U3. Methods| Process| Materials
I continue to dive deeper into the practices of the Unit2. As my focus on new symbiosis and the Anthropocene expands, I began by filming the ‘What’s on the Ground’ video and altered its colors.
In this unit, I continue to use drawing as the main technique to present the life forms of fungi, combining them with my video material (because fungi are born from decay, much like the cycle of life). My stone lithography serves as the primary method for image creation, and I use different media to further explore and combine my ideas. Ultimately, my work merges various techniques, such as Stone Lithography, Photo Transfers, Inkjet prints with Monoprinting,Nature dye color and Ceramic.
- MA Summer Show -
Outcome:
Entangled Life, Installation, stone lithographs, inkjet prints, monoprint and photo transfers on Kozo paper, installation sizes variable, 2024.
Exhibition Overview
Planning:
In the second unit, my original plan for the summer exhibition outcome followed the concept laid out in my proposal: printing a large background using inkjet technology and placing my stone lithographs sequentially on top of it. However, during a discussion with my tutor, she encouraged me to reconsider the core message of my work. As my practice focuses on the connection between humans, nature, and life, the way in which I present this connection and entanglement became crucial. Jo pushed me to think more boldly about how to present my work, suggesting that I explore the concept of layering to find the most effective combination of elements. This tutorial not only prompted me to rethink the presentation of my work but also opened my eyes to new possibilities within paper media. As a result, I plan to explore paper sculpture in the future.
At first, I struggled with how to combine and present my pieces, but with Jo’s guidance, we quickly decided on a “folding” structure. This decision not only allowed for a more effective display but also deepened the thematic exploration of my work—entanglement and interconnectedness. In geology, “geological folding” refers to the bending of rock layers under pressure, which creates a layered structure made up of rocks and sediment. The layered quality of these folds mirrors the complexity of nature and resonates with the intricate networks of fungi. By using the concept of “folding” and “layering,” I aim to present the profound and complex connections between life forms more clearly.
In my tutorial with Jo, she encouraged me to consider expanding the scale of my work to further reinforce my theme. My series of lithographs on fungi magnifies tiny life forms, emphasizing their seemingly insignificant yet powerful existence, aiming to draw attention to details often overlooked. To enlarge the scale of my work, I decided to print two large inkjet prints. Then, I plan to merge these two prints and layer a smaller print (H115cm x W60cm) on top. Additionally, I intend to continue layering smaller sections of my lithographs, connecting the fungal lines with the lines drawn on the inkjet prints, aiming to more clearly express the overlap and entanglement of life forms at different levels and material planes.
This process not only expands the physical size of the work but also represents a deeper reconsideration of its core meaning. By increasing layers and scale, I hope to present the complexity and multiplicity of life, as well as how it intertwines and overlaps at different structural levels. By enlarging the visual space, I seek to deepen the complexity of the concept of life, enhancing the understanding of life as a complex and interconnected network. This expansion of scale is not merely physical but also a reflection of my artistic practice and expression.
Details of the work:
The link between the small section of the lithograph and the lines on the inkjet print.
Installation Process:
The final presentation of testing how the artwork is fixed to the wall.
Using magnets to fix the artwork in place.
Helping Ulla check if it is vertical and symmetrical.
Steven used nails to help Yunxuan fix her 3D artwork on the wall.
Attaching fixing tape to the back of the artwork.
Helping Liuyi test the display of the artwork.
The process of moving the lithographs.
Helping Steven assemble the artwork on the wall, using masking tape to cover the magnets, and coloring the tape with a pencil to make the magnets blend seamlessly into the piece.
My work was initially planned to be displayed vertically on the wall, but on the day of installation, I realized that presenting it horizontally would be more effective. I then moved the lithographs to different positions and tested their arrangement on the floor. Once I had determined the placement of each piece, I began installing them on the wall. I originally planned to exhibit five lithographs, but given the already abundant elements in the display, I felt that adding all five would make the space feel overcrowded and lack a clear hierarchy. Therefore, I ultimately decided to display three lithographs and combine them with some small sections of lithographs and Inkjet prints.
During the installation process, I was particularly cautious because most of my works are printed or drawn on Japanese paper. The reason I chose Japanese paper is due to its lightweight, delicate texture. When the wind blows, the paper seems to “breathe,” creating a sense of fluidity. The fragility of this paper required extra care to avoid damaging the works.
Initially, my plan was not to pierce the paper with nails, but instead to attach the paper to the nails using glue, creating a suspended effect. However, when I returned the next day to check the installation, I found that all of the lithographs had fallen to the ground. To ensure the stability of the works, I ultimately decided to pierce the paper with nails, allowing the pieces to be more securely suspended. This unexpected issue made me realize the importance of allocating enough time before the exhibition to test the installation and make adjustments, ensuring the works’ successful display.
This installation experience made me understand the complex relationship between artistic creation and its actual display, while also prompting me to reflect on the presentation of my works. Through hands-on practice, I learned how to use tools like a drill and realized that transforming artistic creation into an actual exhibition form is not easy. Throughout the process, I received help from my classmates, and without their support, I would have found it difficult to install such large and fragile works.
This experience gave me a deeper understanding of the balance between artistic creation and its display. The issues encountered during the installation process encouraged me to reflect on the fact that art is not only about creation but also about how to integrate it with its spatial environment and create an interaction with the audience. By continuously adjusting the installation method, I reexamined the relationship between my works and the space, considering how to present the pieces in the most effective way within the limited space, and in doing so, better convey my deep understanding of life, materials, and space.
Feedback & Reflection:
In this exhibition, I received many insightful pieces of feedback. Some viewers mentioned that, while looking at my work, they felt a delicate balance between “control and lack of control,” and some said my work reminded them of the human nervous system or the essence of life. I was delighted and a bit surprised by these interpretations, as I hadn’t intentionally included these themes in my creation. The similarity between the human nervous system and fungal networks in nature actually emphasizes the entanglement and connection between humans and nature that my work explores. Many viewers also felt a sense of mysterious interweaving in the pieces, which is precisely the atmosphere I aimed to convey while exploring life’s interconnectedness.
Additionally, one viewer suggested adding a sculpture behind my work to create shadow effects and enhance layering, while in a group critical discussion with Paul, he encouraged me to further expand the scale of my drawings, transforming them into an installation that could allow lines to spread across an entire space. This suggestion was incredibly exciting, and I might try to realize it one day. Regarding the borders on my lithographic works, some viewers thought removing them would help unify the overall presentation, while others believed keeping the borders added balance, as the background lines are quite dense and the blank space provides a “breathing” area for the viewer. Personally, I am inclined to retain the borders, as they seem to offer a visual buffer.
This exhibition was a new challenge for me, especially as it was my first attempt at creating such large-scale work and experimenting with concepts of layering and folding. In reflecting on this experience, I realized areas for improvement, particularly in the inkjet print portion. Due to insufficient planning of the display sequence and layout, parts of the base layer were blocked by the upper layers and couldn’t be fully appreciated, while the small upper pieces, completed in a rush, lacked the intended color and detail. This experience has reminded me to be more thorough in planning the arrangement and combination of works to avoid such issues in the future.
I also discovered that my work becomes more lively in a breezy environment. The lightness of Japanese paper gives the work a unique sense of flow when touched by the wind. During the exhibition setup, I recorded a video capturing my work gently swaying in the breeze, which added a vivid quality to the piece. However, due to rainy weather during the actual exhibition, the windows remained closed, and this effect couldn’t be fully realized. In the future, if possible, I would consider incorporating airflow into the exhibition space to further enhance the “breathing” quality of the work.
The artwork in “breath.”
In this exhibition space, each person’s work forms a subtle connection with the others. Liuyi’s and Roshail’s pieces, both primarily in black and white, revolve around themes of space. Liuyi’s etching evokes a strong sense of confinement, bringing feelings of loneliness, while Roshail’s work also carries a quiet, solitary atmosphere. Roshail’s pieces, dominated by black, contrast with Liuyi’s white, allowing viewers to transition naturally from one scene to the other. Roshail’s work reminds me of watching old films, like fragments of memories scattered through the space. I especially appreciate the vintage textures and accidental marks in his work, as if they are quietly recounting numerous stories.
My work creates an interesting contrast with Anran’s: mine is displayed horizontally, while she is vertical, establishing a sense of layering and variation within the space. Her work addresses themes of the mind and spirit, while my artwork also touches on the soul and life. Next to my piece is Shiyi’s work, which similarly explores the theme of the heart. Altogether, this space connects the viewer from personal feelings to the spiritual realm, to memories, and finally to the entanglement and rebirth of life, forming an interconnected experience. Additionally, this exhibition has revealed to me the versatility of printmaking in a variety of forms. For example, Yunxuan’s work combines screen printing with 3D forms, while Haja’s work combines circular forms with vibrant acrylic colours. Steven’s installation combines printmaking and video. Each of these approaches offers valuable insights that I can learn from.
This exhibition has given me some new ideas for my future work. I’m interested in continuing to create on paper and presenting works in the form of paper sculptures. Exploring the possibilities of paper is something I’d like to delve into more deeply. Perhaps I will experiment with combining mycelium and paper to create paper sculptures. In exploring the concept of “folding” and its connections to geology, I’d like to try making organic pigments and dyes derived from nature, adding another layer of meaning to my work.
After the exhibition, I continued to experiment with some older lithography images, bringing them into Photoshop. Through some unexpected color adjustments, I created new images, which seem to reveal possible directions for my future work. I hope to deepen my connection to the concept of the Anthropocene, expressing themes like the destruction of the future world as a way to remind people to be mindful of today’s ecological issues.
Images with potential：
Making Process:
- Stone Lithography Practice -
The practice of lithography is an exploration of the life forms of fungi through the method of drawing.
Outcome:
Stone Lithography Drawing Process :
After Unit 2, I continued working on my “Fungi” lithograph series, using entangled images as key elements in my artwork. By enlarging the fungi themselves to present their life forms, I focused primarily on linework. My approach diverges from simply copying references; instead, I modify and reduce elements, incorporating my subjective perspective. Choosing the right high-resolution images of fungi became a challenge, which I addressed by seeking archival resources and photographic works.
My creative shift began with Fay Ballard’s 2017 piece Buried Below. This graphite-on-paper work, which explores death by depicting the elements of the land where her loved ones are buried, deeply influenced me, especially when I had not yet solidified my personal style. My early works were explorations of materials but lacked cohesion, with unclear focus and no unified theme. As I began working on my “Fungi” series, I started reflecting on how life passes through the land and transforms from death into new life. In this process, energy flows from the land through its connection to fungi, continuing life’s cycle. This led me to create work that expresses more complex and interconnected life forms.
Throughout my process, I drew inspiration from ecologist Suzanne Simard’s research. She discovered that trees communicate through underground networks and that fungi enable plants and trees to access nutrients not directly available through their roots, such as carbon, nitrogen, phosphorus, water, and defensive signals. Beneath every step we take, vast fungal networks silently connect each tree. These networks resemble neural structures, linking trees, with larger trees having broader connections. Particularly, mother trees help seedlings regenerate through these networks, highlighting the shared and mutualistic nature of the underground systems.
For me, drawing is not only an artistic process but also one of meditation and healing. As I work on these pieces, I contemplate the inevitable reality of death, striving to approach it with openness and acceptance. Through my drawings, I reflect on the connection between life and death and how to find peace and strength within it. Just as fungi transmit information and energy through underground networks, I aim to convey my reflections on life, death, and rebirth. Through this method, drawing becomes not just an expression but a path of self-healing and exploration.
This creative journey has made me realize that life’s continuity is not linear but cyclical. Like fungi connecting various life forms underground, each of us has a role within a broader ecological network. This understanding deepens my awareness of our relationship with nature, where the cycles of life and death are not endings but transitions and beginnings of renewal.
- Photo Transfers -
Paper Testing :
After the Unit 2 Copeland exhibition, I realised that continuity in my creative process was essential, and that paper played an important role in this. I began selecting papers, primarily Japanese paper, aiming to print on very thin sheets where the fibres would be visible. This approach seemed to resonate better with my work, as the fibres of the paper mirrored capillaries in life or the underground networks of a forest. Printing on such a medium seemed a more fitting way to express the life forms of fungi.
When the paper was moved by the wind, it almost felt as if the work had a soul, as if the paper was breathing. I tested various papers, experimenting with weight and colour tone, and discovered that a slight warm tone suited my work best. During this paper trial, I unexpectedly produced small litho drawings, which proved invaluable in refining my concept of layers for the Summer Show.
Photo Transfer Experiment :
After completing my drawings of fungal life forms, I wanted to delve deeper into the issues and themes I wanted to explore, rather than simply depicting forms of life. Once I had worked through my personal understanding of death and healing in the first stage of my practice, I moved on to the next phase. Before I had a clear sense of what I wanted to express, I always felt that something was missing from my work. I initially thought it was colour, so in Unit 2, I experimented with various ways of adding colour to my pieces. However, deep down, I knew this approach wasn’t quite what I was looking for. The colour I added was simply to enrich the work, to avoid monotony, but I later realised that even black-and-white works, like those of Sugimoto Hiroshi, can be powerful. This made me realise again that the concept and content of the work are what truly matter.
During a tutorial with Jo, she suggested that I should not struggle with something that doesn’t feel right, and instead change my perspective on colour. This advice led me to reconsider the direction of my work. Kelly Chorpening’s Old Friends and Plastic sparked my interest in the concepts of the Anthropocene and new symbiosis. As a result, towards the end of Unit 2, I began recording What’s on the Ground through video. In Unit 3, I started thinking about how to incorporate the concept of new symbiosis into my practice.
I reflected on the work I had already done and considered how to further develop it, while also thinking about the effects I wanted my pieces to convey. Eventually, I realised that a technique combining photo transfer would fulfil all of my requirements: it would allow me to incorporate colour into my work while further advancing the content of the pieces. I also used existing video material to help develop this approach.
Image References :
I added filters to the video, giving the colours an unnatural look, reminiscent of synthetic pigments or pollution. Through the method of photo transfer, I incorporated selected images from the video stills into my lithograph works. Most of these images feature plastic produced by human industry. During the transfer process, parts of the image inevitably fade, but I find this effect enhances the overall result. It adds a layer of mystery to the piece, symbolising the gradual fusion of pollution with life. The addition of colour makes the drawing more dynamic as if infusing the work with rhythmic energy. In this way, I explore the coexistence of humans and nature within contemporary ecological issues. The presence of fungi also relates to the damaged landscapes of today, reflecting the interplay between life forms and the impact of human activities on the environment.
Problem Solving and Reflection:
When using Japanese paper for lithography, I encountered an issue with the image appearing faint on the surface. This was likely due to both an uneven stone surface and the thinness of the paper, which prevented the ink from fully saturating. To address this, I initially used machine pressing, followed by manual burnishing with a baren to enhance the image quality. I also experimented with image transfer on different types of paper to compare results.
Through this process, I found that Somerset paper produced more vibrant colours than Japanese paper. However, while Somerset’s colour saturation was greater, the difference in fine detail was not significant. This led me to conclude that Japanese paper captures the unique texture and depth of the piece, making it particularly suitable for exhibition settings where subtleties are more visible. For producing additional prints, though, Somerset might be preferable due to its enhanced colour vibrancy and suitability for repeated printing.
During my experiments with photo transfer, I initially used an old print as a test subject. I found that printing the image onto paper and then applying Actisol spray for transfer caused the ink from the previous image to adhere to the transfer paper, making the original print fade. To prevent this, I decided to complete all transfers onto Japanese paper first and only proceed with lithographic printing afterward. This sequence proved to be the right approach.
Since the school’s printer can only handle a maximum size of A3, while some of my lithographs are larger, the translucency of Japanese paper allowed me more flexibility. I could overlay various backgrounds on the lithographic stone, comparing them to find the best fit for the transferred image background. This method significantly reduced the likelihood of errors in the process.
In exploring the photo transfer method, I realised that while it produces excellent results and is quick and convenient, it has significant environmental drawbacks. Firstly, Actisol spray, a chemical used in this process, is harmful to health with frequent use. Additionally, photo transfer requires fresh ink-printed paper each time, meaning the paper can’t be reused, leading to considerable resource waste. Going forward, while photo transfer remains a useful method for experimenting with image formation, I need to consider more sustainable options, especially when producing multiple copies (additions). Transferring these images through photo lithography or photopolymer etching could offer a more environmentally responsible solution.
Outcome:
- Inkjet Prints with Monoprinting Practices -
Photographed branch reference：
At the end of the previous unit, I made some progress experimenting with photo transfers of my lithography work and took reference photos of tree branch forms. Throughout this exploration, I focused on how to merge and advance my existing pieces, considering ways to deepen their expressive power. Using Photoshop, I experimented with various photo transfer layering techniques, adjusting the scale and color of my earlier prints to create new compositions.
In Unit 3, after a tutorial with Jo, she encouraged me to continue pushing the exploration of my imagery, especially by focusing on detailed sections. I experimented by scanning these in high resolution and printing them onto large rice paper, measuring 149cm by 91cm. Additionally, I used monoprint techniques to transfer collected branch forms onto the rice paper, expressing the intertwined and interdependent nature of life. This process has taught me how a single image can transform through repeated experimentation, and how modern techniques enhance the versatility of my visual expression.
Choosing branches as a subject wasn’t only because of their connection with underground fungal networks; I was also inspired by Polish photographer Alicja Brodowicz. Her work explores the juxtaposition of “human parts” and “natural elements,” pairing close-up details of the human body, like hair and skin texture, with natural textures like tree bark or dried leaves. Brodowicz’s approach, finding unity between the micro-details of the body and the broader natural world, influenced my view of branches as counterparts to roots—another form of neural network that weaves underground. The hidden, hard-to-trace nature of underground networks contrasts with the branches that we can readily reach and touch, symbolising life’s reach and resilience. This symbolism enriches my work, making branches more than mere visual elements; they represent the mutual dependency inherent in all life.
- nature dye color -
After the exhibition, I wanted my work to resonate more deeply with natural elements, adding layers of meaning. I’m particularly interested in the relationship between humans and nature, and in many myths, the birth of humans is closely tied to the earth itself. With this in mind, I decided to experiment with making natural dyes, focusing primarily on brown hues. Craig mentioned that brown is one of the easiest colours to source naturally and pointed me to a location with a “magic tree”—an alder tree—where I could gather alder cones. Following his advice, I boiled the cones in hot water and successfully produced a rich brown dye.
I applied this dye to some of my unprinted works and experimented by combining it with photo transfers to see how the two techniques would interact. I also tried using the dye on different types of paper, including Japanese paper and Somerset paper. Through these experiments, I discovered that the dye tends to spread uncontrollably on Japanese paper, making Somerset a more suitable choice for my work. I also found that when applied to paper, the brown dye blends well with the lines of the print, creating a soft, watercolour-like effect that I find very appealing. This experience has inspired me to consider using more natural dyes in future printmaking projects, as it adds an authentic, organic quality to the artwork.
Find bad prints to experiment with natural dyes.
After the Summer Show, I created a lithograph focusing on the form of plant death. The way plants become intertwined after death struck me as captivating, leading me to want to document this alternative manifestation of life. During the creative process, I also experimented by applying natural dyes to the stone before printing, curious to see if this would produce any unexpected textures or effects. However, the outcome revealed that I had used too much brown dye, resulting in large areas of brown appearing on the paper under the pressure of the lithographic process, which wasn’t the effect I had hoped for. Peter suggested that it would be better to add the colour on the paper after the lithograph has been printed, and perhaps he’s right. Still, I quite like the subtle white space near the lines in the brown area at the bottom of the image, which creates a delicate sense of life’s presence.
The result of printing with natural dyes applied to stone litho：
Lithography: Forms of Death
The process of adding nature dye to a lithograph.
After participating in the publication workshop, I learned how to use Riso printing technology to create books. During the workshop, I experimented with Riso to represent the form of plant death once again, using two layers of printing: one for the lines and the other for the background. However, the final result was not ideal. I chose yellow for the line work, and since the paper wasn’t aligned properly, the line layer became nearly invisible. Despite this, Riso is a fast and convenient printing technique. It was my first time discovering how to use Riso through drawings, which shares some similarities with screen printing. This process made me realise that while Riso offers unique advantages, the colour choice and proper alignment of the paper are crucial; these factors directly influence the final outcome.
Riso experiment:
- Ceramic -
3D modelling process
I began exploring ceramics because I wanted to engage with natural materials, especially clay, and its relationship to human creation in mythology. At the same time, this exploration is part of the experimental work for the Research Festival. I plan to create a six-page ceramic book to showcase the entanglement of life, incorporating QR codes so that viewers can access my critical reflection section via the code.
After consulting with James about creating QR codes on ceramics and how to make holes in the clay, he advised that the best time to make holes is before the clay is fully dried. He also gave me some guidance on applying QR codes to ceramics. Since I plan to use the decal technique to transfer my images, I was exploring different ways to incorporate the QR codes. I wanted the QR codes to have an embossed effect. James suggested that if the QR code isn’t too complex, I could use a laser to engrave it onto a wooden board and then press the clay onto the board to create an indented QR code. However, if the QR code is more complex, he recommended using 3D printing. He also mentioned that the simplest method would be to use decals.
Unfortunately, my attempt at 3D printing did not succeed. After consulting with the technical team, they explained that the issue likely stemmed from the QR code’s size being too small and its height being too great, which resulted in poor print quality. Given this, I will likely opt for the simplest approach—using decals to apply the QR code to my ceramic piece.
The tutorial with Jo
Initially, I simply intended to print photos of my artwork onto ceramics using the transfer method and bind them into a book using plastic stitching. However, after discussing with Jo and others, I realized that merely printing images onto ceramics seemed a bit monotonous. I should reconsider the themes and content of my work, and base the design of my artist’s book on that. She reminded me that the form of a book isn’t limited to the traditional sense; it can take many different, even highly artistic, forms. I should view the book itself as a work of art, and this conversation truly struck me. She gave me a lot of advice on presenting ceramics. She suggested I could place the ceramic works in a box, avoid puncturing the ceramics, or if I chose to puncture them, perhaps display them horizontally. She also recommended experimenting with silk-screen printing or even hand-painting images directly onto the ceramics.
Currently, my plan is to create a 15cm × 15cm ceramic book, which will be sewn together with plastic stitching in a fan-like shape. The book will either stand on the table or lie flat, and viewers will be able to flip through it, though they will need to handle it with care.
Testing the presentation of the ceramic book.
Testing clays
Decals in process
During my ceramic experiments, I tested four types of clay: light, dark, rough, and smooth. I wanted to present a more primal texture with ceramics, so I decided not to glaze them, believing this would bring them closer to the raw nature of the earth. However, after firing and transferring the photos, I encountered an issue. Due to an error in setting the image dimensions during the transfer process, the images appeared particularly small on the ceramics. Additionally, the colours of the images varied in depth across the different clays. The white clay performed best, providing a smooth surface. The colour depth might be related to the firing temperature, so I need to explore this further.
As ceramic work requires a lot of waiting time, I plan to create several ceramic pieces first, testing different ideas, and ultimately selecting the most successful presentation. In the future, I also hope to explore sculpture using clay to represent the life forms of fungi.
The Final Effect of Decals After Firing on Ceramics:
Reflection and conclusion:
Through this semester’s exploration of various materials and my deeper understanding of the themes, I now have a clearer vision for my future creative direction. In this process, while I have experimented with different techniques and materials, I have also faced some limitations and challenges. However, I’ve gradually come to realise that the choice of materials is not just a tool for creation, but also an essential medium for expressing ideas. For example, the combination of ceramics and printmaking offers the potential to expand the expression of my images across different mediums, adding more layers and possibilities. Paper sculpture will serve as a new experiment, allowing me to further explore the multidimensionality of paper as a medium, thus bringing more depth and tactility to my work. Additionally, I plan to continue developing my potential images through the technique of etching.
Through the practice of this unit, I’ve gained a deeper understanding that creation requires not only a focus on materials and techniques but also the balance between form and expression. In the future, I hope to explore the scale of my works further, experimenting with larger pieces to express profound themes related to the Anthropocene and new symbiosis, as well as delving into the fundamental causes behind these themes. At the same time, drawing remains an integral part of my creative process, and ongoing drawing practice is crucial for my ability to understand, observe, and express the relationship between humans and nature.
In addition, I aim to expand my knowledge of curating. By attending exhibitions and reading relevant books, I hope to gain a better understanding of how to present my work in ways that effectively convey its deeper meaning.