Gallery and Practices

In this stage of my project, I have been making individual human-liked figures from milliput clay to stand crowds. These figures are then placed in various scenes where I control the number of figures, lighting, and perspective. By photographing their structural positions, I highlighted the different atmospheres between groups of models and isolated individuals, as follows my concept. Subsequently, I use software to cut out these figures and then reconstruct the scenes with cube shapes, framing different groupings to show distinct dynamics and conditions.

Summarisation

Make models and place them in scenes

Initially, I used Milliput to create simple small human models and arranged them in formations I observed in real-life crowd gatherings. Thus, a small group focused on the same object was born.

Once this simulated group was formed, I found it somewhat monotonous and wanted to observe them from a broader and larger perspective. So, I attached them to a transparent acrylic sheet and photographed them from various angles.

When I focused on a single figure, I suddenly realised that the relationship between the figure itself and the plane supporting it was also worth considering.

For instance, the effect differs when the figure is placed in the center of the surface compared to when it is at the edge of the scene.

At that moment, the weather was great, and the reflection of white clouds on the acrylic sheet enhanced the figure's solitary atmosphere. So, I placed white paper under the acrylic sheet to better reflect the clouds and sky. By adjusting the shooting height, I tried to make the figure either fully immersed in the clouds or partially protruding from them.

At the same time, I also tried enlarging the scene to increase its depth, which made the figure appear smaller and more isolated. This effect was quite interesting, as the small model's posture seemed more curled up and rejecting in this context.

Figures more protruding

In my concept, there are also marginal figures within a group. Therefore, I sculpted a few seated figures, one of which is the model in these images that cannot entirely fit on the surface. It can only sit at the edge of the plane, with half of its body beyond the surface, relying on a small part connected to the plane. Its posture is outward-facing, and the whole model conveys a sense of hesitation, with its movements appearing detached.

There is also this standing figure, both of which are connected to the surface by only a small part. I wanted to use them to express a sense of partial detachment.

Additionally, I experimented with different lighting in the scene with these two models, letting them either be immersed in shadow or fully exposed to sunlight, to experience two different atmospheres of warmth and cold.

Perhaps being alone makes them appear more positive, or perhaps it makes them appear sadder. This also reflects my contemplation on the voluntary and involuntary choice of individuals to detach from the crowd.

Forming a smaller group

I also experimented with using two figures to form a small group. When they sit side by side, it reflects their unity of will; when they sit back to back, it reflects their separation of will. Light and shadow envelop them, making their shadows a part of the scene, which also serves to highlight their relationship or connection.

Developing

To minimize the external influence of the photo environment, I used software to cut out these figures and turned them to black and white. When I separated the figures out, I found that the previously created atmosphere was completely lost. Therefore, I selected some photos I found interesting and cut out the figures along with the ground.

Crowd 42cm x 29.7cm 2024

During the previous photo shoots from various angles, I suddenly felt that although they are part of the same group, they can also represent different groups from different times and perspectives.

Just as the same person might make different choices in different situations regarding the same issue, I thought these photos were well-suited to be placed together, forming a work on the same paper with distinctly different layers. So, I cut out the human models along with their supporting ‘grounds’ and pieced these sections together, creating a feeling akin to a fragmented mirror room reflecting multiple layers of images.

They are divided by different sections, and even though the figures remain the same, the people within one scene cannot reach those in another scene. It’s like different realities leading to different paths, effectively conveying my intention that people within a group find it difficult to communicate with the outside world, similar to the theory of the Tower of Babel.

I separated their colors for each group for the same reasons mentioned above.

Additionally, I initially tried using risograph printing for this colorful image, but unfortunately, the overlap between the color layers in CMYK printing resulted in colors that were not as vibrant as I had imagined. Therefore, I ultimately decided to abandon this version.

Regarding the choice of etching, I realized that the etching process produces natural indentations, and if there are no images around the edges, these indentations will appear colorless, creating a purely physical border. I think this will be a great method for separating the groups and adding an extra frame outside the image, which aligns well with my idea.

Therefore, after consulting with the etching studio technician, Brian, I decided to create a photopolymer print. I chose this type of plate because I wanted a very delicate texture and a plate that could highlight gradient colors. I knew that using aquatint wouldn't allow for extremely gentle gradients, so I started to draw with photopolymer as my goal.

First, I separately cut out the figures and the floor from my photographs. Then, I framed them with black straight lines to represent what I consider a "group." Based on the angles and shapes of the planes where the figures are located, I constructed a space.

This space, within my theme, is fictional and not a real space, so it is empty to convey its conceptual nature. According to my research, there are also many small groups within groups, so I used additional rectangular prisms to represent this idea. I added smaller spaces within the larger space I created, and they are semi-integrated with the original space, making them semi-open. The different gradient colors also represent their distinctions.

After finishing the main subjects, I processed the images.

These three images were my options at the time: the first one had extensive noise applied after completing the main subjects, while the second and third images had selective noise reduction and added glow around the figures. This made the space appear deeper and the images richer compared to the first one.

After weighing the pros and cons, I chose the second image. Adding a glow around the figures made the relationships within the group appear closer.

Handling with photopolymer plates

I printed the processed images onto film and then exposed them onto the plates. After the first plate was exposed, I noticed two dust particles left on the exposure table, which resulted in marks on the plate. Worried, I printed several pieces, but unfortunately, these marks were too obvious. I had to reset the plate and expose it again. This resulted in me spending over a month on this piece. Although the second plate also had a dust particle, fortunately, it wasn't in a noticeable area.

My initial plan was to print two plates, one large and one small, on the same sheet of paper. The small plate would feature only one figure, creating a contrast between different groups and the contrasting mental states of individuals in these two groups. The physical imprints left by the two plates on the same sheet of paper also served as a barrier between them, expressing the inability of groups to understand and communicate with each other due to their isolation.

Defects arising from the printing process

These three images resulted from a flaw caused by a speck of dust that was unavoidable during the exposure process of the first plate. Annoyingly, this speck of dust landed right on the figure's shoulder, creating a small hollow spot in the plastic film, which resulted in a large black dot in the print. I tried to cover the black dot by delicately applying a bit of chalk dust with a needle after cleaning the plate, and then reprinting. The result was slightly better, at least turning the black dot into a white circle that could be modified with pencil or watercolor. Unfortunately, this circle couldn't be seamlessly corrected, which led me to abandon this plate and purchase a second photopolymer plate for another exposure.

May the photopolymer gods bless everyone attempting to expose plates.

This is a ghostly handprint. After printing two consecutive images, I realized that this flaw couldn't be eliminated by wiping the plate.

After spending a whole sleepless night thinking about it, I tried comparing it with my own hand.

Yes, it was my handprint.

This happened because I held the plate in place with one hand while wiping it, and the warmth from my hand removed some of the ink. This issue affected at least three prints in a row.

This dirty edge was the stubborn ink that remained even after I spent twenty minutes wiping it. It was quite frustrating, but I eventually solved it by using a lot of chalk dust.

The cause of this white mark is still unknown. If you know the reason, please contact me via email. Many thanks.

The white mark is due to my fear of not cleaning the edges thoroughly, so I used a lot of chalk dust. During the printing process, the wind accidentally blew the chalk dust into a trail.

Because the color of the plate was light after wiping, I didn't notice its presence and printed it out.

This deep black mark is because the ink I took out in the morning had dried a bit by the afternoon, increasing its viscosity. After a whole day of printing, I didn't have enough strength to wipe it off properly, resulting in this mark.

Small plates

After completing the larger group piece mentioned above, I created some small prints, each featuring a single figure as the focal point, aiming to depict isolated groups and evoke a sense of exile.

In these prints, I paid particular attention to the relationship between light and shadow, as well as the shadows cast by the figures. Contrasting with the empty space, they reveal different atmospheres.

This is an almost entirely open space, or one might say, an unformed space. I attempt to use it to narrate a group that hasn't yet coalesced. The figure might be waiting for others to join, or perhaps contemplating departure.

This is a vast space, with the figure huddled in the center, emphasizing the emptiness of the surroundings. I retained the effect of clouds and sky to enrich the overall scene, also symbolizing a certain freedom.

Light enters from the right side, shining on the figure's back. I used this to convey the possibility of departure, giving the space a sense of breathability.

The tolerance of small photopolymer plates is greatly increased. The three plates I exposed had almost no dust. The only mistake made during the printing of these three prints was: after cleaning the film on the printing press with white sprite, it was not dried in time, causing the liquid below the plate to flow to the side of the plate under pressure during printing and onto the paper.

However, this space is cramped and confined, darker than the previous one. The figure is tightly holding onto itself, and there is no light shining on it.

Display plan

In the initial plans for the exhibition, I intended to frame all these prints with black frames. This additional layer of framing, superimposed on the existing three layers, was meant to convey a sense of isolation between groups.

At the suggestion of my tutor, Jo, I realized that this method might be cumbersome, as too many frames could visually fatigue the viewer. Therefore, I decided to use the sharp, irregular shapes that were initially cut out at the beginning of the project as the background shape for the overall layout.

This massive background, in a sense, also serves as a frame, but it's less conspicuous. It represents the broader societal context, with my works inside serving as small collectives within society. The sharpness signifies the harshness of society, while also breaking away from the rectangular limitations of the paper on which the works are printed.