I was drawing on the wall beside the video projection of the documentation of previous day's drawing.
Drawing in-situ & on-site drawing installation for exhibition LOST CITY II, Sculpture Square, Singapore, 1 till 17 December 2008, using charcoal, emulsion paint, tapes on wall and paper, newspapers, existing furniture, video projection, Dimensions variable.
Photography and videography by Arron Teo.
A view of the drawing installation.Synopsis of work
I would be drawing on site in the allocated space in Sculpture Square during the exhibition period. Beginning with the existing state of the allocated space, I will work based on the architectural elements of the allocated space, emphasising certain elements that are already inherent in that space. The drawing will begin on the first day of setting up (a few days before the official opening of the exhibition) and ‘finish’ about 3 days before the closing date to return the space to its original state before the exhibition ends. Therefore, the work would include both the installation and de-installation processes.
I would be bringing furniture into the space. These may be table, chair and tools required for the drawing process. Besides drawing directly on the wall, I would be drawing on paper taped on the wall as well. The work involves creating an illusion of space. At the same time, there is also the ‘real-time’ element, that is the artist (me) working in that space during a certain timing. I would be able to converse with the audience during the exhibition while I am working on site.
The whole process of occupying the space, drawing and then de-installing will be captured by video and still photography. The videographer would capture the act of my drawing and the changing space on video, and this would be projected in the space the next day. Thus, the video documentation is screened at the same space at a delayed timing.
The photographer would capture in photographic stills aspects of my drawing process, the work and the space. Unlike the video, it serves essentially as a documentation of the work, to hold a remembrance of the project as the work will be ‘demolished’ towards the end of the exhibition, and will no longer exist physically.
The whole project is not just about the artist working in space as a form of self-portrait, but it is also about ephemerality, and about the continuous shifting of the occupancy of a space (this may reflect about the impermanence of urban spaces, an inevitable situation faced by urbanity).
I would be drawing on site in the allocated space in Sculpture Square during the exhibition period. Beginning with the existing state of the allocated space, I will work based on the architectural elements of the allocated space, emphasising certain elements that are already inherent in that space. The drawing will begin on the first day of setting up (a few days before the official opening of the exhibition) and ‘finish’ about 3 days before the closing date to return the space to its original state before the exhibition ends. Therefore, the work would include both the installation and de-installation processes.
I would be bringing furniture into the space. These may be table, chair and tools required for the drawing process. Besides drawing directly on the wall, I would be drawing on paper taped on the wall as well. The work involves creating an illusion of space. At the same time, there is also the ‘real-time’ element, that is the artist (me) working in that space during a certain timing. I would be able to converse with the audience during the exhibition while I am working on site.
The whole process of occupying the space, drawing and then de-installing will be captured by video and still photography. The videographer would capture the act of my drawing and the changing space on video, and this would be projected in the space the next day. Thus, the video documentation is screened at the same space at a delayed timing.
The photographer would capture in photographic stills aspects of my drawing process, the work and the space. Unlike the video, it serves essentially as a documentation of the work, to hold a remembrance of the project as the work will be ‘demolished’ towards the end of the exhibition, and will no longer exist physically.
The whole project is not just about the artist working in space as a form of self-portrait, but it is also about ephemerality, and about the continuous shifting of the occupancy of a space (this may reflect about the impermanence of urban spaces, an inevitable situation faced by urbanity).
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