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Into The Alps

"Into The Alps" is an installation that combines a 170cm x 300cm painting on a curved metal structure, rocks placed on the floor, symbolizing the alpine environment, and a handmade bench representing a "ski bench".

It was based on previous painting; The Alps — Les Grand Platieres.

Date       

Details  

Dimension  

June '24

Oils on canvas on metal structure, rocks, handmade bench

170cm x 300cm

Into The Alps

"Into The Alps" is based on "The Alps- Les Grand Platieres"

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Ski benches around the alps

Details

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Idea

The installation aims to create a space for contemplation, transporting viewers to the Alps through my artwork. This concept draws inspiration from Monet's waterlilies room in Musée de l'Orangerie and Lee Ming Wei's "The Letter Writing Project," while incorporating my personal perspective. According to Musée de l'Orangerie, "the waterlilies rooms were designed by Claude Monet as a apce of meditation" (2024).

 

In Lee Ming Wei's "The Letter Writing Project,"visitors were invited to write letters in a contemplative space. Similarly, "Into The Alps" seeks to create a space to slow down, through a visual journey in the alps. 

 

Viewer’s perspective and the bench's positioning has been carefully calculated to create an immersive experience. When seated, the viewer's eye level aligns with the painting in such a way that the edges of the canvas disappear from view, enhancing the sense of being transported to the Alps.

Monet's meditation room in Musée de l'Orangerie

Lee Ming Wei's "The Letter Writing Project"

Mock Ups

Developing Concept and Artist Reference

 

Initially, the concept drew heavily from Lee Ming Wei's enclosed spaces, envisioning a room-like structure using wooden frameworks and canvas. As the project developed, various installation approaches were considered. The method used by South London Gallery, suspending paintings from the ceiling to create enclosed spaces, was explored but ultimately deemed infeasible as hanging from ceiling was not allowed in school.

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Installation Acts of Resistance: Photography, Feminisms and the Art of Protest, 2024. South London Gallery.

Photo taken by Xuan Hew

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Bridget Riley "Continuum"

Emma Talbot "When Screens Break"

The work of Bridget Riley, particularly her piece "Continuum," and Emma Talbot's curved structures provided inspiration for the final form: a single, large-scale painting on a curved support.

The choice of material for the curved support involved careful consideration of practicality and longevity. While flexible plywood was initially considered, concerns about transportation and potential long-term damage to the canvas (cause by glue deteriorate) led to rejection. 

The idea of using flexible plywood was inspired by the "Unravel" exhibition at Barbican Center. After consulting with technicians from various departments, a solution involving top and bottom metal pieces was devised, allowing the canvas to be sewn and installed in a manner similar to a curtain.

The Bourbaki Panorama Museum, Lucerne, Switzerland, also served as a point of reference, informing the immersive quality of the installation.

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Circular paintings at Bourbaki Panaroma Musuem

Flexible plywood was not suitable for the project.

Photo taken in "Unravel" exhibition at Barbican Center, using plywood as support.

Creation Process


Creating the metal structure began with curving the top and bottom metal pieces, with the lower piece designed to be heavier to maintain canvas tension and straighten the painting. Three holes were drilled at both ends and the center to facilitate hanging.


The painting process started with the canvas fixed to a wall. After applying three layers of primer, a tonal base was painted using a mix of crimson and brown sienna. This base layer was chosen to create contrast with subsequent layers while maintaining overall color harmony. To work on such a large scale, I borrowed the technique used by graffiti artists – the doodle grid method – to transfer the digital sketch onto the canvas.

Most of this work was expertly handled by Daniel Boyle from the metal workshop, and I am very grateful for his assistance. 

Creating Metal Structure (tube)

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An unexpected challenge arose, the canvas needed to be prepared for hanging before the painting could be completed (Initially i planned to complete painting first). This involved creating double folds on the top and bottom edges and stitching them to form loops for the metal tubes. This labor-intensive process, made more difficult as stitching needles now have to poke through layers of paints, this took more than 5 hours. 

Creating loops to slot in metal tube

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After completing the structure, the painting process resumed. The canvas was secured to the wall using velcro, as stapling will damage the loop. The painting technique involved first blocking in large shapes and then gradually building up layers of detail.

I have received lots of help from the painting technicians, Annie-Marie Akussah and Chelsie Coates, and I am very grateful for their assistance. 

Painting process

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Display elements & Installation

The representation of alpine element evolved through experimentation. An initial idea to use fine white sand as a symbol for snow was abandoned, as 40kg proved insufficient to create the desired effect. Instead, rocks were chosen, speaking with the painted mountains (as mountains are essentially rocks). 

The bench was nearly abandoned due to time constraints, however it was proven to be crucial for this installation. After trying out multiple bench options, I decided to repurpose an existing bench, has its old paints removed and stained to resemble the benches commonly found around the alps. 

The final installation involved determining the best height to hang the painting, ensuring viewers would have an eye level view of the alps, and looking up to the sky. 

Through this process, "Into The Alps" became a multifaceted artwork that invites viewers to immerse themselves in a contemplative Alpine experience, blending painting with environmental elements to create a space for reflection and imagination.

Special thanks to my fellow tutors, technicians and classmates for all the help along the process. 

Installation process & display elements (benches & rocks)

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Reflection 

During the summer show, I was initially concerned about traffic and the audience not being able to find the venue. To address this, I created a "how to get there" video. Drawing from my experience with my last solo show, I realized that personal invitations are more effective and sincere. I invited people I knew, including artists from the RA show—Fungai Benhura attended.

My goal was to be present with my work and engage with my audience as much as possible. I noticed that explaining the technical aspects of my work, such as how I calculated angles to obscure edges and how the bench represented a "ski bench” (by showing photos taken in the alps) enriched viewers' experiences. This storytelling approach seemed to deepen viewers' connection to the work. Now, I wonder how to convey this context in future exhibitions when I can't be present.

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From left : Suleman. Aqeel (RA), Xuan, Fungai Benhura (RA), Michael Ocloo (classmate)

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Ski benches around the alps, photo shown to viewer while explaining the context

Observing people interact with my artwork reminded me of Caspar David Friedrich's "Wanderer above the Sea of Fog." In his painting, viewers see a figure experiencing a landscape; in my case, I was watching people experience my painting. Especially with rocks placed underneath the painting, at one point I was pretending to be the “wanderer” by stepping on the rocks, and people could understand the reference straightaway.

This interaction led me to research the painting, a classic Romantic artwork painted around 1818. The piece features a lone figure on a rocky precipice, gazing over a fog-covered landscape, and is renowned for its exploration of the sublime and the human experience of nature's grandeur (Britannica, 2023). Friedrich's use of the Rückenfigur—a figure seen from behind—invites viewers to project themselves into the scene, fostering introspection and an emotional response to nature (Artland Magazine, 2023).

Friedrich created this work during the Romantic period, which reacted against Enlightenment ideals by celebrating emotion and nature's power (The Critic Magazine, 2024). His portrayal of nature as both beautiful and terrifying reflects his personal experiences and philosophical views (Britannica, 2023). The painting is often seen as a metaphor for self-reflection or life's journey, with its landscape evoking the sublime—a central Romantic concept (Artland Magazine, 2023).

In comparing both artwork, despite the influential scale and historical context, both pieces explore themes of interaction with landscapes. I am inspired by Friedrich's ability to convey solitude and introspection through his landscapes. Which introspection is achieved by immersing viewers in the vastness and mystery of nature.

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Caspar David Friedrich's "Wanderer above the Sea of Fog.

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Me looking at my viewer experiencing the painted landscape

Group Critique 

The group critique with Gavin Edmond and Dan Sturgis was particularly insightful, even inspiring some us to collaborate on an open call (detailed in professional practice). During this session, I learned about the stories behind my classmates' works. For instance, Ziqi incorporates elements from her previous paintings, creating a dialogue between her pieces. Being the "audience" made me further appreciate context while viewing art. 

 

The critique sparked suggestions to experiment with other senses—particularly smell and sound. Incorporating the sound of wind and woody scents could enhance the alpine experience. This reminded me of my recent visit to Frieze art fair, where the Proyectos Ultravioleta gallery from Guatemala City used grass on the floor to represent their home environment. Stepping in their booth, I could immediately smell them and helped me experience the work differently. Gavin Edmond's suggestion to use pine needles is something I'm considering for my upcoming exhibition.

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One area for improvement was the painting's finish. Despite working on it for a month, I wasn't entirely satisfied with it. While more time might have helped, as the saying goes, "A painting is never completed, but abandoned". Upon returning to Malaysia, I plan to continue the "Into the Alps" series, depicting different mountains and seasons while incorporating sensory elements like wood scents and wind sounds.

The summer show reminded me of my previous show in Malaysia, where I had more resources to build a bamboo chair and water fixture. When being asked which work am I most proud of, I would always think of this installation. The summer show clarified my interest in creating meditative spaces for both myself and viewers, after exploring for a year during my masters studies. ​​​​​​​

Proyectos Ultravioleta gallery's booth at Frieze

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"When urban meets nature", an installation with handmade bamboo bench and handmade water fixture. The direction I want to continue after graduating.

References 

Bourbaki Panorama (2022) Circular Paintings. Available at https://www.bourbakipanorama.ch/en/museum/circular-painting/ (Accessed 14 Oct 2024) 

 

Emma Talbot (2024) Exhibitions. Available at https://www.emmatalbot.org.uk/#shows (Accessed 14 Oct 2024) 

 

Mike Smith Studio (2005) Continuum Remake. Available at https://mikesmithstudio.com/projects/continuum-remake/ (Accessed 11 Oct 2024) 

 

M plus HK. (2019) Lee Mingwei, the letter writing project 1998. Available at https://www.mplus.org.hk/en/collection/objects/the-letter-writing-project-2019146/ (Accessed 11 Oct 2024) 

 

Musée de l'Orangerie (2024) The Water Lilies by Claude Monet. Available at https://www.musee-orangerie.fr/en/node/197502 (Accessed 11 Oct 2024) 

 

South London Gallery (2024) Acts of Resistance: Photography, Feminisms and the Art of Protest. Available at https://www.southlondongallery.org/exhibitions/acts-of-resistance/  (Accessed 11 Oct 2024) 

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