1. The first context of my research is about the discussion of space
This semester, I discovered my interest in the theme of utopia, building on my work from last semester. Previously, I focused on the subtle relationship between the ideal scenes depicted by capitalism on fences outside construction sites and the nature being transformed behind them. I realized that if the ideal time in the advertisement was viewed as an imagined utopian space, it juxtaposed sharply with the current physical space. This led me to think about the complex connections between space and people. Imagined ideal spaces are constructed by human imagination, emotions, and visions. The coexistence of real spaces (nature being transformed) and imagined spaces (propaganda images) arises from the workings of capital and the politics of space it creates. My interest now lies in exploring these imaginary constructs, the spaces people feel internally, and how they extend from real physical spaces.
An important context for my research comes from Foucault's essay "Of Other Spaces: Utopia and Heterotopia" (1967). In this essay, Foucault introduces two main concepts. Firstly, he explores utopia, defining it as an imaginary realm, such as Plato's Republic or More's Island, that emphasizes the limitations of real human relationships. Utopias represent not what currently exists, but an idealized vision of what should exist. Foucault then introduces the main focus of the essay: heterotopia. Unlike utopias, heterotopias are tangible spaces that exist in reality, revealing the possibility of transcending the limitations of everyday life. I believe this concept elevates the discussion of space beyond the merely physical to encompass a complex interplay of social contexts, knowledge, culture, and personal interpretation.
These factors intertwine to construct our reality. I believe that exploring the complexity of recognizing such spaces is valuable because it reveals the subtle and often unnoticed culture, knowledge, and stories behind these phenomena. Such exploration is a driving force behind my artistic practice.
2. The second context of my practice is to use my own experience to try to respond to our relationship with space, especially intimate space and the home.
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After delving into the concept of heterotopia, I found myself captivated by the exploration of space and the intricate relationships it entails. Subsequently, further reading, particularly 'The Poetics of Space,’ by Gaston Bachelard (1958) significantly influenced and refined the direction of my practice.
He is immersed in deep thoughts, exploring philosophy through the lens of poetry. He frequently cites various poets and writers to articulate his ideas on how people perceive and contemplate the spaces we inhabit. Drawing on the concept of heterotopia, he argues that space is not merely a physical entity but is rich with symbolic and metaphorical meanings. He investigates how different types of spaces evoke distinct emotions and examines how these emotional states influence our creativity and imagination.
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He uses three types of inner space to correspond with three types of real-world space to illustrate spatial imagery and poetic imagination.
Firstly, he links human imagination with the house, the bird's nest, and the seashell. He believes that dwelling spaces transcend geometric space, providing protection, happiness, and stability. He emphasizes that inner space is tied to happiness, with the house offering the greatest sense of shelter. From the physical house to the house of poetry and dreams, poetry imbues inner space with symbolic meanings, allowing humans to find their ideal resting place in dreams.
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The second type is the inner space of concealment and reminiscence, represented by drawers, chests, and cabinets. These storage spaces are seen as containers for the human heart. Through the poet's imagination, they transform from mere storage places into infinite, deep black holes that hold human secrets and hidden desires. This imagery is crucial because it is within these spaces that basic human consciousness truly resides.
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The third type of space is the corner, which symbolizes the home of the ego. He believes that the house is the house of the ego and the corner is the house of the id (self). Entering this secluded space allows one to become one with the corner and emerge with the realization, "I am the space in which I am”. When a person's self is to be in a corner, he already thinks that he has formed a hidden world, and that he will not be affected by the actual space of the external world; even if he is in an open, bright place, once he has huddled up, he will have formed a “corner".
In conclusion, inspired by this book I wanted to explore my own definition of space through my own experiences. This led to a series of photographs of my own space, visual experiments and attempts to capture and present this subtle understanding and definition of space through my personal perspective, using surreal photographs.
3. Reflection
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After completing my work for the Copeland Show, I began to reflect on my current project. Firstly, the current work lacks formal unity. From the viewer's perspective, it appears as three separate images rather than a cohesive narrative, and its overall completion is not that high. Secondly, thematically, it seems more like a response to concepts and theories than my previous works. I draw on personal feelings and related readings to inform my creation, resulting in a more poetic and abstract final concept.
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This approach has its strengths; it offers a surreal kind of photography that explores new expressive possibilities in the medium. However, it also has drawbacks, as it can be too strange and abstract for the viewer to easily grasp. Interestingly, I noticed similarities between my poetic creation and the work of many painting majors in the Copeland Gallery. This observation made me question whether this approach might be more suited to painting than photography, given that photography traditionally carries an archival quality and is grounded in reality.
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The internal debate continues in my mind. I recall a seminar on realism, where a notable argument was presented: realism involves the representation of real events, but it also encompasses the objective existence of complex and abstract emotions. From this perspective, as a member of contemporary society, my identity and experiences might reflect the life of an immigrant, a wanderer who moves frequently. My works are, therefore, a reflection and expression of such experiences.
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I often question whether my experience truly matters or if it holds any significance or interest for others. However, I found some encouragement in Tim Ingold's book, Anthropology: Why It Matters (2018). Ingold’s insights helped me realize that my personal narrative and its expression through art contribute to a broader understanding of human experiences and emotions.
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"In anthropology, this understanding of the being and
becoming of things – this ontology, if you will – is known as animism. Once dismissed as the most primitive of religions, founded on a mistaken belief in the spirituality of objects, animism is now regarded as a poetics of life that betters even science in its comprehension of the fullness of existence. That’s what comes from taking others seriously."
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"We can no longer afford to be so complacent today. For it has become evident, as never before, that the existential certainties upon which the modern era was founded have taken the world to the brink. We need to forge alternative approaches to the problem of how to live, which might heal the rupture between ways of knowing the world and ways of being in it, between science and nature. This healing is a necessary step along a path towards a future that is open-ended and sustainable."
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One artist's work that inspired me to move forward is Carey Young. Some of her work addresses the challenges of authentic documentation. I was particularly struck by her exploration of law. Given that law is an abstract concept, her use of photography and performance to express such a shapeless idea is remarkable.
Young's artwork on law does not directly discuss the abstract concept of law itself. Instead, she approaches the subject from various angles, including contracts, courts, and female judges. This method refines abstract issues by using more concrete elements to convey ideas. Her work follows a macro theme (law) and delves into specific phenomena (related sub-themes).
In comparison, my current practice seems to be fixated on discussing broad issues. Young’s approach suggests that refining themes and exploring them through tangible aspects could be a beneficial practice for me.
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Citation
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1.Bachelard, G., (1969). The Poetics of Space. Translated by M. Jolas. Boston: Beacon Press.
2. Foucault, M. (1967). Of Other Spaces (Des Espace Autres), foucault.info. Available at: http://foucault.info/documents/heterotopia/foucault.heteroTopia.en/ (Accessed: 9 January 2024).
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3. Ingold, T 2018, Anthropology: Why it Matters. Why it Mattters, Polity Press, Cambridge.
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