Part 1 Project in Unit 1
Exploring the modern urban construction landscape has been an intriguing journey during my Unit 1 project. Instead of merely seeing construction zones, I’ve come to view them as dynamic spaces tailored for human interaction. What caught my eye amidst the steel and concrete were the fences adorned with various types of content. Usually, these fences are covered in lots of commercial ads, making them more than just protective barriers. They are transformed into vibrant billboards, subtly expressing the value of capitalism. The graphic design and colour choices in these advertisements not only embody capitalist values but also shape the visual culture of our modern city. They achieve this by prioritizing publicity, speed, and eye-catching elements in their presentation.
In addition to this, it is interesting to note that there are slight differences in the content on these fences in different countries. In China, besides adverts, political propaganda of national values is included. I began to think that the function of the fence itself is to be used for shelter, so why not put on its surface a pattern just for landscaping? It is not difficult to conclude that because of the value of the dissemination of these messages determines such a choice. Perhaps, it has been taken for granted by various marketing planners as a means of commercial promotion and absorbed by passers-by as part of the urban culture. But this is what worries me, the inability to perceive contemporary human culture in a capitalist-centred framework.
London, England | 2023
Moreover, an intriguing observation emerges when comparing the content adorning fences across different countries. While advertisements in many places, my home town in China stands out with the inclusion of political propaganda promoting national values alongside ads (Figure 1). This led me to contemplate the fence’s purpose as mere shelter and sparked the idea of utilizing its surface only for decorative landscaping. However, such thought is hard to realize. Because the choice of content on the fences is based on the priority of message dissemination in both commercial and political promotion. it’s possible that marketers or some governments have embraced fences as a commercial canvas, seamlessly blending into urban culture for passersby. Yet, this raises a concern: the challenge of recognizing contemporary human culture within a framework solely centred on capitalism.
Beyond my collection of photographs from China, my exploration extended to observing ongoing construction sites in London. During research, an intriguing parallel emerged between East and West: the fake grass patterns. This discovery resonated with my earlier idea about using fences merely for superficial decoration, which is a way of human practice outside the framework of Capitalism.
I take the coincidence of adopting the fake grass pattern both in the East and the West as one possible proof of humanity's shared inclination towards embracing nature in various forms. During the research, Arons (2023) argues that ‘the term “Capitalocene” more accurately directs attention to the socioeconomic system that enabled the large-scale transformation of the earth through equally large-scale exploitation of “cheap” natural and human resources’ .
The construction site stands as an exploitation of nature and human resources. It symbolizes the intricate workings of modern society, driven by purpose, human labour, complex supply chains, and vested interests. Yet, it also represents an intriguing interaction with nature and human capabilities. The artificial grass adorning the fence, in its attempt to conceal, might just be a subtle nod to our innate connection with nature's aspirations.
Ulrich Hensel's artistic focus centers on the built environment, especially construction sites, where technical, economic, and cultural activities intersect. These spaces become vivid narratives portraying the sociology of worldly materials. His photography captures these construction sites, often presenting them almost abstractly, neatly arranged across the photo's surface. What should be chaotic scenes appear as meticulously composed and aesthetically captivating as oil paintings. The success of Hensel's work lies in meticulous research tours through urban landscapes. This not only crafts the striking aesthetics but also prompts viewers to contemplate construction sites' contrast: the unexpected beauty against the assumed disorder, stimulating reflection on these environments.
Fake grass patterns on the fence in China ,Jiangsu, China | 2022
London, England | 2023
Visual Experiment | 2023
Düsseldorf, Hermann-Schauten-Weg, II
Ulrich Hensel | 2000
Düsseldorf, Königsallee, I
Ulrich Hensel | 2003
Düsseldorf, Breite Straße, III
Ulrich Hensel | 2003
Part 2 Practice
Inspired by Elad Lassry, this artist's work resonates with my artistic approach, as we both aim to blend imagery with tangible materials like fabric, metal, and drawings in our art. However, his biography suggests he uses this fusion to juxtapose 'traditions of storytelling with images and the lingering historical echoes within them, even when removed from their original context.' Conversely, my intention in combining imagery and external materials is to craft robust narratives by merging the image's inherent qualities with symbolic external elements while retaining their indexicality. By manipulating their relationship, I seek to introduce new contexts, thereby presenting my thematic ideas.
Elad Lassry, Untitled (Boots, Mackerel), 2018
Silver gelatin print, offset print on paper, walnut frame
14 1/4 x 11 1/4 x 1 1/2 inches (36.2 x 28.6 x 3.8 cm) framed, EL 401
Elad Lassry, Untitled (Lizard), 2017
Silver gelatin print, carpet,
walnut frame
10 3/8 x 8 3/8 x 1 1/2 inches (26.4 x 21.3 x 3.8 cm)
Elad Lassry, Untitled (Man) ,2016
Silver gelatin print,
walnut frame, carpet
14 1/2 x 11 1/2 x 1 1/2 inches (36.8 x 29.2 x 3.8 cm), Unique, EL 305
Elad Lassry, Untitled (Costume) B, 2013
C-print, Walnut frame, 4-ply silk
14 1/2 x 11 1/2 x 1 1/2 inches
(36.8 x 29.2 x 3.8 cm)
EL 194
I have selected three ways to cover the surface of a construction site as insight into designing.
I try to imitate its form, but the aim is to overlap, display and contrast the constructed scene that is originally covered by this fence/net with the natural scene that I have collected. I hope that my work will try to break the relationship between covering and being covered up in this natural to man-made edge. I think the exposure of the ruins, the overlap with nature is a testimony to the edge of capitalism, which not only records the moment when natural resources are transformed into the functioning of human society, but also represents the complexity of society as a huge machine through the selection and attachment of images on the exterior, the different contents of the images under different political systems, and the debatability of the relationship between nature and human beings, as well as a critique of the ideology of today's society. and a critique of today's social ideology.
Experiment, 2023
I find that using sheet metal as a material covering yields the best results for several reasons. Firstly, sheet metal bears a more direct association with construction sites compared to wires and nets, serving as a clearer symbol for viewers. Secondly, the meticulously cut sheet metal embodies a human-crafted transformation of natural materials in both its form and substance. This aligns seamlessly with both my personal experiences and the essence of my subject matter, intertwined with images of nature. Lastly, in terms of visual impact, the form exudes a sense of completeness, offering a systematic and tidy aesthetic.
Experiment, 2023
Experiment, 2023
Part 4 Final Outcome
Untitled ｜Zhichao Liu ｜ 2023
Semi-Gloss Vinyl Print, Steel, Wood Board
30 x 50 cm
