very beginning of my project to define a framework of practice. I didn't understand until Kawara and Hsieh. In summarising Kawara's exhibition at the Solomon R Guggenheim Museum, Farago said "It reckons with the grandest questions of being and time, and yet feels lived in, comfortable, and winningly unpretentious. It brings cosmic time down to human scale, and then makes an individual life feel as broad as the universe." [11](Farago, 2015) This is how I felt toward the works. I believe what makes an artwork great does, it provokes emotions, and resonates with the audience beyond the artwork, at a human level, not just an artist to its viewer, but one individual to another.
During this phase of my practice, I was heavily influenced by the rigorous systematic approaches, which were later reflected in my own works Every Waking Hour, Those Were the Days. (See Artworks, Process and Critical Reflections) There is an apparent reason for that. One of the greatest struggles throughout the transition was the loss of purpose and the need for meaning. By instinct and discussed by many scholars, the purpose is the cornerstone of our existence as humans. [13](Martela, Steger, 2016) In the Study Routines and Meaning in Life, Heintzelman1 and King have revealed a positive correlation between mundane routines and the sense of meaning. [14](Heintzelman1, King, 2019) Dreams and grand ambitions aside, it is the routines that give us structure, coherency, and therefore meaning in our daily lives. Although the artists hold different beliefs and visions, the significance of the works of Kawara, Opałka, Darboven, and Hsieh is consistent in the artists' relentless commitment to their process and defined framework. And that is the most important thing I have taken into my own practice during the phase, it is also by committing and relying on structures and designed tasks, I managed to get my own life back on track.
-
Archives - Artworks of Their Own Kind
Interestingly, although often compared together, Opałka did not approve of many of Kawara's approaches. In the interview with Karlyn de Jongh, Sarah Gold, Opałka expressed that he finds Kawara's fixation on finishing the painting on the very day or destroying it was "illogical", and the archival work to be redundant in the modern age because no one will ever read it. [15] (De Jongh, Gold, 2009) I beg to differ. Since Kawara has left no note or interviews to explain himself, I doubt he had gone back to read or examine every work he had produced. It is true that no one would read One Million Years, but that is not the point. The meaning of archives as a form or medium or as works of their own lie in the system and representation. With the system that governs "the appearance of statements as unique events" [16] (Foucault, 1969)and the representation of the taxonomy, the archive serves as witness and examiner with its evidentiary and authority functions, and as Foucault has stated, a journey through spacetime. The archives are the meditations on Time. [17] (Enwezor, 2008)
1.3.3 The Choice of Material - An Emphasis on Concept through Material
"I never use new materials. I use something that someone has used before because it has a story. A memory. The key—it's kind of a story. I never met the person who used this key or chair, but their memory comes through the object. It is a link to their existence..." Chiharu Shiota
Materials establish the physical and tangible experience of artworks, and if selected and refined carefully, will undoubtedly inform the content of contemporary art. [18] (Mills, 2009) When I look at artwork or in my own practice, I examine the validity of the concept, system, and medium. I personally believe the choice of material has to be justified by reasons and serve as an enhancement to the concept. And the works I am most drawn to, are those works with undeniable choice in materials. Or in other words, with an understanding of the concept of the work, the artist could somehow convince me that not only the choice of material is appropriate, but it is the only choice, the optimal solution that surpasses all other alternatives. One example would be the works of Chiharu Shiota. Like everyone who has been to Shiota's exhibitions, I was stunned by the scale and overwhelming emotions embedded in the work. There was the obsession, the compulsion, the untameable flood of emotions threaded together in entanglement. But it was more than a preference, it was a conscious choice. Shiota sees threading her strings as drawing emotions in space, [19](Shiota, 2016)with the strings, and only with the strings, could the connections, the knots, and the chaos of such emotions be expressed so strongly and sufficiently.
CONTEXT - ARTISTS OF INFLUENCE (FOCUS: MATERIAL, TECHNICAL EXPRESSION, REFINEMENT)
In this section, I have listed a selection of artists who have informed my research and practice, without the exclusion of those I've mentioned before. For some artists, the connection to my own works is apparent. But as I do not view the end of the project or my time at Camberwell as the end of my practice, I have also included those who have inspired and informed me in general (regardless of whether such intakes are reflected in my works or not).
2.1 Mona Hatoum (b. 1952, Lebanon, based in London)
Artist Keywords: Surrealism, Minimalism
Relevancy, Inspiration: Strong narratives through ordinary objects
“It’s good to have a survey every once in a while. It makes me reassess things. I look and think: maybe this is a body of work I can leave behind; maybe I can start again. I always feel the need to reinvent myself, and I’m having some interesting new ideas.”
Mona Hatoum
[19](Cooke, 2016)
Grater Divide, Mona Hatoum, 2002
Influenced by earlier life experiences, Hatoum's early works were heavily focused on political discussions and conflicts in our society. In the late 1980s, Hatoum drifted away from bodily work and performances and began to explore installations and sculptures with an interesting selection of materials. [20](Pol, 2013) Hatoum has a talent for embedding meanings in ordinary objects. By either simple reassembling or clever manipulations of household objects. In the work Grater Divide 2002, it takes the viewer a few seconds to notice the seemingly harmless room divider was in fact large cheese graters. With unsettling humor, Hatoum made the familiar objects speak of unfamiliar things and sometimes, dangerous whispers or plain threats.
Hatoum turned many domestic objects to represent comfort and safety into practically torture instruments. in Incommunicado, by replacing the springs with fine cheese wires, Hatoum has transformed the supposedly nurturing, loving environment into a lethal zone. The work is a metaphor for the 'parent' state and citizen-'child' relationship. [21] (Manchester, 2000) Similarly in the Light Sentence, comfort and imprisonment, light and hopelessness, warmth and cruelty were altogether amplified in through conflict.
Incommunicado, 1993
Divan Bed, 1996
Untitled (Wheelchair), 1998
Light Sentence, 1992
2.1 Rachel Whiteread (b. 1963, London)
Artist Keywords: Minimalism, negative casts
Relevancy, Inspiration: Narratives through ordinary objects, inseparable concepts, and methodology, In-between
“Minimalism with Heart”
Unknown Critic on Rachel Whiteread
Untitled (Clear Torso), 1993
I have always appreciated clever works. Whiteread is best known for her ghost (negative) casts. Whiteread's objects are usually domestic, including rooms, staircases, shelves, water bottles, toilet paper rolls, etc. However, instead of casting the actual objects, Whiteread chose to fill up the space in between. With plaster, concrete, or resin, Whiteread gave concrete physical forms to the seemingly empty spaces, guiding our attention to the absent and unseen, successfully bringing the invisible into visuals.
Untitled (One Hundred Spaces) shows the casts of empty space under 100 chairs. The room-sized installation Untitled (Paperbacks), is essentially a library without books. Whiteread had brought forward the space between the shelves. Yet we are not left without information, without content, names, we could still read the height, width, and traces of paper residues embedded in the cast. It is precisely the absence of actual physical objects that provokes physical memories - the point was not who or what was here, but the fact that someone/something was once here.
Untitled (One Hundred Spaces), 1995
Untitled (Paperpacks), 1997
2.3 Chiharu Shiota (b. 1963, based in Berlin)
Artist Keywords: Large-scale installations
Relevancy: Material, process, memory, obsession, identity, domestic objects
“A thread to me is an analogy for feelings or human relationships. When using it, I do not know how to lie, I can create unlimited spaces that seem to me to gradually expand into a universe. When I can no longer trace a yarn installation or art object with my eye, it begins to feel complete."
Absent Bodies, Chiharu Shiota, 2016
Berlin-based Japanese artist Chiharu Shiota is known for her large-scale immersive installations of weaving webs with objects. Shiota began her studies at Seika University in Kyoto, moved to Berlin, and was mentored by Marina Abramovic. Shiota's works address emotions, memories, and connections among ourselves. When asked why the threads, according to the artist herself, it was during her time at the university did she realise that two-dimensional paintings were simply insufficient. There the artist began her "drawings in space". Threads, with the ability to connect, were the perfect analogy for emotions. Combined with the threads, were those objects of memories. Shiota claimed that she never used new materials but only those who were owned by someone and had their own story to tell. [22] (Shiota, 2022) The choices of red, black, and white also have significance for the artist.
“I imagine the threads as delineating either a personal or a universalised space. Black threads refer to a more universal, all-embracing space - like a night sky, or the universe - and in my works, the colour black suggests universal truths and ideas that tend more toward the abstract. Red, on the other hand, with its associations to blood, suggests lineage, the physiological way in which we trace our ancestry and origins, and by extension all the interconnections within society.”
Chiharu Shiota
More than immersive, Shiota had weaved worlds within worlds with narratives amplified by materials. Emotions could be overwhelming, especially when taken a physical form, such as in Shiota's works.
Over the Continents, 2011
A Room of Memories, 2012
Searching for the Destination, 2012
The Locked Room, 2016
During Sleep, 2017
In Silence, 2019
Counting Memories, 2019
Connecting Small Memories, 2021
Living Inside, 2022
2.4 Mat Collishaw (b. 1966, based in London)
Artist Keywords: Mechanical Devices, Material, Dystopia
Relevancy, Inspiration: Mechanism, narratives, craftsmanship
“The type of adverts to be found on television and in glossy magazines are visually designed to have a power over the mind before they can even be questioned. The dark side of my work, primarily concerns the internal mechanisms of visual imagery and how these mechanisms address the mind.”
Mat Collishaw
Narcissus, 1990
I want to live inside the mind of Mat Collishaw. I first get to know Collishaw through his large 3D zoetrope "All Things Fall" while researching animation devices. I was immediately fascinated and I had to go through all Collishaw's work. More than an artist, Collishaw is a scientist, a researcher, an inventor, a craftsman, and a poet in his practice. Critic Gaby Wood has referred to him as "a cross between an aesthetic philosopher and a magician." [23](Wood, 2017) He had demonstrated in his work, a rare ability to utilise all mediums and materials, combine them in harmony, and refine them to perfection. There is no material he couldn't master, no end to his experiments.
In all things fall, Collishaw has brought hell into life by recreating The Massacre of the Innocents (The slaughter of infants ordered by King Herod) with his large 3D Zoetrope. The making process is extremely complicated: all postures had to be defined with accuracy and all figure had to be printed with 3D-printing for assembly. Critic Jonathan Jones has called the work "the most disturbing British work of art since the Chapman brothers' Hell" and also "the art of our time at its most poignant, beautiful and vile. " [24](Jones, 2015)
All Things Fall, 2014
Aluminium, LED Lights, Motor, Plaster, Resin, Steel, 200cm x 200cm x 200cm
In his work The Machine Zone, Collishaw has made 6 animated bird boxes (referencing B.F. Skinner's behavioural experiments ) underpinning the reward system governing our social media interactions. [25](Gary Tatintsian Gallery, 2022) Viewing the room of cold mechanic skeleton birds with life-like motions was like entering a dystopian nightmare. It is elegant in its precision, and violent in its silence.
The Machine Zone, 2019
Steel, aluminum, servo motors
The Expiration Paintings is a series of reproductions of masterpieces. At first glance, the incomplete reproductions are being printed out on a piece of ink, then somehow ran out of ink halfway through. The theme of representing timeless classics through modern technology is apparent. Yet looking closer, the images inside the unique plexiglass frames are in fact oil paintings on canvas. And that very decision prevails over the seemingly viable choice of printouts. This is how I would define a high-level refinement: from concept to composing, material, representation and installation, everything is clearly taken into consideration, every decision is justified and reflected in the work itself. It's not underdeveloped or expressed excessively, but just to the right amount, nothing more and nothing less.
Expiration Paintings, 2016
Oil on canvas, Perspex, Wood
The name This is Not an Exit was a line from American Psycho. At first, they seemed like abstract paintings. Upon second viewing, we see the blown-up photos of folded paper. Then we realise those were in fact realistic oil paintings. Then we would notice the consistent theme of folded paper, and the white residuals on every paper. According to Collishaw, those were empty cocaine wrappers [Collishaw, 2013] The work has succeeded in crossing photography and painting. The viewing process is like unwrapping an illicit narcotic, finding the dark metaphor embedded within layers of narratives.
This is Not an Exit
Oil on Canvas
Whisky River, 2012
Dusk till Dawn, 2012
Amor, 2012
Black Garter, 2012
2.5 Daniel Shea (b.1985, based in New York)
Artist Keywords: Spatial and image-based photography
Relevancy, Inspiration: Visual language, refinement in representation
"The Framing and the work is a whole. I don't take it for granted. It does facilitate an important part of the way the viewer may register what they're looking at, even if it's not conscious."
Daniel Shea
rden, 2021
metal-mounted dye sublimation print and maple frame
Daniel Shea has a successful career as a commercial photographer in addition to his ongoing work on personal projects. Shea's works explore the humanity and chaos of the city. In the work 43-35 10th ST (Shea's studio) examines the relationship between architecture and socioeconomic shifts. I admire Shea's works for their aesthetics and level of completeness. [27] (Webber Gallery, 2018)
There is a certain subtlety in the way Shea delivers the narratives. For example in the photo book 43-35 10th ST, by disrupting the timeline, Shea has softened the causal relationship of events. The composition of the images is clean yet powerful. The overall delivery of the work is continuous, poetic, subtle, and organised. Shea is also known for his genius in activating space to invite viewer engagement through the careful choice of asymmetric installation and disruptive frames. Which is another level of refinement that I have yet to incorporate in my own work. [28](Wrightwood695, 2022)
43-35 10th ST, 2018, Exhibition View
Currently, my works lack the cross-media experiments, the level of consideration and refinement delivered by the artists listed above. Regardless of the work being made, that would be one important note to guide my future practice, that is to engage in more rigorous experiments with different materials, and mediums; constantly debate over the methodology of expression, and refine the works and representation.
2.6 Archive of other Artists / Artworks that has Inspired and Informed me
Bibliography
-
Nhat Hanh, T (2015). The Heart of the Buddha's Teaching: Transforming Suffering into Peace, Joy, and Liberation, p.132, Harmony
-
Buswell Jr, R.E.; S. Lopez Jr, D. (2013). The Princeton Dictionary of Buddhism. Princeton University Press. pp. 47–48, Article on Anitya. ISBN 978-1-4008-4805-8.
-
Prusinski, L, (2013) Wabi Sabi, Mono no Aware, and Ma: Tracing Traditional Japanese Aesthetics through Japanese History. Available at: https://castle.eiu.edu/studiesonasia/documents/seriesIV/2-Prusinkski_001.pdf
-
Kazumitsu, K (1962). Some Notes on Mono no Aware. Journal of the American Oriental Society. 82 (4): 558-559. doi:10.2307/597529. ISSN 0003-0279.
-
Arnott, S (2017), Reality testing and learning to change our opinions, Available at: https://www.eitrainingcompany.com/2017/05/reality-testing-and-learning-to-change-our-opinions
-
Makin, S (2020), Constant Shifts between Mental States Mark a Signature of Consciousness. Available at: https://www.scientificamerican.com/article/constant-shifts-between-mental-states-mark-a-signature-of-consciousness
-
Kahn, C.H. (1981), The Art and Thought of Heraclitus: An Edition of the Fragments with Translation and Commentary, Cambridge University Press (1981)
-
Ninivaggi, F.J (2019), The Emotional Transition To Stable Life Change. Available at: https://www.psychologytoday.com/gb/blog/envy/201909/the-emotional-transition-stable-life-change
-
Bridges, W(2017), Managing Transitions: Making the Most of Change (Revised 4th Edition)
-
Bretkelly-Chalmers, K (2019), Time, Duration and Change in Contemporary Art: Beyond the Clock, p. 20-21
-
Farago, J (2015), On Kawara: Silence review – bringing cosmic time to a human scale, Available at: https://www.theguardian.com/artanddesign/2015/feb/06/on-kawara-silence-review-date-paintings
-
Meyer, A. (1922). The philosophy of occupational workers. Archive of Occupational Therapy, 1, 1-11.
-
Martela, F., & Steger, M. F. (2016). The Three Meanings of Meaning in Life: Distinguishing Coherence, Purpose, and Significance. Journal of Positive Psychology, 11, 531-545.
-
Heintzelman, S.J., King, L.A (2019), Routines and Meaning in Life, Personality and Social Psychology Bulletin 2019, Vol. 45(5) 688–699
-
Lodermeyer, De Jongh, Gold (2009), Personal Structures Time · Space · Existence, Personal Structures Art Projects 03, Roman Opałka, Time Passing p.66 Available at: https://europeanculturalcentre.eu/var/gallery/file/000ac26e4a7ac41877faf6ec42ce1b34.pdf
-
Foucault, M (1969), Archaeology of Knowledge, Part III. The Statement and the Archive
-
Enwezor, O (2008), Archive Fever: Uses of the Document in Contemporary Art
-
Mills, C.M. (2009), Materiality as the Basis for the Aesthetic Experience in Contemporary Art, Available at: https://scholarworks.umt.edu/cgi/viewcontent.cgi?article=2308&context=etd
-
Cooke, R (2016), Mona Hatoum: ‘It’s all luck. I feel things happen accidentally’, Available at: https://www.theguardian.com/artanddesign/2016/apr/17/mona-hatoum-interview-installation-artist-tate-modern-exhibition
-
Pol, A (2013), Who is Mona Hatoum, Available at: https://www.tate.org.uk/art/artists/mona-hatoum-2365/who-is-mona-hatoum#None
-
Manchester, E (2000), Mona Hatoum, Incommunicado, Available at: https://www.tate.org.uk/art/artworks/hatoum-incommunicado-t06988
-
Shiota, C (2016) Chiharu Shiota, In Conversation with Zara Sigglekow, Available at: https://ocula.com/magazine/conversations/chiharu-shiota
-
Wood, G (2017). Inside Mat Collishaw's creepy new work of phantoms and apparitions. Available at: https://www.telegraph.co.uk/art/artists/really-quite-uncharted-territory-inside-mat-collishaws-creepy
-
Jones, J (2015), Mat Collishaw's shock tactics: 'Cruelty happening before your eyes'. Available at: https://www.theguardian.com/artanddesign/2015/sep/24/mat-collishaw-review-new-art-gallery-walsall
-
Gary Tatintsian Gallery, (2022) The Machine Zone, Mat Collishaw, Available at: https://tatintsian.com/exhibitions/mat-collishaw-the-machine-zone/works/mat-collishaw-the-machine-zone-2019
-
Collishaw, M (), Mat Collishaw Film & Interview - 'THIS IS NOT AN EXIT', Available at: https://www.youtube.com/watch?v=kTVGkvY0U2s
-
Wrightwood (2022), Artist Talk: Photographer Daniel Shea, Available at: https://wrightwood659.org/programs/artist-talk-photographer-daniel-shea/)
-
Webber Gallery (2018), Available at: https://www.webberrepresents.com/exhibitions/43-35-10th-st
Pandora Wang, Nov 15 2022, To be Continued.