DRAW- Yu Chen Wang

Lectures/Talks, UNIT 2

Drawing can be a very simple and effective method of communication” – Yu Chen Wang
As part of the DRAW reading group led by the Post-Grad Community we had the pleasure to welcome artist Yu-Chen Wang, a London based artist from Taichung, Taiwan. Her practice primarily focuses on drawing, where her work treads a delicate line between control and chaos- she does not do any preparatory drawings, instead opting to sketch straight from her head. Combining her drawings with props, lighting and various structures to create immersive multimedia exhibitions, her work is proof that drawing can exist outside of the paper it is drawn on. She blends her work with performance, as a way to organise people’s movement without their knowledge within the exhibition space, and as a method to communicate with people.

Yu Chen’s work draws from a variety of sources; her interests span topics from theoretical physics, archaeology, and archives, to historical waterways and buildings in the many cities she has visited, and this variety of source materials reflects in her work. Her references include archival materials, draftsman drawings, and photographs. One project in particular that I found inspiring was the project We Aren’t Able To Prove That Just Yet, But We Know It’s Out There (2018-19), developed with Collide International Award, a partnership programme between Arts at CERN and FACT (2016-2018).

(We aren’t able to prove that just yet, but we know it’s out there 2018 150x270cm (detail)
Video and image taken from Yu Chen Wang’s website

This project, in her words, was about “making the invisible visible”, exploring “the abstract photographic images produced by the Bubble Chamber experiments in the 1960’s. Wang was fascinated not only about what they detected –the paths of short-lived electrically charged particles– but also the whole process which surrounded their documentation and interpretation.” (excerpt taken from her website).
As part of this she spent six hours listening to a retired theoretical scientist explain particle physics, and it was this, as well as the variety of archival materials she collected and researched, that formed this project. She also spent a lot of time whilst researching talking and listening to current and former scientists, soaking up their knowledge to enrich herself and the project- she spoke of loving to learn, and this desire for knowledge as being a driving force behind a lot of her work. Her interest in the unseen labour behind most scientific discoveries mimics artistic practice, with many failed experiments, tests, and preparatory work culminating in a final presentation to the outside world. I admired her dedication to learning about this complex topic, and the way she interpreted it has a very unique perspective- she combines her drawing with sound and video to create installations that absorb the viewer. I would love to have the opportunity to see the work in an exhibition space, as I feel that watching the video and seeing photographs in the lecture did not do it justice- it definitely needs to be experienced in its entirety.

Her work proves that art does not, and indeed should not, exist in a vacuum; that artists should be open to exploring other topics, and be able to take inspiration from anywhere. Being able to do this can make art much richer and we, as artists, should strive to connect with different people, and engage with everything we possibly can. Yu Chen Wang’s is fundamentally about communication, and a desire to connect with others, and at her core Yu Chen is just a person seeking to communicate and forge genuine connections with people through art.

Surviving and Thriving as an Artist- Rosalind Davis, Notes

Lectures/Talks, UNIT 2

Notes made during the talk by artist, curator, teacher, writer and consultant Rosalind David

  • Managed and curated CORE gallery in Deptford
  • Zeitgeist Arts Projects- ZAP- artist run organisation co-founded and ran with Annabell Tilley
  • “What They Didn’t Teach You at Art School”- her book
  • what other values do you have? “Making it” looks different to everyone
  • getting opportunities- meeting people, building contacts, keeping in contact, promotion, research, seizing opportunities, building a good reputation, being polite and memorable, being organised and professional, networking
  • design the art and career YOU want
  • engage in the process- i.e. exhibitions
  • be aware of the different kinds of art spaces/organisations and figure out which work best for you
  • apply for opportunities- competitions, open calls, DIY gallery proposals, art fairs, festivals, site specific projects, commissions, awards, ect
  • get used to rejection but don’t let it get you down
  • don’t be passive- pursue things!
  • Why have an exhibition?
    – to get feedback
    – meeting people
    – to see your work in a new context
    – working with new people
    – socialising/networking
    – learn from others
    – professional reputation
    – sell work
  • email- write a personal intro (show you have researched them) before inviting them to your event go to theirs- build a real connection
  • Ways to make money:
    – commissions
    – funding
    – scholarships/grants
    – awards
    – residencies
    – exhibition fees (rare)
    – other art jobs
  • Oli Epp- residencies- PLOP residency
  • Selling your work:
    – be realistic
    – be present
    – be prepared to talk about your work
    – price it right
  • Virginia Verran
  • check contracts and be careful- get legal advice (Art Quest offers an hour free)
  • Arts Council funding- “Develop Your Creative Practice”
  • artist statements- find 3 powerful words to describe your work, be creative with language, make it engaging, what and why, spellcheck, get someone to proof read, update it regularly, read it out loud
  • Shape Shifters Exhibition- 2nd May
  • writing about your work- who, what, why, why here, when
  • applying for things- possibilities, timing, dates, assistance, ability to engage, support, workshops, talks, collaboration, community, value, networks, organisation, communication
  • UKYA- for 18-30 year olds
  • website, business cards, press release, newspapers, social media, research people to invite, peers, re-introduce yourself, be realistic, spend time on things
  • Art Quest- careers and employability newsletter – sign up!!

This talk was really engaging and full of useful information for the future- as you can see I made a lot of notes!

Touch workshop with Professor Kojiro Hirose

Lectures/Talks, UNIT 2

notes made during the workshop:

  • accessibility of art/museums/galleries
  • how to engage multiple senses for those with different impairments and those without impairments
  • tactile works- 3D? How can we make 2D works (i.e. pictures/books) more accessible?
  • watch that speaks- tells you the time, watch that is tactile- you can tell the time by feeling it
  • paperless braille memo pad systems- has memory and can be connected to a PC for reading or storing notes
  • braille has limitations- education needs to learn it and use it
  • computers have made things more accessible, but to get qualifications in other languages you still need to learn braille
  • braille requires more space than text and specific printing techniques- meaning it is more costly and less accessible
  • we need to make braille/sign language/deaf-blind sign languages more widely available for everyone to learn so that it is easier for impaired/disabled people to get on with their lives
  • translating the visual information into tactile information can be difficult- can we do this the opposite way round or is it better to give both equal importance at every stage?
  • using disability as a framework to develop better educational systems
  • translation as an act of creativity, using creativity to solve communication issues- there will always be more than one interpretation or version
  • when translating visual information into tactile information how to you put across the emotions/feelings?
  • light as heat- rather than seeing it it can also b felt, modern lighting gives off less heat than before, and makes less noise than ol fashioned lights
  • engaging other senses- not just sight and touch in artworks- this can benefit more than just disabled/impaired people
  • layering sounds/smells/textures/air/temperature/light/ect

This workshop was fascinating- I have been saying all this time that I want to make my work more accessible, and it was vital for me to learn what is can be like for people with impairments different to my own, so that I can be more considerate of this in my own work going forwards. It has made me think much more critically about the choices I make in my art, and making sure that my goal is genuinely to make it as accessible as possible, rather than just pleasing token people.