where reality bites if you really sink your teeth into it
|Resolution of Reality by Joo Choon Lin|
The artist describes her recent body of work as “a site-specific installation and exploration of the unlikely relationship between technology and nostalgia” (Joo, 2012). Besides these, her works play on the resolving powers of our eyes. Wood grains, grave yards, amusement parks, water are given pixelated disguises. What is printed by a dot matrix or inkjet printer, glorified by an LCD screen, or projected on plywood are not what they seem. Instead, they are carefully constructed camouflages that reveal more than they conceal. The works challenge the viewers’ perception(s) of reality or our understanding of optical phenomena. At the same time, there is a strong environmental message regarding our ceaseless obsession with technology and its toll on our natural resources.
To viewers unfamiliar with Joo’s work, the artist routinely uses and presents tactile materials. Brown enamel paint is used to represent melted chocolate and large sheets of copper could be used to replicate the look of chocolate wrappers. Her signature technique, using various pigments to create ephemeral images on the surface of water using silkscreens, are often filmed in stop motion.
In the recess of this installation, a passage way shows various replicas of equipment and electrical cables suspend from the ceiling. On closer inspection, they are melting and spilling onto the floor. Taking the lead from the various models of mobile phones that are melted, they suggest the artist’s discomfort and warning, of the rate we are consuming and replacing our gadgets. Mixed within this environmental message, is perhaps a certain nostalgia for the equipment we once had or fancied but never owned.
Hanging from the ceiling, a dot matrix printer spews a ream of printed paper that resembles a roll of uncut negative from afar. On closer inspection, each frame differs, relating to the persistence of vision that makes us perceive 1 second of motion from 24 still frames still used in cinemas today. At the same time, it relates to the artist’s persistence with stop motion as a means of exploring different issues and subject matter. This piece of work also cheekily suggests that we use paper like a flowing waterfall resulting in wastage, a detriment to our finite natural resources.
In the video pieces in this installation, most of the experiments on tactile materials are recorded and re-presented as video pieces. In one series, equipment which we associate with technology are melted using acetone to reveal a skeleton. In another, the grain of wood on a piece of ‘lumber’ falls off candidly. On another, the grain of wood stirs and ripples like the surface of water. In an other triptych, videos show a printer churns out a sheet of A4 mirror paper, before reflecting fragments of three unfamiliar environments. In this triptych, the message behind this exhibition comes through the strongest.
There is a pun on the word ‘resolution’ to mean both pixel and determination. In one reading, the artist is attempting to depict what she sees in reality in the best possible way. In another reading, the artist is revealing the futility of capturing reality: the ‘image’ was not printed but simply a blank surface showing the reflection of the surrounding. I could vaguely make out a park bench, a plinth in a cemetery (Necropolis in Glasgow), and a sculpture of Guanyin (Haw Par Villa, Singapore). On one hand, this highlights the contradiction of wanting to capture these environment on print or on video, but never quite. On the other, the artist has successfully shared that what is finally presented to us in the gallery, is a mitigated view of not just the bizarre environment, but how our minds might find inspiration from the most abstract or banal environment if only we look hard enough.
Whether reality, or our definition of it, trumps art, or vice versa, is rewardingly subjective.
Third Floor Hermes, Liat Towers Orchard,
2 Nov – 16 Dec 2012
Joo, Choon Lin. (2012). Exhibition wall text.