Context briefly describing the overarching concerns, themes, inspirations, and subject of studio practice.

We treat memories like prized possessions, elevating them, treasuring, and revering them. I delve into the repositories of tangible objects and the internal archives within me. I repurpose those instances, deconstructing and reconstructing them into immersive environments and narrative settings.

By delving into my memories and contemplating the analytical aspects of the significance of memories to me, I can incorporate digital technology to generate immersive environments that aim to evoke emotions through various elements like colour, composition, camera angles, texture, and animation. I found myself exploring and refining these components and arranging them in a room-like setting, which posed an eerie quality and a sense of disorientation regarding their existence.

Gregor Schneider’s Haus Ur can be seen as a sort of ‘mental scape’. The term ‘Ur’ signifies original, a notion he challenges by continuously altering the house’s interior, making it impossible to pinpoint the original. I find this analogy similar to how memories are perceived, seeing them as fragile and temporary.

What I have learned through the making/ process of investigation / how I have attempted to communicate ideas through my work.

As I sketched and mapped out ideas, the visuals for each scene started to take shape, giving me a glimpse of what the final scenes would entail. I titled this series "Recollections" because it merges archival memories, objects, images, and reminiscences into a cohesive narrative. Materiality and textures serve as anchors for significant emotions, intertwining with our connections to specific connotations. Referencing Illena Di Maria's work, I observed how her scenes evoked emotions, looking beyond the first layer. How mainly lighting captured the essence of emotions felt. Reflecting upon that I then started to look at layers in my work, using light to show time, and noise texture to present presence and ambiance.

Memories are often overlooked and can often become an endless cycle. Therefore, I needed to maintain focus and refine my approach to memory within an analytical context. I delved into the concept of liminal space, the ambiguous transition between the past and the future, encompassing physical, emotional, and metaphorical aspects. Concerning my work, it feels as if one is revisiting a memory in an alternate realm. The objects within this space become tantalizing, yet there exists a barrier preventing one from physically engaging with them, mirroring the elusive nature of memories that can only exist as we remember them.

I was working on the still image, but I wasn't quite satisfied with the immersive aspect yet. After further investigation and attending my individual and group tutorials, we started talking about animation and gaming. Primordia 2022 explored childhood memories using an interactive game during a show. When I researched this myself, the interactivity during degree shows was not as successful. Despite that, I experimented to include movement while ensuring it didn't distract from the models' context. I found it fascinating how I could enhance my work with movement. I first tested importing my models in Unreal Engine to find that it was not something I was interested in for this unit as it created a distraction and did not support my current practice. In doing so taught me various ways of seeing my work in different digital environments. Instead, I decided to incorporate elements like wind and sun to bring life into my pieces. I wanted to maintain the audience's focus on specific points, so I used a static shot with motion to achieve that. It plays with the contrast between the camera's stillness and the movement within the frame, adding a unique visual storytelling element.

Contexts and how have I analysed my individual work in relation.

I have often questioned the role of technology in my work. With an interest in memories, organic shapes, and sculpture, I have dedicated my time to refining my skills and processes. I have long admired the potential of technology and how it can intersect with the current themes in my practice. This exploration has sparked a curiosity in me to integrate technology seamlessly into my work, enhancing the depth and impact of my practice. When I use technology in my art, I see it as a collaboration where I still have that creative control. I'm interested in the whole process of creating and the technical aspects of how I bring my ideas to life. I rely on memory, emotion, and intuition to shape my models. My art is all about capturing those precious memories and sharing them through visual storytelling. I showcase my work through projections and screenings, which pushes me to step out of my comfort zone and present confidently.

Growing up as the youngest of five siblings, I often felt like the world was spinning around me at a rapid pace while I remained at the centre, in stillness. Despite a nurturing upbringing, there are moments when I find myself in solitude. In my artistic compositions, I reflect this by centring my models, creating a sense of seclusion and focus, where there are no distractions, just a connection between the viewer and the subject.

Researching into wider professional skills

Attending gallery visits like ESEA, artist talks, dork bot, and tutorials has helped me gain experience in discussing my work and speaking confidently in a group. It's connected me with the community and exposed me to various making processes and thought processes that could benefit my practice.

I managed my studio practice well by using calendars and planning. Each scene, with render times included, can take 20-30 hours. During rendering, I use my time efficiently for documentation and research. Participating in group crits boosted my confidence and helped me develop my practice and research. Engaging with technicians and participating in the inductions prompted me to contemplate my methodology for mounting pieces for the degree show. It underscored the significance of safety measures and selecting the appropriate tools to ensure a professional installation.

Degree show and communication

I tried different layouts and projection mapping with projectors to find the best setup. Using monitors gave me the quality I wanted. It was tough deciding whether to keep all my scenes together or split them up. In the end, I chose one main scene for projection and used the others for a different installation. This setup worked well, creating a more ambient feel. I initially wanted to use found audio for the degree show, but after researching, experimenting and testing it in audacity, I realized it was not appropriate to use. Reflecting on this decision, I still wanted to bring that element of present and therefore opted for a nature, wind  effect. It brought life and filled the space with ambience and immerse without giving a pre determined perception to my work. As I developed my work, I changed the layout of the tv screen and instead used full sized animations. The impact and detail of the piece felt more immersive and gave the viewer more intimate time with each scene. The initial plan was to have the tv monitor wall mounted however in response to reflecting upon Jane Jin Kaisen's installation at the ESEA Gallery, the composition we decided on was for the tv to be tilted on an angle, this elevated the room and utilised the floor space.

Future plans 

I plan to leverage the skills I've acquired to transition into a business environment, focusing on marketing and modelling for companies. By immersing myself in their concepts and dedicating time and effort to bring their ideas to life in a different realm, I aim to contribute effectively to their projects.