The show at Ota Fine Arts is all set up, with many thanks to Jodi for inviting me to show the work. I’ve shown this work two times but this is the first time I had the option of REAL PLINTHS. I previously used all acrylic casings as plinths. At the time it was a practical decision as I was using whatever unwanted ‘plinth’-like items I could find and The Substation was getting rid of these old casings – but also it was a consistent material to the rest of the work. Plastic upon more plastic!
[PS you can read more of my writing about the work here as well:]
Space Geodes: On the 3D Printed prototype as Digital Fossil
Space Geodes at Singaplural 2016
Public Service Notice about Geodes
Left: Space Geodes at Singaplural 2016. Right: Space Geodes at Objectifs in 2017.
Space Geodes at Ota Fine Arts in 2018
Given free choice over the colour that I would want the plinth to be, I’d always choose Grey as a neutral base over White or Black. We chuckled over the names given to the colours and I have to admit I was almost tempted to choose a colour simply because it was named “GRANITE ROCK” or “SLATE GRAY”. (Ultimately if the names given to the colours by savvy paint companies were totally ignored, the choice would have been very clear to me anyway; it was always going to be a specific warm mid-range sort of grey for which I don’t have a name but can always pick out of a lineup)
I did give the arrangement more thought this time around. Recently I’ve been enjoying laser cutting a lot because I now have access to a lasercutter in the NYP Makerspace which is literally a 5 minute walk from where I am staying at the moment (and its under-utilised!) so as a simple experiment I tried to make an acrylic base/riser which would also light the work from beneath.
The only reason I haven’t gone with this lighting option is the fact that there is a little colour discrepancy in the “white” when it is lit. My lights and acrylics are too “laser white”, whereas the work glows with a warm white. Weirdly enough, some of the works looked more yellow when lit, as if they differed in thickness, which I couldn’t understand to be the case since they were designed as hollow shells of the same thickness for the SLS process (to save on material cost)
The answer as to why there was a discrepancy in thickness and lighting became clearer later. As I was arranging the works yesterday, POWDER STARTED COMING OUT OF SOME OF THE WORKS. The powder had been thicker in some portions so that was why the lighting was not consistent. Having shown the works two times before, I was surprised that powder was draining out now when I’d have expected any excess powder to come out of the work in the previous round. Perhaps it was all the transportation and vigorous moving about that dislodged the excess powder hiding inside the print, for the white nylon powder began issuing forth from the escape holes I had designed for the works.
Perhaps on previous viewings we had treated the works so very softly and cautiously as if we were handling live explosives – but this time around I put them in a basket for rocks and slung them over my shoulder as I carried them to the gallery.
For those unfamiliar with the Selective Laser Sintering (SLS) process, it is an additive manufacturing process in which the laser sinters the powder into a solid material, but because the material itself is quite costly, designers often design the part as a hollow part with some escape holes so the excess powder can be shaken out. I would have thought that all the powder from before had been shaken out by now!
Its a bit funny as come to think of it the white powder flowing out visually resembles a weathering process in which the rocks break down into smaller particles. Earlier in the day I was also just building a prototype for a new work in which one can see material flowing in a similar way. When something breaks down into particles that small, the dust is literally blown into the wind. There’s no “trying to collect it in a cup and sticking it back together”. Its just gone, blown away, it ceases to be an identifiable part of the thing it was once part of.
The private view for the group show is tonight – please come down to see if it you’re in town!
The exhibition will be on view from August 4 through September 15, 2018 at Ota Fine Arts, 7 Lock Road, #02-13 Gillman Barracks, Singapore 108935.
SPACES
Kray Chen | Sheryl Chua | Debbie Ding | Hilmi Johandi | Tristan Lim | Ian Tee
4 August – 15 September 2018
Opening Reception in the presence of the artists:
Friday, 3 Aug 2018, 6.30 – 8.30 pm
Ota Fine Arts Singapore is delighted to present SPACES, a group exhibition featuring 6 artists from Singapore: Kray Chen, Sheryl Chua, Debbie Ding, Hilmi Johandi, Tristan Lim and Ian Tee. This exhibition showcases each artist’s reaction to the spaces and structures in contemporary society, as well as a more formal focus on pictorial space. From painting to photography, video, 3D print and textile work, diverse expressions by the artists discuss relations between the virtual/imaginary and actual spaces.
Related posts:
Space Geodes: Digital Archaeology and 3D prototyping, from Fossils to Plastic
The Art Space as Signal Processor: Sub-monument, a digital woodcut (Lasalle Praxis Gallery, 5 April 2019 – 5 May 2019)
“Theo.do.lites” (Institute of Contemporary Art Singapore Gallery 1, 17 April – 20 May 2013)
Singapore Art Week 2021: Where to see Debbie’s Works
Upcoming DebbieTalks in September 2013
The Singapore Psychogeographical Society: 2013 Update #1
[ ] (Seoul Art Space_Mullae, 16 August 2012)
Public Service Notice on Geodes, and Text Complexity
