Monthly Archives: February 2015

I am really interested in these accidental flaws from imperfect camera (Polaroid). Some pieces are blurry, which looks very narrative. Some pieces are failing, which also brings an unexpected effect. I like these discretionary inspirations.

Recently, I am still making some materials by myself for multimedia collage. During this process, I have taken some illusive images like these. They gave me exciting more than normal image. Anyway, it is a process for creative collage.

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making art is difficult


Jonathan Kearney: “Making art now means working in the face of uncertainty ; it means living with doubt and contradiction, doing something no one much cares whether you do, and for which there may be neither audience nor reward”
depressing or liberating?

Most classmates support both of them. I think we can choose an attitude to create artwork and try to enjoy yourself. Emily notes that both liberating and depressing, but you should try and not let it be depressing by enjoying the act of creating art i guess! I agree with her.

Jonathan Kearney: in that same paragraph (3rd paragraph) the writers go on to say this:
“Making the work you want to make means finding nourishment within the work itself.”
Jonathan-thinking about your own work now, do you find nourishment in it?

Harmeet thinks that nourishment is an end result, which is about satisfaction of accomplishing what artist think to achieve with a particular work. However, Lionel asked that what happens when things don’t work out, do you find nourishment in the process as well? Sila believes that nourishment is the process itself.
Ally thinks that nourishment from something which doesn’t work out as you imagined it seems to me to be a skill in itself….  He said that there are also so many aspects of ourselves and our skills in what we create that we don’t often see or give ourselves credit for.
For my point of view, I think nourishment could be a comprehensive representation, it includes your personal experience , personal values, the knowledge of social background and so on . However, all of these elements as an important part of artwork.

Jonathan Kearney: this has been proved in several settings now, quite a lot of psychological research supports this — “Even talent is rarely distinguishable, over the long run, from perseverance and lots of hard work.”

Ally thinks that ‘talent’ is often just the ability and motivation to focus and work really hard. At the same time, he mentioned that MA course has taught him that there is always something you can learn from exposing yourself to art (not literally!), even – maybe especially – if its not your cup of tea. It is about learning from experiences.

Jonathan Kearney: look at the 4 assumptions that the writers suggest, starting with the 1st one:
we have just touched on the ideas in this section, but do you really believe this? Do you really believe that hard work will improve your art?

Jake thinks that even more important then skill though in my opinion his contextual knowledge, an understanding of art history.

Jonathan Kearney: just a side note but in the book where this text comes from they never use the word creativity, they feel it is simply too difficult a word to understand or talk about as it has so many different meanings for different people
Jonathan Kearney: how about the 2nd assumption:

Sila notes that creativity is a proccessreadings, thoughts imagining and making. Ally thinks that creativity comes from how you view the world and that is something which is learnt, but he is not sure how you would teach it to someone.

Jonathan- i think the writers are suggesting that ‘ordinary people’ is everyone, i.e. there is no perfect person or mythical genius — instead art comes from our mixed up confused state — it is almost a form of sense making, or finding meaning for ourselves??

Jonathan- the last sentence is worth thinking about: “Something about making art has to do with overcoming things, giving us a clear opportunity for doing things in ways we have always known we should do them.”

Jonathan Kearney : I think the writers are also trying to reduce the pressure on artists, in a way they are saying ‘forget the pressure of the world to be a genus, enjoy your process and let that art making transform every part of you, not just your art but the way you think and act in every situation’ — but I may be adding more to their words than is really what they meant? what do you think?

For my opinion, it is like everyone has own characteristic and every artist has own creative direction. just do it.. Ally also thinks that they are suggesting the artist gives him/herself permission to express their own individuality.

Lionel- self awareness is the eureka moment for an artist?

Jonathan- Lionel, very deliberate as I am suggesting that art making is not necessarily held purely within the field of making objects that can be shown in a gallery, the work of human interaction, in families and communities, whether learning communities like this one, or other more social communities, all of this activity or work can and maybe should be seen as part of our ‘practice’ our art making???

Jonathan :  Lionel I think it is easy to argue that all art making is a bit wooly, as in it is not quantifiable, or measurable in rational or imperial ways
Ally, very relevant — that is you learning about your own making process
which nicely leads to this next section…
I really like the challenge of this next assumption:
go and read the first paragraph in this section again, read it carefully and slowly before commenting
here it is:
The sane human being is satisfied that the best he / she can do at any given moment is the best he/she can do at any given moment. That belief, if widely embraced, would make this book unnecessary, false, or both. Such sanity is, unfortunately, rare. Making art provides uncomfortably accurate feedback about the gap that inevitably exists between what you intended to do, and what you did. In fact, if artmaking did not tell you (the maker) so enormously much about yourself, then making art that matters to you would be impossible. To all viewers but yourself, what matters is the product: the finished artwork. To you, and you alone, what matters is the process: the experience of shaping that artwork. The viewers’ concerns are not your concerns (although it’s dangerously easy to adopt their attitudes.) Their job is whatever it is: to be moved by art, to be entertained by it, to make a killing off it, whatever. Your job is to learn to work on your work.

Sila thinks that for Duchamp The viewer and the artist are both participants in making the finished art product.

I saw some relative sentences : Under today’s cultural system, the relationship between the artist and the audience has been alienated, becoming a unidirectional relationship of producing/receiving….the audience is always the collective, the anonymous, making for an
asymmetry between individual production and collective reception. From Chinese curator Bao Dong

Jonathan – certainly there is interaction with audience and it is important to think about who they might be and how they will see and receive your work, but sometimes we over emphasise this element and forget what these writers are saying it is about you learning to make your work.

Emily: what do you want from an audience?

Jake thinks that to get an audience that actually cares in any meaningful way. like having 10,000 followers on social media or whatever isn’t even a real audience,because no one actually cares or engages with it on a real level. I totally agree with him. I think that sometimes someone really likes your work ,maybe your work relates to her/his hobby and experience accidentally.

Jonathan- I heard a story recently about 2 old people who accidentally went into a gallery thinking it was a tea shop!! My friend was sitting next to them as they looked at a contemporary abstract installation, they were completely amazing and transfixed by it, they could not stoop looking and talking about it — other work they did not like but this is engagement with the work, maybe like Ruby said by accident but it is does happen!

So I think audience is an unexpectable factor in artwork. On the other hand, we have to admit that audiences make more powerful connection between artist and artwork.

Miroslav Tichý (1926 – 2011) is a well-regarded photographer on the gallery circuit; the late Czech artist won Rencontres d’Arles’ 2005 New Discovery Award, and has had his work shown around the world.

However, at the time of their exposure, both Tichý ‘s subject matter and photographic techniques placed his images well outside of the artistic mainstream. Having studied at the Academy of Fine Arts in Prague, Tichý became disillusioned with the Soviet arts establishment, and went onto become something of a peeping tom as well as a political dissident.

Today however, in an age of digital fidelity and online titillation, Tichý’s  vernacular film exposures take on a poetic charm, while the sheer variety of the women he photographed – shop assistants, beauty queens, quite ordinary girls sunbathing – mitigates at least some of the accusations of perversion that have come his way. As we reported back in March, his work was well received at last year’s Moscow Photo Biennale and prints have become hot property among collectors.

tichy-cow-02 tichy-cow-03 tichy-cow-04 459x640xtichy1.jpeg.pagespeed.ic.p3Gv8l25WBEL_epBBnsh  460x575xtichy8.jpg.pagespeed.ic.D0GPHqNGO_5E_59S0LVY 460x605xtichy2.jpg.pagespeed.ic.pxqyhBJEuF2ojKwQ6rYQ 460x612xtichywoman.jpg.pagespeed.ic.Ie34aXzBkbcF5SH4rXML 460x622xtichy9.jpg.pagespeed.ic.czRdm0kedlav5DpyX57U

This kind of ambiguous images creates peculiar visual effect. I really like these images by Miroslav Tichý. It seems that each photograph within many uncertain elements, which bring more imaginative interspace. I highly prefer to this kind of uncertainty and ambiguity in artwork.

I had a tutorial with Jonathan on Monday. We have discussed about my recent idea. Jonathan said that a combination of the moving image and still image could be potential. I created video collage in terms of moving image and still image. I believe that it could be very ambiguous and metaphorical. However, all of inspirations just follow my intuition, which makes me exciting. I got more free space to create something as  I like.  Jonathan also noted that I should to do more projects like I did. It could be 20,30,or 50. After that, I can choose some of them as my final project. The most important thing is the creative process.

Some image materials and video materials are collected from my daily life including some journeys.


  1. Be careful for sound recording
  2. Making more experiments
  3. Make a conclusion of dissatisfied experiments