Giseok Cho
Using flowers and colour to documents his generation of Koreans
When asked where the inspiration for his beautifully-lit, perfectly-composed imagery comes from, Giesok names two juxtaposing places: The internet and flea markets. “I think I’m the internet generation,” he remarks. “I first got to know many images by surfing the internet but I often go to flea markets to see old antiques or books and things. Unexpected items inspire me.”
In terms of visual motifs, Giseok’s portfolio features a few consistent elements. Firstly, a soft use of light, often accompanied by washes of colour. And, secondly, flowers of all shapes and sizes. These form a large part of Giseok’s compositions, dictating the aura of an image.
I like the photography was working with flowers and the collaging, which was what I will like to explore in this project. The image didn't including too much styling, just using the different lighting, colours to present the outcome.
Without the symbolism or the clothing, the image still could be told that is related to Korean culture, that is what I will like to explore as well.
Teikoukei
The image attracts my eye a lot because the image is showing something without setting, something happened in daily life. Shooting on the street without setting the light and the styling, the photography has conveyed more feeling to the audience. The series of the image has given me the idea about shooting with the natural lighting in my project.
izumi miyazaki
Although the images weren't related to my concept, while it still catches my eyes. I like the way she interacts with the accessories and the fruits. It gave me the idea of using after effect or photoshop to mix model and foods together, rather than just using hands and legs to interact with foods, which could be much more attractive too.
Equilibres: Peter Fischli, David Weiss
The idea of collaging is really attractive to me, which I will like to explore making the college in a 3D way. creating the daily life thing in a creative and attractive way reminds me that people don't need to buy something luxury, just need to explore thing around us. The idea has also developed my concept and working and exploring things in daily life.
he photographs which make up the series Equilibres / Quiet Afternoon 1984 show precariously balanced sculptures at what appears to be the exact moment before their collapse. Perhaps not such a quiet afternoon then. Everyday items such as vegetables, kitchen utensils, tyres, chairs, and tools, are piled in elaborate configurations that – for an instant, at least – appear stable. ‘We discovered that we could leave all formal decisions to equilibrium itself’, Fischli has said of these sculptures. ‘There was apparently no way to do it ‘better’ or ‘worse’, just ‘correctly’.’
Many of the titles suggest dramatic scenarios, endowing the objects with personalities. Mrs Pear Bringing her Husband a Freshly Ironed Shirt for the Opera. The Boy Smokes is a family tableau played out by shoes, a hanger and other items of domestic clutter. In Roped Mountaineers a tense scene unfolds. Suspend disbelief and a carrot, a wine bottle, a fork, two cheese graters, and some string become harnessed climbers engaged in a precarious mountaineering expedition. In these acrobatic still-lifes carrots are triumphant and bottles brave.
Vitturi, L. and Berkson, S. (2014). Dalston Anatomy
The still life image wich work with fruits and vivid colours are the things I like to explore. I have the same concept as the artist, which was exploration from the traditional market. It gives me the idea that I can collage the fruits and the accessories together and paint them all in a different colour, which can be a series of fruits collage in different colours.
Lorenzo Vitturi found his home and inspiration in the East London neighbourhood of Dalston, more specifically, in its local Ridley Road street market. His project, Dalston Anatomy, the first part of which was a photo book published last year under the same title, is comprised of photographs, photomontages and three central installations based on the market’s goods, structures, and content: fruit, vegetables, textiles, stalls, trinkets, and lastly, the local population. The language of the market is also present, as the words of a poem by local poet Sam Berkson that uses fragments of overheard conversations are printed on a large carpet in the centre of the gallery.
In his studio Vitturi built unstable structures from the market’s fruit and vegetables; some left to rot or covered with pigment; and then photographed them. With their element of precarious humour these images can resemble Fischli & Weiss’s photograph series Equilibres / Quiet Afternoon (1984), in which they arranged objects found in their studio in similar collapsing structures. The decaying vegetables and the ephemerality of Vitturi’s arrangements can be seen not just as a symbol for the market’s fast-changing temporality, but also as a memento mori gesture for the market itself, in terms of loosing its value as a necessary means of commerce and functioning more as a tourist attraction.
The Italian artist, formerly a cinema set painter, has created a highly aestheticised set for his show. The installations in the gallery, recalling market stalls, and the makeshift structures are meticulously designed with a remarkable sense of colour. But the political problematics of the exhibition can interrupt its beauty. In many of the photographs, portraits of local people are positioned next to images of vegetables and other market paraphernalia; some have their faces overlaid with shapes and colours matching those of the objects seen next to them. Particularly striking is an image in which the pigmented bald head of a dark-skinned man is positioned next to an image of an arrangement including a round spotted fruit, both set against a background of similarly spotted banana tree leaves.
With their familiar fruits and anonymous people Vitturi’s images might describe any other local market. What could have distinguished them as grounded in a certain locality are the individuals of the market themselves, but this oversimplified aesthetic of comparison, which deprives these people of their subjectivity, is not only surprising but can also be highly disturbing.
The text accompanying the exhibition situates the project as the outcome of the artist’s desire to ‘distil the area’s distinctive nature before it is gentrified beyond recognition’. But when the human texture of the market is presented as part of its goods, and its residents are compared to the commodities they are selling to make a living, Dalston Anatomy can appear less an authentic ‘visual ode’ to a ‘vibrant neighbourhood’, and more a romanticised still life of a still largely deprived socio-economic area, in which people are presented as exotic flowers or fruits.
Web exclusive, first published on artreview.com 2 September 2014
Bill Viola / Michelangelo
Life Death Rebirth
Royal Academy of Arts
The four elements are central to his work
Viola’s art is filled with earth, wind, fire and water – the four elements that ancient Greeks believed make up everything else known to humankind. Curator Martin Clayton has suggested that working with what some believed to be the most basic components of the universe is a way for the artist to “create a physical analogue for the spiritual… the manifestation of the divine in the material”. Viola says he’s also interested in the physical possibilities of these elements – particularly fire and water – “their destructive aspects… their cathartic, purifying, transformative, and regenerative capacities”. In his 2005 work Fire Woman, for example , a towering wall of what the artist calls “flames of passion and fever” roars behind the silhouette of a woman until she collapses into her reflection in a pool of water. Viola describes the work as the mind’s eye of a dying man as he realises that “the body’s desires will never again be met.“
He often works with bodies in physical extremes
His videos often focus on a singular body in a particular, extreme state – swimming, drowning, searching, dreaming, floating, gasping for breath, giving birth, being born or dying. Like his exhibition counterpart Michelangelo, Viola is interested in the relationship between the physical body and the soul, and how expressive bodies can convey inner spiritual states.
The bodies in his works mostly belong to performers – who act as stand-ins for all of us – although they aren’t always performing. Viola talks to those he’s enlisted about their deep personal experiences, but often doesn’t give an exact run-down of what will happen during the shoot, so many of the intimate close-ups you see projected in his installations are genuine emotional and physical reactions. The musician Weba Garretson had appeared in Viola’s works for nearly a decade, but she still found that the water cascading over her in The Return (2007) was a “purification” that helped her through grief for her mother’s recent death. As Viola says, he wants his performers and his viewers to have an experience “in the present tense”.
tristan's ascension
the note in the exhibition
I think this is the best peases in the exhibition, the scale between the screen model and water is working so perfecly, without too much music, the work is still overwhelming. I think I can also create the film that without too many sounds, just using visualization to explain the story.
I will also like to explore change the frame of the film during the model are dancing or moving the body.
the veiling
note in the exhibition
Without just project the work on the wall or the projection, Bill Viola have using the projection to project the work on the fabric. Through the distance between the screen and the fabric, I have seen the image have been present in different sized. It does make me want to explore to project the image or film on the different materials, even could be part of the set design.
the sleep of reason
The work is really catching my eye because of the way that Bill Viola presents the work. Through music,the film will change the scale between the TV screen and the wall, which intimate the changing between sleeping and dreaming.
It inspired me to do the filming in different scale in the same environment, without the sound and the subtitle,the work could be conveyed visually that it talking about the different story in the same time.
slowly turning narrative
Stanley Kubrick: The Exhibition
the way that the exhibition has displayed the screen is amazed me. because it a review of the Stanley Kubrick, the screen has played the classic film on the screen, the way that they display the screen feel like inviting the audience walk into the Stanley Kubrick's world.
I will like to explore this way in my visualisation work, while I have to think about how I can use this kind of way to display in public rather than in the gallery.
Still Life:An Allegory of the Vanities of Human Life
Vanitas art
Vanitas artworks usually incorporate particular types of imagery that allude to the transience of life, such as fruits, flowers, insects and mirrors, as well as often including more explicit representations of ‘memento mori’ (reminders of death), such as skulls.
To make the still life (set design) having vanitas style, not only display the object without reason. Give every object that in the set with a story.
Carrie Louise: Still-life
The work attractive me a lot is because it has the same concept as Vanitas art while it present in a totally different way.
Whit much more modern and styling way, I learned it could using the lighting and the items to present the old painting turn in a different style.
Combine with the Vanitas art, the main items(bags/accessories)could be more attractive to the audience.
I like the image is only using a few colours, and the simple styling as well. The fruits on the table have the same tone with the styling, which makes fruit could be apart of the background so that the audience can be focused on the clothing.
I will like to explore this kind of style in my project, which without complex visualization, still could convey the main idea to the audience.
Betty Liu /Jess Brohier
Eating The Other
Liu’s collection is a series of long garments that aim to subvert the perception of the qipao, a traditional Chinese dress that has been objectified by Westerners.
Liu explained that the deliberately exaggerated shape of her garments is designed to “obscure the wearer entirely”, creating a dialogue about Asian stereotypes without the added sexualization of clothing. These garments, created in bold primary colours of blues and reds, are then used in Liu’s performance art piece. In the piece, four identically dressed models with interconnected sleeves, sit at a table full of food that is commonly seen in Chinese restaurants. Soon, two more models enter the room. They examine the seated models, and then the food, throwing it around in a manner that Liu explains is how Chinese food is often treated by Westerners. “Through the act of mimicking the West’s fabricated representation of China, Western power can be undermined as it exposes the artificiality of these stereotypes”, she continues. In addition to the performance art, Liu collaborated with
Charles-Henry Bédué
the intimacy and mystery of family homes
The series of the image was about the family, which have also interacted with the fruits. While I think the way he presents the work is supper boring, the research is just to remind me don't do the same thing as the photographer.
The reason that its boring is because he didn't use the creative way to present the nostalgic feeling and the family.
I will say it can be the exploration but not the final outcomes.
Yoshiyuki Okuyama
As the Call, So the Echo
If compared to the other research I have done,with the similar concept "family", I will say that I can feel more in this book(images). I feel the common interaction between family, the thing that happens in every day, but although it happened daily, it will still be the treasure in our life.
The photographs in “As the Call, so the Echo” were taken over a period of two years and show the day-to-day scenery of a friend’s family and the small village they live in.
Okuyama began the series not with the intent to create an artwork. Rather, after an exhaustion following a sudden success as a photograper, he reduced his approach to simply reacting, moment by moment, to what was happening in front of him.
“Keep your eyes peeled and your ears open, and just look for a while.
You’ll find colors that are not colors, hear sounds that are not quite sounds.
And, just like an echo, a moment will come when you will hear it.
Not a thing with sound waves - leaves rusting on trees, the mewing of a cat, the sound of guitar playing, children frolicking, that kind of thing - but sounds never audible while clicking the shutter. Sounds first heard on looking back at the print. Relying on that undulation, that air of something quivering and shimmering, a wave motion, I arrange the photos.”
Isle of Dogs (film & set design)
I like the set in the Isle of dogs which is super detail, while I didn't reference too much from the set design. The set design in the movie was like in the city which has full of building, it's hard for me to put the items or the model it the supper small space.
While it does inspire me that I can just put one part of the body in the set, also can including the styling in the set as well.
Exhibition - English as a second language
The work that has shown in the exhibition was related to the different culture with England.
The Korean girl who wearing western clothing might want to say the westernization or just the international student has to change the style when they study abroad.
I will like to explore this idea as my styling as well. Using the background related to the Taiwanese culture and let the model wearing the clothing that has been westernized in Taiwan or other Asia countries.
LOEWE 2017 /Steven Meisel 《Compositions》
The work is so interesting to me that it has been present like the illustration in the illustration(which like the frame in another frame). It also inspired me the different way of changing the scale or the frame in the film.
The lighting should also be the same, or I think it will be tacky with different colour temperature.
Oyokazu Nagano
the photographer started taking pictures of his daughters: eating breakfast, playing outdoors — slices of everyday life. However, for each candid and touching image he took, he was vexed by missing another perfect moment, so he decided to take some of the “moment-making” into his own hands.
I found out hooting the most common thing can be the most touching as well. Without planning, it can capture the most attractive moment.
Yoshihiko Uedo
The simple images talking about love in the family.Even only using black and white,I can still feel the love and warm.
Yoshihiko Uedo
I really like the style of this photographer, especially the lighting he used in the work. It amazed me that the colour temperature is cold but I still can feel touching. I learne that its not only warm tone could convey the nostalgic feeling, but cold tone can also do the same thing as well, just need to control the lighting much more carefully.
The photos in this collection are impulse snaps taken during Yoshihiko Ueda frequent photography trips to China between the late 1980s and 2011, and feature people encountered on my travels, and landscapes that caught his eye.
Looking at these photos for some reason brings back vividly the person Yoshihiko Uedawas then. It never ceases to amaze he that despite now finding it scarily difficult to remember everyday things, looking at photos Yoshihiko Uedacan recall in perfect detail events even from 20, 30 years ago, and what was going on around the time. Yoshihiko Ueda reminded once again of the wonder of photographs, and their seeming ability to capture even memories from the period in which they were taken.
Disembarking in winter around 1990 at what was still the old Beijing airport, one always caught a whiff of that peculiar, nostalgic, coal-fire aroma. Yoshihiko Ueda remember, upon detecting that scent, feeling thrilled to be back in Beijing again, because he loved China in winter, particularly the hazy streetscapes of Beijing. And I’d savor, with a secret thrill, the joy of returning to the endless, remote vastness of the continent.
Yoshihiko Ueda gaze from that time is captured in these snaps taken free of contextual chains, alongside scenes of an older China now gone forever, and people living life in the slow lane. And he realize how much he truly loved China as it was then, and the people who lived there.
Osamu Yokonami
1000 Children
Inspired by the 1000 gilded statues of Buddha which flank the statue of Kannon found within Sanjusangendo in Kyoto, Osamu Yokonami’s_1000 Children_is a photographic project which sees Yokonami explore the very nature of individuality, the beginnings of self-awareness and of the individuals ego. Capturing a 1000 different children, all captured within uniform constructs of the same positioning, framing, clothing to the alignment of hair, the resulting images portray a beautifully subtle pursuit for the presence of the individual and our distinct differences within a collective whole.
Osamu Yokonami
Assembly 0
Osamu Yokonami is a Japanese photographer who explores homogeneity and the relationship between individual and group identity in his work. For the series Assembly, he captured groups of girls dressed and acting uniformly, careful to exclude their faces. In the photos – soft, somewhat dreamlike pictures taken at beaches, in forests, on meadows – the girls blend into and express a new singular identity.
The book, originally published in 2012, is now available in its third edition.
“There are collective portraits where girls wear the same clothes.
Each person has their own personality.
I try to keep a bit of distance between us in this work.
Then, the existence of each person disappeared and the existence of the group appeared instead.
The strength and beauty as collective entity stood out more by being in nature.
The expressiveness of the group was attractive.”
— Osamu Yokonami
William Eggleston
William Eggleston is one of the most influential photographers of the latter half of the 20th century. His portraits and landscapes of the American South reframed the history of the medium and its relationship to colour photography. “I had the attitude that I would work with this present-day material and do the best I could to describe it with photography,” Eggleston explained. “Not intending to make any particular comment about whether it was good or bad or whether I liked it or not. It was just there, and I was interested in it.”
‘I want to make a picture that could stand on its own, regardless of what it was a picture of. I’ve never been a bit interested in the fact that this was a picture of a blues musician or a street corner or something.’ – William Eggleston William Eggleston’s photographs are special for their eccentric, unexpected compositions, playfulness, implied narrative and, above all, his portrayals of people. Over the past half--century he has created a powerful and enduring body of work featuring friends and family, musicians, artists and others.
Eggleston’s photography has been derided for its ordinariness, for its compositional blankness, even for its use of colour. This now seems absurd. How could his critics not see what was there – the things unrevealed but somehow unaccountably present? Eggleston’s photography gets under your skin, just as he got under the skin of Memphis (where he was born in 1939), of Tallahatchie County, of the south and of social situations, capturing both the discomposure and awkward indifference of his subjects.
The Salvator Mundi
The work that attracted me is that visitors, one at a time, duck under a mastaba-like white structure. When they emerge inside, they see suites of miniature galleries, made on a 1:24 scale, in which different iterations of the painting are displayed. One gallery shows rows of the portrait in perspex boxes; another in which Leonardo’s Christ figure, digitally rendered, mouths imperceptible words to an audience of 2D cardboard figures.
Using different media in the set, including cardboard/moving image/poster etc. The small set has including more tiny detail which is the things that I want to explore and also using the mix media in my set as well.
Christian Dior: Designer of Dreams
The set design in the exhibition is so amazing, the changing of the lighting has interpreted the different feeling to the garments.
It inspired me that the lighting is very important not only for the shooting but also the set design in the exhibition.
I will like to test the different lighting in the shooting, see which kind of lighting could convey the feeling to the audience.
The Future Of Nostalgia
- have putting many chinese object in the film,which is the symbalizam of the chinese culture. It has also related to the research that I have done before - Vanitas art
- the background of the set has passed in a lot of calendars,which is also connected to the concept of the film - Time. I have also explored from the idea of using old advertising in Taiwan to convey the special features in my country.
- The styling is very Chinese, which I didn't reference in my work as well. I want to do something that has related to the westernization, so the styling has explored from the style in western.
SMALL TALK
The film is a meditative exploration into Huang and her mother A-nu's past, each layer revealing a little more about who A-nu is, as a Taoist priestess, a lover to many girlfriends, a dependable friend, and an absentee mother. It is the identify of a mother that Huang wants to understand, since A-nu has made it clear that she never wanted to get married nor have children.
Through sit-down interviews, often ending in silence, Huang attempts to break down the wall that stands between herself and her mother for the past 20 years. The film also incorporate interviews with A-nu's past and present lovers, A-nu's siblings, as well as home video shot over the course of the last 20 years to weave a tapestry of a daughter's vague understanding of her lesbian mom.
The ultimate reveal comes when Huang finally summons up the courage to have the talk with A-nu, which will either free Huang and A-nu from their shared painful past, or may further estrange them.
I have used this idea as my sound in the background music in the film, the common communication between daughter and mother, which I think is the most average but touching interaction between family
Multiplane Camera
the multiplane camera is the way that Disney shoot the cartoon without a computer. Without drawing many of the scales, the director can just zoom in and out the scale, which is very convenient.
I will like to explore it as my small set design, which also separates the scale of the sets and can display them differently or changing the way to present them on the film.
The advertising in the 50s Taiwan
the low quality of the film is easy to relate to the video that is antique, which have
made me want to add the pixelated effect in my film, could make the film have more nostalgia feeling and fit my concept