Critical Reflection | Zhichao Liu

1. Starting Research - About 'Utopia'：

For the research proceeding from Unit 1. I switched my interest to utopia. I was inspired by the essay Of Other Spaces: Utopia and Heterotopias (Foucault, 1967). In this essay, Foucault (1967) presents two main concepts. Firstly, he explores utopias, which he defines as imaginary realms such as Plato's Republic or More's Island, highlighting the limitations of real human relationships. Utopias depict not what currently exists, but rather an idealized vision of what should exist. Moving on, Foucault introduces the primary focus of this essay: heterotopias. Unlike utopias, these are tangible spaces that exist in reality, yet they unveil possibilities beyond the confines of everyday life. In the subsequent sections, Foucault elaborates on heterotopias by outlining a set of principles that govern their existence.

I am especially interested in principle 3 and principle 6:

Principle 3:

Heterotopias arrange multiple spaces. In contrast to utopia,

known for its uniformity in attitudes, styles, and structures, heterotopia is about diversity,

the deliberate cultivation of "otherness," and opposition.

It has "the power to juxtapose in a single real place several spaces,

several emplacements that are in themselves incompatible" (p. 19).

Principle 6:

Heterotopias expose real spaces. This is potentially the most complicated of Foucault's principles,

particularly since the author emphasizes the reality of heterotopias (when compared to the fanciful

nature of utopias).

His argument here concerns the rhetorical nature of spaces, the sense

that - despite their apparent "reality" - all emplacements enact visions of public life

that are temporary choices, not unchanging realities.

He offers two perspectives on this practice.

>Principle 6a:

Heterotopias of illusion, such as brothels, expose the "interiors" of our fantasy lives, opening our

domestic selves to the outside world while providing

"social safety valves" for the tensions of those environments.

>Principle 6b:

Heterotopias of compensation,

such as the Puritan colonies we discussed while reading John Winthrop,

expose the messy and disorganized nature of even our most well-disciplined public spaces.

If I were to apply Foucault’s concept to analyze my previous work in Unit 1, the advertising rendering picture outside the construction site or the image of fake grass (representing fake nature) could be interpreted as utopian. The construction site, comprising both the physical construction area and the idealized imagery, could be regarded as a heterotopia. This is because it juxtaposes the fantasy (the rendering outcome or the nature picture) with the reality, which contains disparities from the depicted world. It serves as the heterotopia of illusions.

Besides, such juxtaposing relationship comes from a use of utopian fantasy to achieve capitalistic purposes (advertisement, marketing, urban design, transforming nature into artificial). It brings my research topic to the next level which is about the deeper relationship among ‘the Space’, ‘mental’, and ‘capital’. (why) Because, through my current research, the three elements are intertwined together to build a contemporary human habitat. (Why it is important) how do we understand space? How do we engage with the space? how do we build a personal space? how does space influence us mentally in our lives? These are the main interests behind my research.

After this research and reflection, more interesting questions/research directions emerged:

/ Specifically, I decided to carry on my research in two main directions:

I'm intrigued by the concept of utopia. In my previous project, utopia seemed more like an imaginary fantasy that was instrumentalized. However, I have a sense that utopia could hold deeper significance, especially when it's intertwined with photography, a medium generally perceived as reality-based. In this part, I will mainly focus on the relationship between Space and Mental.

2. I’m interested in a discussion of space. Especially when I read Foucault’s essay, I found that space can not be simply defined according to its physical traits or existence. It can be extended to reach more political or personal concerns.

2. Research - About Photography and Utopia

Through research, I discovered that utopia can elicit diverse and creative responses from artists across various contexts. For some, it serves as a nostalgic representation of past beauty, while others utilize it as a means to express their inner wishes or worlds.

https://www.1854.photography/2020/04/picture-this-utopia/

Artist: Cao Fei | Artwork: My Future is Not a Dream 03. Whose Utopia Series. 2006. Inkjet print. 120x150cm

This series of work focuses on the lives of Chinese domestic emigrant factory workers and their contemporary utopia amidst the backdrop of globalization. It explores how they navigate and redefine their experiences, standards, and meanings within the pervasive forces of globalization. Through this lens, we gain insight into how they illuminate their 'utopia' within a new reality. Their utopia not only serves as a beacon that invigorates their own lives but also serves as a testament to how globalization is reshaping the Pearl Delta River region and China as a whole. In this regard, utopia emerges as a contemporary myth that propels us forward while also serving as a mirror reflecting the reality in which we live.

While this work adopts a distinctly contemporary perspective on China, it evokes the notion that 'utopia, more often than not, carries an undercurrent of dissatisfaction—a relentless pursuit of an unattainable goal.' Inspirationally, this photograph builds a contrast between the ideal with reality, which can be used as a method that underscores such tension.

2. Tereza Zelenkova

“If I’m to think of the past as a form of utopia, this photograph springs to mind. I took it during one summer spent with a group of my friends in rural France. It was a period that we gave to ourselves to research, make new work, and to enjoy some time together away from our busy lives in the city. The idea of luxuries, such as undisturbed time to think and work, spending the majority of our time in outdoor, open spaces, or being in close proximity with friends, seems quite remote these days.

3. Justine Kurland

“I intended my photographs as a counter-response, an opening through which to imagine a way out. I wanted—and needed—to create a version of motherhood that was bearable”

3. Research - A Response Related to Heterotopia from a Photographer's Work

Photobook Sleep by Hiroshi Takizawa (2017)

(http://selfpublishbehappy.com/2019/01/sleep-by-hiroshi-takizawa/)

The Original Book Description is:

‘Sleep’ consists of images from a hotel room during a residency project in Bangkok. The images attempt to capture how time and behaviour emerge in a confined space. Despite the coming and going of people in and out of the room, there is nothing residual that claims their presence. There is little movement of the articles in the room. The furniture and curtains stay still, except for the bed covers. Through time, space and behaviour - every day, the bed covers present themselves in a different form, changing their shape as if a living sculpture.

I like the idea of living sculpture in the original description. Such sculpture indicates and proves the existence of human activity. In the space, the trace and final presenting state of the curtains, furniture and duvets is left after certain human behaviour. The space of the hotel is where these continuous and renewed human activities overlap, which builds the depth of such space. it is interesting because it attempts to present the complexity of the space (three-dimensional) through photography (two-dimensional). By creating with the left human trace, it also shares the spiritual concern of space and therefore extends the meaning of the space

4. Practice - In response, I Also Experiment with Documenting the Space.

Inspired by Hiroshi Takizawa's (2017) Photobook, I started my practice of using photography to build the connection between mentality(mental factors) and space. Documenting the space with photography is not hard, but the hard part is how to document the personal feeling/understanding/experience of such space.

The colour ‘white’ is the first word that comes into my mind. For me, white is the starting point that I got used to when I ever tried to build my own space. Since I was 12, I've been moving a lot due to my studies and my parents' work. I've lived in five different cities over ten years, often staying with relatives. Each time I move, I'm greeted by the blank canvas of a white room – empty walls, shelves, beds. White signifies vacancy, awaiting personalization. Despite the frequent changes, one thing remains constant: the discomfort and uncertainty of adapting to a new space. I strive to recreate familiarity by arranging items based on memory – from the order of books on my shelf to the placement of my key. These rituals, repeated with each move, provide a sense of continuity amidst the flux of change. They offer insight into the complexity of emotions evoked by the blank slate of a white room.

Intuitively, I’m interested in shooting things in white which related to space. I made a demo of my photobook. Here are some pictures selected

These Photos are taken in my current room in London, and my studio where I spend most of my time at. The color white can be used as a canvas that is pure and empty, in my case, it is the same in the three-dimensional space which means renewed and empty. During the shooting, I tried to utilize the white element as a canvas(clean background) in the space to highlight the unique (that belongs to me) trace(items of mine and the naturally lifted vision after use). Similar to Hiroshi’s logic, I think the lifted trace is proof of engagement between humans and space. Each trace is unique and can only exist after a certain living habit. The trace is a poetic identity of a human’s living.

5. Research - Relevant readings and works that relate to the color white

In the book ChromePhobia by David Batchelor. There is a discussion about white and coloured pastels in the past when it was believed that "heaven is white, pure and clean" and that "decorations, clutter, glitter and colours are a sign of primitiveness and depravity, representing chaos, disorder, imbalance, narcotism and filth. "

Despite such historical interpretation/stereotype, there is also an exhibition called “Paint with White” in Tate Modern curated a few artworks that are also concerned about the ‘White’.

https://www.tate.org.uk/visit/tate-modern/display/in-the-studio/painting-white

The introduction of that exhibition is:

Artists have made paintings that use only the colour white since the early twentieth century. Single-colour paintings, known as monochromes,

are an important way for artists to make abstract works. Using only white might seem, at first, to take this approach to extremes.

Without image, and pure, the white monochrome appears to resist meaning and interpretation. For some people, it has come to

symbolise everything that is believed to be elitist and difficult about modern and contemporary art.

While the paintings and reliefs in this room all use white or a range of near-white hues, they demonstrate the many ways in which such an apparently reduced range of possibilities can be employed.

Far from limiting artists, the decision to restrict themselves to one colour can open up a rich and versatile area of investigation. It draws attention to a variety of techniques, materials, textures, surfaces, structures and forms, and emphasises the responsiveness of white to light and shadow.

The artists in this room also explore the philosophical, poetic, spiritual or religious associations of white, which in some cultures can suggest contemplation, emptiness, the void or infinite space. Considered in this way, rather than lacking meaning, white becomes loaded with significance.

Curated by Tanya Barson”

All this research into the colour white hasn't helped me understand why I'm drawn to photographing its in the aesthetic of white colour. Upon reflection, I realize the answer lies more in my emotional and personal experiences. Whenever I moved to a new room, it was predominantly white. The whiteness both thrilled and unsettled me. It excited me because a new room symbolized a fresh start, a new life, and a new rhythm. Yet, it also made me hesitant and anxious because I faced blank cabinets, walls, and desks, unsure how to fill them. How could I make this space truly mine? The answer seemed to lie in my belongings. Filling it with my familiar items was the first step in transitioning from unfamiliarity to familiarity. Objects like cherished quilts, familiar pillowcases, everyday stationery, backpacks, and more.

6. Research - About Objects - Makoto Oono's Photobook

Photobook Separate Hidden Rules by Makoto Oono (2016)

http://selfpublishbehappy.com/2019/01/separate-hidden-rules-by-makoto-oono-2/

Description:

All living organisms purchased and captured on the Internet are dropped on a daily life. Makoto Oono uses a variety of places, including animals, plants, fruits, fish, insects, everywhere as a test site, and is temporarily inserted until the end of photo shooting. The living organisms, which is the key element to this process, moves in an unpredictable way that makes us human beings anxious. By arranging some mysterious artifacts into the composition to add an extreme “unbalance” of the meaning of what these components are, this could no longer be identifiable as “what this picture is”. For this reason, the seemingly completed photo holds a harmony of chaos and disruption, which then becomes further complex in multilayers when it collectively becomes Z type book. This work is collection of traps named "SEPARATE HIDDEN RULES". The title was inspired by a surprising discovery of how the living organisms have a hidden will and a programmed gene that has a direction that moves freely. His approach shows the possibilities of photos in modern cities and filled with both brutality and beauty simultaneously.

I can sense the modernity inside this photobook by the choice of the modern objects which represent the contemporary lifestyle. The combination of the objects inside each frame is interesting, some of them seem to remind me of the route of contemporary society, some of them remind me the modern pursuit of life quality, and some of them just remind me the source of the objects and how they are industrialized into ‘modern shape’.

This artist uses her way of dealing with the still life photograph, specifically using an unexpected combination of objects (artificial and natural) to build unique narratives. My previous reflections which bring my attention towards the objects inspire me so I could try to use the 'white colour' and the 'personal objects' that are essential for me to build a connection with the space as a direction of my practice.

This artist employs a distinct approach to still life photography, skillfully weaving together unexpected combinations of objects—both artificial and natural—to craft captivating narratives. Reflecting on their work, I'm drawn to the significance of objects, inspiring me to explore utilizing the 'white colour' alongside personal items that hold deep meaning for me. By integrating these elements, It could be my way of practice to establishing a complex and somehow profound connection with the space.

7. Temporary dead-end research on Utopia

I tried to use the archive material to research my topic, utopia. Initially, I thought the Barbican Center could provide some inspiration because it's designed to be a place where utopian ideas are made tangible. Unfortunately, it doesn't directly relate to my project. The Barbican is more of an architectural attempt to build an ideal place after the war. While it's true that the 'brutalism' style emerged here and influenced later constructions in the UK, it's not quite aligned with the direction of my project.

8. Practice - Switching my practice to 'object'

From previous research: I want to shoot my

belongings or objects representing

a certain stage of my life. and I want to

experiment with shooting photos with the

element 'white'. Because, the colour white

can be used as a canvas that is pure and empty,

in my case, it is the same in the three-dimensional

space which means renewed and empty. it is from

my experience of continuously moving among different

relatives' homes. Every time I face a new room, it is

a new challenge for me to build familiarity.

Therefore, I'm sensitive to the subtle relationship

between me and the space.

This practice starts with the faded toy gun which

represents childhood memory. Tableware

is one of the most used objects in my current life.

The third one is a piece I took from my studio.

The last piece is visual experiments with an old picture.

Review on sketchbook:

In general, these photos can

only be a visual experience

that can potentially be used in the future.

9. Research - Book - The Poetics of the Space (Gaston Bachelard)

Quote1:

“To ask a child to paint a home is to ask it to unveil his deepest dreams, the place of happiness in which he wants to take refuge; and if he is happy, he will find the tightly closed and protected home, the solid and deeply rooted home. Though the painting is of its form, there is almost always a chance that it will suggest the power of the inner space.”

Quote2:

"Symmetry abolished, to serve as fodder for the winds"

"i should like my house to be similar to that of the ocean wind, all quivering with gulls."

Thus, an immersive cosmic house is a potential of every dream of houses. Winds radiate from its center and gulls fly from its windows. A house that is as dynamic as this allows the poet to inhabit the universe. Or, to put it differently, the universe comes to inhabit his house.

Occasionally, in a moment of repose, the poet returns to the center of his abode (p.20)

"...Everything breathes again

The tablecloth is white"

This bit of whiteness, this tablecloth suffices to anchor the house to its centre.

Reflect & Inspiration

Each space has a unique figure in each individual's heart. For each individual, there is a centre of each space that we noticed the most, we stayed in the most. There's a centre where we can sense the breath of such space.

Practice