Description

My work involves the creation of conceptual and minimalist based installations which intend to invite and challenge the viewer’s perceptions and visual experience. Based on this primary idea, I have been exploring this interest using the theme of “nothingness” and to do so, I have been looking at how people define “nothingness”. Often, the combination of these ideas and theme are worked into these installations and feature uncatchable and immaterial elements such as sound, light, shadow, power, wind and air. In the development in my art practice, I have consciously worked with the desires and expectations that people psychologically project, in order to perceive an artwork in the gallery situation. In reflecting upon my earlier work it has always featured what I term “absence” along with the “invisible” or the “immaterial”, but these were treated as separate elements. In the current work they are all working together. In the practice now, I aim to create work that engages the viewer’s senses and inviting the viewer to experience and understand the work through their intellectual and physical contemplation of my work.

Over the last two years I have created a number of site specific temporary installations in some indoor sites as part of my research (I have in the past created temporary outdoor site specific work as well). I often rework and re-document my site specific installations to experiment with various ways of presenting my findings.

“I do not want to add more “stuff” to a world that already features too much”, Martin Creed, a conceptual artist. My work is inspired by the work of Martin Creed’s “The lights going on and off” while it challenges the traditional methods of museum display and thus the encounter one would normally expect to have in a gallery, therefore, a negotiation between the viewer and the artwork arise in the encounter between the gallery and the work. He suggests this fullness experience that the viewer has perceived from the installation (the artwork) will fill in the gallery space and become a truly phenomenon experience of art.

Similarly, the main focus of my work is exploring the complex experience between our perception, the space, and the time of experience. In my view of further development, I intend to make work that is a response to architectural space as the main context of my art practice.

Overall, I have taken the spaces where I exhibit my work as a challenge for presenting my work in terms of its features and the architectural design and function that interacts the way people perceive my work. For example, the flow of people, the size or the height of the room. With the concern on the different ways of presentation according to the space where I choose to exhibit my work, I am achieving in giving an integral experience to the viewer.