U3 Critical Reflection

Critical Reflection

Key Subjects

The central theme of my work is to express societal isolation and the separation between different social groups through undefined, void-like spaces and figures without detail. This approach aims to evoke awareness in viewers about the isolation and boundaries within society around them, inspiring a broader collective consciousness and social discourse.

I will analyze and critique my work from the perspectives of spatial and figure arrangement, symbolism, reflection, and curatorial approach.

The Purpose of the Stage Effect:

*The sense of ‘on stage’

My past research all about those invisible boundaries and isolation between social interactions. I intent to show those neglected emotions and details directly to audiences, making invisible things on stage and lights on them. The stage is not only a setting but also a place of security and observation.

In each of my prints, the figures are either standing or seated on a certain plane, which serves as the base to create a contained space. These spaces are typically rendered in shades of gray, with no concrete imagery, only gradients of light and dark.

Beyond this space, I meticulously wipe the surrounding area clean, leaving it pure white and completely empty.This immaculate outer space, both in literal and metaphorical terms, represents a sense of "emptiness" and "detachment," distancing the inner space from reality and conveying a conceptual void—a sense of groundlessness.

In terms of process, creating the image in the center of the plate makes the surrounding plate seem almost wasted, as this area remains untouched by any image exposure and, therefore, doesn’t print any color. However, it is precisely because the edges of my work lack color that the plate’s border marks, left during the printing process, stand out, thereby achieving my central theme: revealing the invisible boundaries.

Crowds, us 3 margin details 38cm x 28cm

Crowds, us margin details 65cm x 79cm

In printmaking, the additional print margin often ends up with unintended marks, especially during manual printing, which can lead to the appearance of "earing." Many artists prefer to remove this part by trimming all margins, while others deliberately leave this area as blank space.

Minimalist artists, in particular, tend to leave large blank areas in their artwork. Using a more contemporary approach, they create a form of spiritual and contemplative guidance, providing space for the viewer to explore and reflect.

For instance, the contemporary artist Agnes Martin often leaves substantial blank spaces in her works, giving them an overall sense of cleanliness, ethereality, and tranquility. In her piece On a Clear Day, each small linear image is surrounded by a margin almost equal in width to the image itself. The repeated use of blank space separates each image, allowing them to connect solely through the information they individually convey. I feel the margin here acts as an extension of space, like an ellipsis hinting at something unspoken. Through the expansion of pure white areas, the work seems capable of infinite extension, with each small part able to drift infinitely apart from the others while still faintly resonating across the expanse of blank space. This effect is especially profound when the piece is displayed on a white wall, as the surrounding wall becomes part of the artwork’s breathing space.

On the Tate website, On a Clear Day is displayed in a compact arrangement, but I feel that even if the images were separated and randomly placed within a blank gallery space, the expansiveness of these blank margins would allow them to appear unified, maintaining a subtle harmony across distances.

On A Clear Day Agnes Martin Portfolio of 30 screenprints 1973

Organic Unity: Each part of organic unity is interdependent and impactful， as though the elements are interacting and resonating with each other.As the work feels connected and continuous, audiences would feel a sense of cohesion and flow, much like the natural rhythms found in nature.

When I experimented with separating this irregular, almost triangular space using four rectangular pieces of paper, I felt an intense sense of disharmony and lack of visual aesthetic. At the time, I thought perhaps I needed differently shaped pieces to achieve this kind of division—perhaps using curved lines or circles that would contrast with the lines of the main space.

However, looking back, I realize that since the shape being divided is sharp, with all lines converging to a single point, this almost-triangular, three-dimensional space has a cohesive and compact appearance due to the convergence of its lines.

The rectangular edges, on the other hand, are perpendicular to each other, with extending lines that disrupt the converging lines and disturb the overall rhythm, making the composition look awkward.When I discovered that the division of my work affected the visual rhythm and aesthetic of the whole image,

I realized that the "form" of this experimental piece was interfering with the individual beauty of the components. This seemed to metaphorically reflect my theme, conveying the idea of individuals in society being "shaped" by the larger environment and lose their personal 'aesthetic'.

Printing with multiple sheets of paper by one plate 4x 21cm x 30cm

The overall flow and directionality of the exhibition space.

In my smaller print works Crowds, Us 2 and 3, the margin areas are largely preserved to match with the larger prints 1, 4, and 5, allowing the blank space to expand the artwork's spatial presence and enabling them to be exhibited cohesively as a series.

For the year show, the installation utilizes a dark gray background as a display panel, with irregularly cut prints affixed in a way that aligns with the overall flow, giving the setup a compact look.

The smaller prints on the back and two margin-rich prints on the wall extend the spatial feel of the installation, giving it a sense of breathability. While the room’s walls are white, the blank areas in the smaller prints subtly merge with the space, easing the heaviness of the dark gray background board and creating a floating effect in harmony with the two small images on the wall, lending the installation a grounded presence.

Additionally, the sharp angles of the entire piece introduce a directional element that enhances the flow within the exhibition space. The directionality of these sharp angles within the work is subtler than the overall flow, creating a visual effect where each element within the piece resonates with the line direction of others, without disrupting the broader directional movement within the space.

Crowds, us 2 details 38cm x 28cm

The reflection of clouds serves as a metaphor for reality.

In my work, I place “erased” figures—those stripped of distinct personality traits and facial features—into imagined spaces to represent mental group divisions and isolation on a non-physical, conceptual level. The objects in my compositions symbolize a form of metaphor, and I aim to use mirror-like reflections of light and layers to hint at reality. It’s as if one side of the mirror represents reality, while the other represents illusion. In my work, I stand on the illusion’s side of the mirror, using it to infer and glimpse into reality.

'Non-Places place'

Marc Augé, an anthropologist, introduced the concept of ‘non-places’ in his book Non-Places: An Introduction to Supermodernity. He defines non-places as spaces where people experience a lack of identity or connection, such as airports, highways, shopping malls, or waiting rooms.

Unlike traditional “places,” which have meaning and a sense of belonging, non-places are often transitory, impersonal, and designed for anonymity. In my work, I intentionally place the imagery within an indistinct, unreal space. This space represents my impression of the presence of small collectives within society—it's not an objective space where this small group would typically gather, but rather a physical manifestation of the atmosphere created by the group's existence. I believe that, according to Marc's theory, this “non-place” possesses a paradoxical quality of being both open and closed. For individuals, it often comes with certain limitations or boundaries, yet for the larger public, it remains accessible, allowing people to engage with it without fully belonging to it.

The idea of non-places could deepen my depiction of social seperation. In my works, the geometric, void-like spaces surrounding the figures could be interpreted as non-places, emphasizing feelings of disconnection and lack of identity,achieving an effect where anyone could potentially be part of this group, but also might not be; this collective could represent any group, yet also none at all. What I want to illustrate is how modern life increasingly places individuals in settings where they are physically close to others but emotionally distant, underscoring a sense of isolation within collective environments.

Inside Out Project, At the Pantheon, view of the dome from the street, Paris, France, JR 2014

The Inside Out Project is a platform that helps communities around the world to stand up for what they believe in and spark global change locally. Group Leaders create their Actions by displaying large-scale black and white portraits of members from their community in public spaces. -- https://www.insideoutproject.net/en/about

JR’s Inside Out Project is a global art initiative centered around large-scale photographic portraits, aiming to highlight social issues and celebrate cultural diversity by bringing faces of ordinary people—especially those who are often overlooked or marginalized—into the public eye.

Emphasizing Humanity and Group Diversity

JR’s approach transforms ordinary individuals into “public figures,” displaying their faces in large scale and allowing them to silently communicate their identities and stories. The purpose is to emphasize the presence and uniqueness of each person and to encourage viewers to recognize and respect the dignity, voice, and experiences of diverse groups.

I believe that in JR's project, his intent is clear and strong. To me, by initially inviting communities worldwide to upload photos, he is, in a way, encouraging the formation of a temporary, short-lived alliance within each community. People within each community who are willing to participate come together to form a temporary social group, as if the photos he collects compress different communities into compact spheres of information. Then, he projects these spheres to a broader public, making visible what was an unconscious collective awareness, putting it on display under a spotlight.

In essence, I feel that his approach is a detached analysis of social structures. However, by inviting collective participation in the creation process, he makes the project engaging and friendly. He starts from an individual level with a certain respect for each person and gradually builds up towards broader social significance. This kind of participation makes him less of a detached and more approachable. Instead of presenting a finished piece to enlighten the audience directly, his process itself becomes a warm, accessible, and thought-provoking work that resonates with the public and prompts deeper reflection.

As I pondered how to make the audience more immersed in this exhibition, I considered the issue of engagement. JR’s work feels more like a diverse fusion of performance art, which deepened my thinking on this matter. I started to wonder if, compared to interactive art forms that allow for lively conversation, audiences might be less interested and engaged with more two-dimensional narratives. Does directly presenting the outcome of the work to the audience reduce opportunities for deeper communication with people?

Breaking Down Separation and Barriers:

By placing these faces in public spaces, JR aims to break down the distance between viewers and the artwork, forcing people to confront one another. Especially in places where social isolation and group differences are pronounced, this display helps “de-stigmatize” the unknown, creating emotional connections among people.

Social Critique and Collective Consciousness:

Each participating community can choose a theme they wish to highlight, with many focusing on social issues such as racial equality, immigrant challenges, and cultural diversity. Different communities use their group portraits to raise awareness of social issues, sparking broader discussions and a collective consciousness.

JR’s Inside Out Project showcases the individual presence of ordinary people in a grand public space, bringing their faces into the public eye to provoke thought about community, identity, and social boundaries. By creating “visual collisions” in public spaces, JR prompts diverse groups to face each other, challenging the established notions of “group separation” and “social alienation.” This art form is not merely a visual impact but also a profound critique and reflection on social divides. This perspective greatly aids my own exploration of themes of social isolation and division, offering a warmer, alternative viewpoint on these societal issues.

Inside Out, Times Square, The floor and the billboard, New York, JR 2013

In the first and second units, I hadn’t realized the strong sense of loneliness embedded in my work. I always thought that these small group portraits I created were lively and represented a kind of general crowd scene. However, after receiving feedback from a few exhibitions, I noticed that people frequently mentioned sensing this particular emotion in my work.

I believe this was not an emotion or resonance I intentionally wanted to impose in my work. Perhaps my personal feelings about the theme of social division affected the objectivity of this narrative. So, I started to examine and uncover the roots of my emotions: why hadn’t I previously acknowledged or realized this sense of loneliness?

Inner Conflict and Balance: In Karen Horney’s book Our Inner Conflicts, I read that when people experience a clash between two behavioral tendencies, they often choose to give up or relinquish something in order to reach an inner balance and gain a sense of security and stability in their personality. Karen suggests that individuals generally seek to satisfy two main drives: fulfillment and safety. Safety functions as an "avoidance" drive, primarily to relieve anxiety.

When I set the goals for this project and conducted my research, my aim was to explain and illustrate the mechanisms of social group division and its negative effects, such as social isolation and group conflicts, through artistic expression. My intention was to visualize and bring these hidden details and harms to the surface, to present them for people to contemplate and resonate with in a shared group awareness. Subconsciously, I saw myself as merely a conveyor, simply visualizing this process, creating from an objective perspective rather than as part of the group.

As a result, I overlooked the emotions drawn from my own perceptions influenced by the group dynamic, which unconsciously infused themselves into the work. This was a form of avoidance, a kind of self-protection. "If I were part of these groups, I would be influenced by the collective unconscious of a large group, making it impossible for me to tell the group’s story objectively." My understanding clashed with the unreasonable parts of the external world I perceived. This inner conflict led me to disregard my own position within the work, making me believe I was conveying it objectively. Hence, my previous idea that “I am not part of the group I am discussing” was actually narrow-minded and nearly incorrect. My self-reflection is mapped in each clay model I made; each portrait could be a reflection of myself. Especially in those few small prints featuring just one figure, a part of me is greatly reflected in the person, curled up with their head down, reluctant to look up and face reality.

Lifting my gaze from the microcosm of myself to the larger public view, can things like “war,” “racial opposition,” “gender opposition,” and “division among people” be seen as the actions of a large collective striving for balance when confronting their own inner conflicts?

About the Tone of My Work:

When I realized how evident the sense of loneliness in my work was, I thought back to the artists I had chosen as references in the previous unit. Giacometti, Francis Bacon, Edvard Munch, and Seurat all seem to convey their own sense of loneliness within their paintings. I sensed a certain commonality among them, and after further research, I discovered that they are all classified as existentialist artists.which often depicts human figures in state of isolation and loneliness, reflecting the painful inner turmoil of life.

While this feels somewhat familiar when compared to my own works, but in further research, I found their works especially emotionless figures are mainly telling about how people's struggling in their own life and feeling to the world, highlighting alienation and search for meaning in a absurd world.

However, what I aim to express is not only individual situations, but more about using those figureless clay dolls to stand one kind of social distance, a depersonalisation that comes with group isolation, putting the awkwardness of human interaction on stage. I critique isolation as a result of society constructs, that makes my work in line with social commentary and contemporary realism than existentialism.I acknowledge my works are related to existentialism in the formal and emotional similarities, but I also intent to explore other aspects of human experience, such as hows invisible boundaries people created to make us isolated, and how undertring social problems evoke emotions in us all.

Bibliography

Encyclopædia Britannica. Available at: https://www.britannica.com/topic/philosophy-of-art/Formal-principles-in-art (Accessed: 11 November 2024).

Artist JR. Available at: https://www.jr-art.net/projects/inside-out-au-pantheon (Accessed: 11 November 2024).

Artist JR. Available at: https://www.jr-art.net/projects/inside-out-times-square (Accessed: 11 November 2024).

Artist JR. Available at: https://www.jr-art.net/project-list/inside-out (Accessed: 11 November 2024).

Horney, K. (1992) Our inner conflicts Karne Horney.

The largest Global Participatory Art Project Inside Out Project. Available at: https://www.insideoutproject.net/en/about (Accessed: 11 November 2024).

Non-place Oxford Reference. Available at: https://www.oxfordreference.com/display/10.1093/oi/authority.20110803100237780 (Accessed: 11 November 2024).

Tate (1994) ‘on a clear day’, Agnes Martin, 1973, Tate. Available at: https://www.tate.org.uk/art/artworks/martin-on-a-clear-day-p15354 (Accessed: 11 November 2024).