1. Introduction
To review this year’s practice. Conceptually, in Unit 1, it starts from my attempts to reach the boundary of capitalism. I’m interested in how the capitalistic mechanism functions to transform natural resources into the commodity circle, which therefore changes the existing landscape. My practice, at this stage, is to try to use the medium of photography as a tool of contemporary art practice to creatively respond to such concerns. Specifically, I noticed the construction site which reaches the ambiguous boundary between natural and anthropic. The fences surrounding these sites, combined with the image of artificial plants used as decorative city elements or advertisements, form an ironic juxtaposition: a manufactured utopian landscape contrasted against scenes of nature being exploited and reduced to rubble.
Drawing inspiration from Foucault's essay Of Other Spaces: Utopias and Heterotopias (1967), I became increasingly interested in the concept of space, particularly in how space can hold multilayered meanings. Foucault's notion of a virtual space unfolding behind the surface (1976) resonated with me. In Units 2 and 3, my exploration centered on the search for a sense of belonging—a space where utopian visions, physical realities, and personal memory intersect. My practice seeks to reveal the subtle connections that shape the dynamic relationship between personal experiences and the spaces they inhabit. I focus on retaining the essential materials that most strongly resonate with the space, using photography to illustrate the intricate interplay between human presence and the environment.
This critical reflection is structured as an essay divided into three main sections. The first addresses the central themes of my studio practice, followed by critical analysis and exploration of relevant contexts. The third section is the personal reflection.
2. Key Subjects in My Studio Practice
2.1 Identify the key subjects
The key subjects in my practice are inherently tied to the concern of ‘space’. Whether it’s my focus on construction sites, driven by an exploration of capitalism’s boundaries, or my deeper interest in the multilayered meanings behind the surface of spaces beyond the contexts of capitalism and the Anthropocene, these themes remain central to my work.
In Unit 1, my work culminated in three metal boards shaped like the fences commonly seen around construction sites. These boards featured photographs of artificial plants and the weathered surfaces of architecture. Alongside each board were photographs of door gaps and small windows, also found at construction sites, evoking a sense of peeking into hidden spaces. This imagery was intended to reveal the contrast between the concealed, chaotic inner workings of these sites and their polished, idealized exteriors. Overall, the work presents an ironic juxtaposition between the messy, human-altered, decaying landscape and the utopian, artificial, two-dimensional imagery used to convey a pristine vision.
In Units 2-3, I presented 12 photographs, creatively mounted and arranged with careful consideration of the exhibition space. Upon entering, the viewer is first greeted by three large prints on the left and right walls. These photographs depict door gaps, captured at night using long exposure to emphasize the light leaking through. In the center, four windows are mounted on the wall, each displaying photographs on both sides. These images primarily feature personal items and scenes of private spaces. When the windows are opened, they reveal another large print, hidden behind them on the center wall. This interactive element invites the viewer to engage more deeply with the work, uncovering layers that explore the tension between what is visible and what is concealed.
2.2 Evolving of the subjects
The development of my practice this year has been characterized by twists and turns, leading to profound changes and transformations. Although both units address the concept of 'space,' the work in Unit 1 treats space as a result of human intervention, critiquing the relationship between humans and space. In contrast, the work in Unit 2&3 approaches space as an objective but also rendered subject, emphasizing the mutual and dynamic spiritual relationship between humans and space.
To be more specific, in Unit 1, I explore the boundaries of capitalism, examining its pervasive influence on human existence and the environment. This inquiry is inspired by the historical Hippie movement, which sought to escape the constraints of capitalist society and reclaim individual creativity and spiritual freedom (Moretta, 2017). Hippies criticized the suffocating conventions of their time and advocated for a return to more primal states of being, pushing against materialism and conformity (Roszak, 1995).
Additionally, I delve into the concepts of the Anthropocene and Capitalocene, highlighting how capitalism shapes the relationship between humans and nature (Arons, 2023; Moore, 2016). The Anthropocene marks a significant human impact on the environment, while the Capitalocene emphasizes the exploitative economic relations that drive this transformation. My focus lies in the blurred boundaries between the natural and the anthropogenic, aiming to uncover the nuances of this relationship within the context of expanding capitalism.
In comparing Unit 1 with Units 2 & 3, I found that my research and practice evolved significantly. Unit 1 primarily focused on theoretical development, with practical work emerging only after establishing the theoretical framework. In contrast, Unit 2&3 emphasized the intertwining of practice and research, leading to a more integrated approach in my work.
To clarify, my unit 2&3 studio practice has evolved significantly through the exploration of concepts such as utopia and heterotopia, as influenced by Foucault (1967). By investigating the relationship between personal experience and space, I have turned my attention to the color white as a symbol of both emptiness and potential—a reflection of my frequent relocations and the challenge of cultivating familiarity in new environments.
My photographic documentation seeks to capture the emotional resonance of objects tied to specific life stages, such as a childhood toy or everyday tableware etc.. Inspired by Bachelard's notion of inner space, I explore how each individual perceives and inhabits their surroundings. Additionally, drawing from Van Der Wield-Honinckx’s idea of atmosphere, I consider how sensory experiences shape our understanding of space. Ultimately, my work aims to illuminate the intricate interplay between mental states and spatial contexts.
2.3 Personal Context /Motivation
As for the personal context, my work in Unit 1 originated from previous projects before my MA that examined the influence of capitalism on human life. I focus on how existing social structures and the mechanisms of capitalism shape individual experiences. Each person navigates a unique context that influences their journey, linking our search for meaning to broader societal frameworks. While challenging to subvert these influences, I believe that revealing the impact of capitalism on individuals is crucial for understanding ourselves and exploring new possibilities in our lives.
For Unit 2&3, it reflects my personal experiences of relocating frequently since age 12, which has led me to live in five cities over ten years. Each new home presents a blank white room that symbolizes both new beginnings and the anxiety of unfamiliarity. I transform these spaces into my own by filling them with cherished items like quilts and personal mementos, creating a sense of belonging amidst change. Therefore, my practice explores how we connect with our surroundings and how our memories shape these experiences. By using photography, I aim to reveal the intricate relationships between personal experiences and space, highlighting the interplay between human presence and the environment.
3. Critical Analysis and Relevant Contexts
Since my later practice focuses on the themes in Unit 2&3, this section will primarily explore how I engage with these ideas and position them within a broader context. Key concepts that encapsulate my work in Unit 2&3 include space, objects, memory, intimacy, inhabitancy, heterotopia, and the sense of home and belonging. Following my research after Unit 2&3, I began to notice an unexpected alignment between my work and themes of queer concern.
The notion of queerness entered my thinking during a casual conversation with a friend. While sharing an artwork that resonated with me aesthetically, my friend immediately responded, "Oh, it's very queer." I was struck by his swift recognition, especially since the artwork itself didn’t outwardly suggest queerness. The photographs I shared were of objects, displayed on a wall, contrasting with my previous assumptions of queer-related works, which often involve themes of gender, the body, and identity, with recurring motifs of nudity and human figures.
This interaction sparked a deeper reflection, leading me to question whether there are subtler, more abstract interpretations of queerness that go beyond the overt and physical representations. Can a work be ‘queer’ without explicitly engaging with the body or identity? This inquiry has since informed my further practice, as I explore how queerness might manifest in more nuanced ways through themes of space, memory, and intimate objects. Or of it's ok to say that queerness, to certain extend, is hidden inside of us.
3.1 Context - Queer Phenomenology: Orientation, Objects, Others by Sara Ahmed
Motivated by the emerging potential of this area of study, after the summer show, I begin my research with Sara Ahmed’s (2006) book Queer Phenomenology: Orientation, Objects, Others, which surprisingly addresses shared concerns about objects, inhabiting space, and the body—elements that have inspired my further practice. More fundamentally, Ahmed explores the concept of orientation, situating it within phenomenology rather than confining it to sexuality.
Phenomenology serves as both a philosophical perspective and a method of inquiry. Its core premise is that the deepest human truths can only be grasped through personal inner experiences, emphasizing the inseparability of individuals from their environments. In this phenomenological context, Ahmed highlights that consciousness is always directed toward something, shaped by lived bodily experiences. This approach provides a valuable framework for queer studies, revealing how habitual actions and proximity to objects influence our relationships with bodies and spaces, thus allowing for a nuanced exploration of queerness as a lived experience. Regarding orientation, I will illustrate its logic as follows:
To elaborate, our past experiences shape our perceptions of the world and the objects within it, influencing our current emotional responses. This history determines our orientation toward certain objects, whether we feel attracted to them or distanced from them. It highlights the proximity between our bodies and these objects. This understanding informs how we inhabit space and how we engage with our shared environment.
In the original book, (in the illustration) each Section and the mutual consequential relationship between them has been explained in detail drawing on queer studies, feminist theory, critical race theory, Marxism, and psychoanalysis. In conclusion, Ahmed focuses on building upon the concept of "orientation" as discussed in various phenomenological texts, and uses that concept as a foundation for engagement.
My project explores the subtle relationship between people, objects, and intimate spaces, focusing on how connections are formed. I’ve come to see objects as “carriers of memory,” linking us to spaces through familiar arrangements and placements (like a desk positioned or objects arranged by habit). Beyond the surface, a deep emotional and spiritual connection exists between people and spaces, shaping our physical, emotional, and behavioral responses. In Ahmed’s way of speaking, its how we perceive worlds in relation to the “proximity” between body and objects through action. Our action, or intentionality, then, creates lines of direction that shape our perception and how we orientate ourselves toward the objects. This connection drives us to engage, withdraw, or transform our surroundings, embodying the concept of inhabitancy.
But what does it relate to queer? In the first chapter ahmed mainly explain the concept of orientation which resonate with the concern of my project. But in terms of the queer and how does it be sensed by art work without direct clear denotation is still a problem.
3.2 Define Queerness and how it relates to photography
Ahmed explores queerness through her concept of "orientation," asking, What if our bodies turn toward objects that aren’t supposed to be there? She expands this idea of queerness to explore how non-normative orientations can reveal how space is organized around certain bodies and not others. For instance, when bodies do not follow these “straight” paths, they must find new orientations or ways of inhabiting space that don't align with conventional directions. This deviation redefines individual experience and highlights the social structures that enforce conformity. Queerness, then, is an alternative orientation—a way of inhabiting and moving through space, time, and relationships differently from the dominant “straight” paths.
In Queer Methodology for Photography (2024), Åsa Johannesson defines queerness as a "generative principle" that challenges conventional representation, focusing less on identity and more on the strategies behind image-making. They suggests that queerness can be felt through subtle shifts in form and materiality, not just through identity markers.This insight addresses my query about evoking queerness without relying on explicit representations of sexuality or identity, instead using artistic choices to create alternative, non-normative expressions that hint at queerness beyond visible identity.
While Ahmed’s definition of queerness concentrates on more essentially, the psychological and philosophical cause, Johannesson ’s definition, on the other hand, more focus on the artistic practice - photography aspect. Johannesson's approach to queerness in photography aligns well with my exploration of intimacy, private space, and identity through personal objects. They sees queerness as a lens to question and expand beyond conventional representations, offering a set of methodologies that rethink how identity and presence are visually captured. This resonates with my work on personal, intimate spaces like nightstand drawers, as both explore identity in subtle, non-binary, and open-ended ways, challenging norms and engaging with themes of intimacy, memory, and individuality in unconventional forms.
Johannesson (2024) concludes with five methodologies for queer photography. Their approach to image analysis is informed by practice-based research, which sees knowledge as generated from matter and technologies as well as theories and concepts. This approach focuses not only on the outcome but also on the process that produced it. In this way, they categorizes these methodologies.
To summarize, Chapter 2 begins with pioneering queer photographic practices through the concept of representation. Chapter 3 examines the relationship between photography and writing, focusing on the materiality of images and poetic text. Chapter 4, “Skin: A Material Image,” considers photographs as sensory objects with physical presence. Chapter 5 discusses how queer methodologies embrace ambiguity over exactness. Finally, Chapter 6, “Ground: On the Margins of Photography,” explores unconventional and experimental practices like cameraless photography and 3D forms, redefining “the margins” as spaces for innovative, nontraditional approaches.
Johannesson 's book is compelling in its organization of related art practices into several overarching directions, each artist taking unique paths shaped by their contextual materials. This perspective has broadened my view of creative possibilities while reinforcing the importance of grounding my work in a solid, personal context to enhance its distinctiveness and clarity.
Unlike some of the initial approaches in Asa’s book, she defines queer photography as rooted within queer circles. However, I’m interested in exploring a broader idea: “queer” as an attitude, a challenge to established social structures, discourses, trends, and values. For me, this pioneering, experimental spirit is at the heart of queerness—a potential in everyone to defy norms. This is an initial thought I had after my current practice and reading,I aim to explore this concept further as a theme for future research and practice.
4. Personal Reflection
In reflecting on my creative process, I noticed distinct differences between Unit 1 and Unit 2&3. In Unit 1, I followed a theory-driven approach similar to my pre-MA work, often starting with readings or research that resonated with my observations about the world. This method had the advantage of grounding my work in academic discussions, providing an immediate position within scholarly discourse. However, I began questioning the role of contemporary art practice in contributing to these discussions. Academic research demands rigorous proof and critical analysis, but I wondered how meaningful my artistic interpretations were to scholars, feeling at times like I was merely translating theory into visuals. This concern emerged early in my MA studies.
In Unit 2&3, I shifted to a practice-based research approach, which broadened my understanding of knowledge production. Here, knowledge emerges from the interaction of materials, processes, and theories, with emphasis on the journey rather than just the final outcome. This methodology addressed my earlier concerns, offering a more flexible and integrative way to explore contemporary issues. Inspired by Asa’s contextualized image analyses, this contextualization revealed to me how art can act as both a reflection of the present and a touchstone for future generations, offering insights into our current ways of thinking. As an artist, this felt like a compelling direction, where my responsibility lies in capturing and presenting an honest, critical view of the present. In doing so, I contribute to an evolving dialogue that others might use to understand our shared experiences and values.
With practice-based research as my guide, I began integrating research, reflection, and hands-on practice more fluidly, letting intuition drive my choices in topic, materials, and aesthetics. This process became deeply immersive and iterative, with each new discovery—whether from reading, exhibitions, or experiments—adding layers to my understanding and often leading to new insights and directions. This approach created a self-sustaining cycle of inspiration, which, though sometimes overwhelming, was also invigorating, pushing me to continuously evolve my ideas.
However, translating this dynamic and nonlinear process into a finished work presented challenges, especially when preparing for public exhibitions like the summer show. Organizing my “messy” practice into a coherent final piece required significant time, as I had to distill and refine various threads into a clear narrative. I found that setting rules and goals was crucial to shape the final work effectively, and critiques from fellow artists played a vital role in helping me improve the presentation. This feedback helped me see how my work could resonate within the gallery space and with an audience, highlighting the importance of both clarity and cohesion in reaching viewers.
Rererence
Ahmed, S., 2020. Queer phenomenology: Orientations, objects, others. Duke University Press.
Arons, W. (2023). We Should Be Talking about the Capitalocene. TDR, [online] 67(1), pp.35–40. doi:https://doi.org/10.1017/S1054204322000697.
Foucault, M., & Miskowiec, J. (1967). Of other spaces. diacritics, 16(1), 22-27.
Johannesson, A., 2024. Queer Methodology for Photography. Taylor & Francis.
Moretta, J.A., 2017. The hippies: A 1960s history. McFarland.
Moore, J.W. ed., 2016. Anthropocene or capitalocene?: Nature, history, and the crisis of capitalism. Pm Press.
Roszak, T. (1995). The Making of a Counter Culture : Reflections on the Technocratics Society and Its Youthful Opposition : [with a New introduction]. Berkeley: University of California Press.
