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Art and the Anthropocene

Art and the Anthropocene_Project 2

Project Overview

Project Title: Remains of Tomorrow 

Material: gelatin, water, glycerin, wood, wire, copper wire, PCB board, borax

Size: 40cm x 40cm x 35cm

“Remains of Tomorrow” envisions a speculative future where the Earth is plunged into a new Ice Age—a consequence of humanity’s environmental failures. Inside the installation, fragments of wood and circuit boards are covered with crystal, lying frozen and forgotten, encased in time. The cube serves as both a boundary and a protective shell, preserving the remains of the past while separating them from the world outside. Outside the shell, biomaterial-powered lights illuminate not only the surrounding space but also the failures encased within, like a signal pleading for reflection and change. This juxtaposition of decay and light invites viewers to consider the tension between the technological mistakes of the past and the possibilities of a regenerative, sustainable future

Recipe:

Gelatin: 

180ml water

36g gelatin

25g glycerin (almost double the amount of the glycerin to create the same texture as using 15g glycerin in summer)

Borax: 

80g borax

200ml water

Tips: The solution is reusable. Crystals produced by reused solutions will differ from those produced by using the solution only once. The crystals will slowly turn white and then yellow after several reuses. But the effect is still acceptable. 

 

Process:

This week, we continuously worked on building circuits on the gelatin piece. We plan to try conductive bio-fabrics, conductive inks, double conductive copper cymbal tape, and copper wires.

The conductive biomaterial based on agar-agar and salt (2g agar-agar, 1g glycerin, 5g salt, and 210 ml water) does not work well. It forms the shape but is not conductive at all. Based on the course lecture, I find that the activated carbon may work but the piece would become black, which is not very ideal for the appearance (The one on the left I made before used carbon powder to create the black color)

After that, I test the conductive ink. The ink can work on paper but does not work on the gelatin (The ink can not be attached to the surface of the gelatin piece) So we decided not to use that

The double conductive copper cymbal tape can work to some extent but it looks terrible when the track of the tape overlaps with the circuit pattern. So at last, under the instruction of Marcela, we turn to use the copper wire. (Thank you, Marcela!)

Since we gonna use the battery of 3.7v 300mah, we made some calculations and decided to connect one battery to 12 LEDs that are connected in parallel. I made different designs for the circuit and at last, we found that it would be relatively ideal to follow the shape of the pattern to arrange the LEDs. I made use of the property of gelatin to melt when exposed to heat and used a soldering pen to melt part of the gelatin piece and stick the copper wires in. This allows the two materials to be joined together without the need for additional glue. 

sketch of the circuit

Because of the material limitation (the size of the material is limited to the size of the ovenware we have) and the time consideration, I have to give up the idea of building wearables and start to think about other ways of combining biomaterial and other natural materials I have. I found that the broken and less-than-perfect crystals and the smooth and stable gelatin-based material formed an interesting dialog: the electronics covered by the crystals very naturally gave a sense of abandoned brokenness. And when the LED circuitry is freely extended on the gelatin-based material, it reveals a sense of technology and futurism that often does not belong to natural materials. This hints at the future direction of electronic materials (it gonna be replaced by biomaterial one day), and this is also what I want to express: the “natural” represented by biomaterials is not the same as the primitive. In the course of continuous experimentation and trial and error, people will find ways to collaborate with them. They will also replace non-biodegradable, toxic and harmful electronic parts and show their possibilities.

We choose to use the cube to present the conversation between the past and the future. In the interior area, the circuits are covered with crystal that shows the abandoned past and the outside area is lightened by the biomaterial-powered light. Moreover, like a cry for introspection and reform, biomaterial-powered lights outside the shell illuminate both the surrounding area and the inside failings. Viewers are encouraged to think about the conflict between the potential for a sustainable, regenerative future and the technological limitations of the past by this contrast of light and decay.

We experiment on both of the branches we find on the road (we collect them around theschool) and the wood. We find that it is a little bit difficult to build a stable frame with the branches, so we use wood instead. 

We originally planned to make 3 frames of different sizes and arrange them in order of size and hang them with waxed wire that mimics electrical wires. However, we found that after gluing on the engraved gelatin material, the arrangement would become too crowded and it would be difficult to see what the contents were. So we decided to leave the two larger frames that were conducive to displaying the pattern.

wax wire we made
the wax wire we made

In order to make the wood frame and crystal-PCB combine more naturally, we tried to grow crystals on the wood as well.

But as said before, I found that this relatively small frame is not good for displaying patterns, and also crystal-PCB is not suitable to be placed in it for display. So in the end I decided to take away this frame and keep the other two.

test on creating the pile of crystal — showing the abandoned past/ current moments
complete the smaller one

complete the larger one and test the effect

The crystal-LED works well but it does not really match the concept that we want to elaborate. So we decided to disconnect it in the end. (The blinking effect may be better but it means that we need to connect the Arduino and another battery. We don’t want the electronic part to be visually disturbing)

On the show 

Questions

  • What were some of the challenges you faced and how did you resolve them?

I think the main challenge is still in the materials. The first material we wanted to use was wax. We thought it would be very controllable, but it wasn’t at all. Wax oil is much more fluid than we thought. We tried to cover the wood with it to create that natural melting effect, but it didn’t really work. It also doesn’t blend well with other materials (we tried to soak it in crystal solution, but because of the hot solution required for the formation of the crystal, it actually melts very quickly into the solution) If we need to build a model with it, it can only be used in conjunction with silicone molds: this also means that we need to build the molds for the silicone first, and then inject the wax into them. This defeats the very first idea of creating the model of the hand and the arm. So at last, we decide to use crystal to create the texture. 

There’s also the uncertainty of biomaterial that makes us need to repeat and keep testing. The recipe for gelatin varies a lot from season to season, but I didn’t realize that at first (I didn’t realize that winter was already here in Shanghai…) But the good thing is that soon we adjusted the recipe (mainly by increasing the percentage of glycerin). Cutting the pattern on the gelatin sheet was in fact not as stable as I thought it would be. The cutting parameters that worked the first time didn’t work on every piece (sometimes it needs repeated engraving to get the pattern appear)

  • Who/what were some of your influences/references and how is that apparent in the project?

The idea of combining circuit with biomaterial cames from the collection “Android Couture” by Alexander McQueen for Givenchy in 1999. I was impressed by the design and found that the plastic and wire he is using may be possible to be replaced by biomaterial. 

Alexander McQueen, Givenchy, Haute Couture, Dazed Digital

The idea of the crystal-covered design mainly comes from the artist Roger Hiorns (introduced by Wenwen in class) 

  • What aspects of the project can you apply to the course/other areas of your work moving forward?

I think exploring the reversible or reusable qualities of bio-fabrics will be something that I can continue to extend in my subsequent work. For example, crystal solutions as well as wax oil can actually be reused. This actually facilitates experimentation with new formulas, or material driven design, because understanding the nature of a material takes time and constant experimentation. Changes in the nature of materials in reuse may also create new textures.

  • What would you do differently (materials, process, structure, installation, etc.) or how would you further develop the piece

I personally still prefer wearables… I would like to further develop it into a wearable design that elaborates on the same theme. I feel it would be fun to create a conversation about the currently used non-biodegradable material and the supposed future of biomaterial and bio-electronics. 

  • Was there specific feedback that offered you new insights or was particularly intriguing?

During the show, I received feedback about making the luminous biomaterial. I feel it would be fun to combine it with the biomaterial circuit since it can not only enhance the visual impact but also deepen the conceptual connection between nature and technology. By combining luminous properties with the biomaterial circuit, it would blur the boundaries between the organic and the synthetic even further, creating a material that both generates and emits light.

  • Are there aspects of the collaborative process that stand out for you?

Jacenia and I stay up late for several days for different material tests and the project itself. Thanks for her in this project and this semester!

 

Categories
Art and the Anthropocene

Art and the Anthropocene_Project 2 process

This week we continue to develop the prototype we have for Project 2

We experiment with using the laser cutter to engrave the pattern of the circuit board on the bioplastic (gelatin)

The preset data for the leather engraving works but the best effect is changing the number of the power to 30% (and using the thickness mode)

In addition, we downloaded the paper pattern for the collar and tried to cut the current bioplastic we have based on the pattern

We also experimented with growing crystals on the PCB board. We tested the recipes of the alum powder and borax power. We find that the crystals formed by the alum solution are closer to an opaque white color, while the crystals formed by the borax solution are transparent

We also tested the recipe for growing crystals on the LED. 

Recipe Link: https://www.instructables.com/Growing-Crystals-on-LEDs-and-ETextiles/

We have found that crystals from reused (heated again after crystals have formed from the solution) borax solutions also tend to form opaque white crystals.

In addition to the circuit board, we also tested how the borax would grow on the fabric, and we found that the shape of the crystal would be almost the same as the container that we put the fabric in. 

 

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Art and the Anthropocene Uncategorized

Art and the Anthropocene_Presentation & Reflection

The presentation about Suzanne Lee

Link 

Reflection:

In the presentation, I find that Suzanne Lee’s exploration of scoby leather works within the framework of material-driven design (MDD), and it exemplifies a transformative shift in material use. By starting with living materials like bacteria, her work challenges the traditional use of material (that people always use animal-based materials or synthetic alternatives) and provides a new possibility of material. This shift resonates with themes in Material Activism and DIY Materials, emphasizing a democratized and environmentally conscious approach to material innovation.


Material-Driven Design (MDD) stresses the importance of understanding a material’s sensory, emotional, and functional dimensions​(Material Driven Design). Lee’s scoby leather redefines these attributes. The material’s microbial origins elicit both curiosity and ethical considerations, making users more conscious of its living nature. For example, it is intuitive to see that scoby is growing every day and the texture of it is very similar to the skin of animals. And because of this characteristic of scoby, it is natural for people to get a sense of reverence for life and use it with care, achieving the material-driven design goal of reducing material waste. With this logic, it’s hard to explain why people wouldn’t feel the same way about plant-based material or animal-based material since all of them are living creatures. However, the discussion about this ethical question implies that there is a hierarchy of material use: plant-based and microbial materials are often undervalued compared to animal-derived materials. Moreover, by recognizing the SCOBY’s life cycle, we acknowledge its ability to grow, mature, and decompose, which allows it to seamlessly integrate into circular material systems. This transformative potential—where it shifts from a microbial culture to a durable material and back into the earth—makes it more valuable in the context of sustainable design. It shifts the focus from “what scoby is” to “what can scoby achieve”, thus aligning with MDD’s experiential and outcome-driven design (since we need to have the utilitarian assessment for the material) philosophy.

In addition, the readings on Material Activism and DIY Materials further underline the role of designers as material innovators who can challenge industrial norms by introducing low-tech, self-produced solutions. The “democratization” of material production enables a re-evaluation of hierarchies by focusing on the expressive and sensorial qualities of alternative materials. Scoby leather offers unique tactile experiences and works as an open-source material helping designers and artists to freely use it to improve their design, not being trapped by the industrial-produced material. 

In conclusion, the integration of living materials like SCOBY in design not only highlights material hierarchies but also redefines them through ethical and sensory dimensions. By prioritizing sustainable, living materials over traditional ones, designers like Suzanne Lee are paving the way for more equitable and innovative material futures.

 

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Art and the Anthropocene

Art and the Anthropocene_Project 2 Prototype

Individual Response

In the reading Natsai Audrey Chieza’s project, “Design Fictions” explores how synthetic biology and design might reshape human identity in the future. I chose this project because it connects to our idea of creating hybrid humans (cyborgs) by combining biomaterials and electronics. Both projects imagine humans as adaptable beings, evolving with new materials and technologies.

Chieza’s project includes ideas like Voluntary Mutations, Parasitic Prosthetics, and Bio-Collectibles. These concepts show how synthetic biology could enhance or change the human body. For example, Voluntary Mutations imagines people customizing their bodies with DIY genetic tools, while Parasitic Prosthetics proposes using organisms to help humans adapt to new environments. These speculative ideas challenge our understanding of human autonomy and raise ethical questions about merging biology with technology.

This project ties to class readings on the Anthropocene, particularly the idea of humans’ impact on nature and the need to create sustainable futures. Chieza imagines a post-Anthropocene world where humans work with nature through biological and technological hybrids, rather than dominating it. This connects to ideas from Haraway’s “Cyborg Manifesto,” which encourages breaking down barriers between human, nature, and machine.

From a speculative design perspective, Chieza’s project inspires critical thinking by imagining alternative futures. It aligns with my understanding of speculative design as a way to challenge current norms and propose new possibilities. While her project focuses on biological changes, my project explores the combination of biomaterials and electronics, specifically using biomaterials to replace the metal components traditionally associated with cyborgs. This approach not only redefines the visual and functional aspects of cyborgs but also questions how natural and technological elements can work together in a more sustainable and organic way. This difference highlights how speculative design can approach similar themes in unique and innovative directions.

One idea I found especially inspiring is the focus on accessibility and participation. Chieza imagines these technologies as tools anyone could use to customize their body. This makes me think about how cyborg designs could be personalized and available to everyone. The Bio-Collectibles also encourage me to consider how hybrid designs could reflect cultural identity and personal expression, pushing my project beyond just functionality.

Prototype for Project 2

This week, Jacenia and I worked on our concept of the cyborg, trying to create a work about the hybrid of human beings, nature and technology (electronics)

Prototype 1

Recipe: 160g borax powder, 400ml hot water

We try to grow crystal over the electronics and we feel that it works. In order to make it fits better with the shape of the body, maybe we would consider to connect it with cloth 

Other test:

We also test the recipe of ALUM CRYSTALS ON SILK and because of the limitation of the material, the crystal growing on it looks tiny. We need to test this recipe in relatively big amount

Prototype 2 

We experiment on soy wax and beeswax (50g each and combine them together) and try to put our electronics inside. Quickly we find that we need to use the silicone model to shape it since we can not remove it from the glass container well… But the good thing is that wax can be reshaped when we melt it. In that case, we can repeat to test with the same material. 

wax + electronics

discovery: wax can form irregular shapes instantly when poured directly into cold water

wax + electronics + fabric ; easier to demould but hard to maintain its shape

wearable test

added tea leaves

(also test to put it over the borax solution to see if crystal can grow on it)

Prototype 3

We use the gelatin recipe (180g water, 36g gelatin and 15g glycerin) and pour half of the mixture into the container, and put our electronics into it. 

We also sprayed some of the borax solution onto it and expected the crystal would grow on it but maybe because the amount of solution was not enough the crystal was too tiny

Prototype 4

We combine the other half of the gelatin mixture with about 30 grams of beeswax and we find that the mixture dries very fast and it easy to create a shape. It looks consistent with the grapefruit peel fabric we created before. We also find that applying wax to the cloth is helpful in fixing the shape of the cloth  

Plan A

Work with crystal, cloth and electronics to create a more natural combination of nature and technology. And also work more with the gelatin to connect electronics rather than using the circuit board 

Plan B

Just in case if the effect is not very ideal in the wearable device we are also thinking about using similar ways of creating the material but put our project in another scenario

Growing Stars

I am always thinking about growing stars. Because of environmental pollution, it is more and more difficult for people to see the stars with their eyes. In the future, stars will be more invisible to normal people and then they decide to grow the crystals with the material they have. 

We are thinking about creating a garden for the “stars” and presenting different speculation of the stars (different shapes) We feel that using crystal is the most feasible idea now

Categories
Art and the Anthropocene

Art and the Anthropocene_Assignment 9

In this week, Jacenia and I tested the recipe based on the orange peel. We change the orange peel in the recipe into the grapefruit peel and change the wool fiber into the paper fiber we have (the kitchen towel)

Recipe:

  • Paper fiber: 14 g
  • Water: 3500 mL
  • Grapefruit peel: 84 g
  • Calcium chloride
  • Sodium alginate: 87.5 g
  • Glycerin: 294.7 g
  •  Oil: 39.2 g

We did not realize at that time that we had made too much material… We found the frame in the video is a little bit big but it seems acceptable if we use the ovenware in the lab… Be careful about the amount of material!!!

We cut the grapefruit peel we have into small pieces and dry them in the microwave and the oven. (The oven works better)

And then we put these dried grapefruit peels into the blender and make them into powder

After that, we take a big pot and mix everything together

We put the mixture into the fridge to avoid air bubble

A day later, we take the pot out  and add paper fiber to it

We found that the grapefruit peel and paper fibers didn’t incorporate well into the mixture, so we used the blender again. After that, we pour the mixture into the mold

(The fact is that we should use a pulverizer to process the material into a very fine powder as soon as it is processed so that defoaming in the refrigerator is effective. However, we have found that the bubbles are actually eliminated after a short period of time, so perhaps cooling in the refrigerator is not very necessary)

At last, we spray calcium chloride solution (10%) onto the material

In design, this material could be explored for eco-friendly packaging, especially food packages, or even temporary structures in exhibitions, as it’s biodegradable and visually distinctive. It could also work well in small-scale decorative objects or home goods, adding a rustic, eco-conscious element to design projects and it also has a good smell

 

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Art and the Anthropocene

Art and the Anthropocene_Assignment 8

In this assignment, we continue to work on the recipe based on carrageenan. 

Recipe:

Water: 560 ml

Carrageenan: 25.6 g

Glycerin: 10 ml

We tried butterfly pea pollen and added vinegar to make a beautiful purple color.

We plan to laser-cut the material and connect each piece together but we find that the material is easy to break. (Maybe because the recipe can not be enlarged according to the size and it is necessary to take more consideration on the amount of material. I find the thinner part at the edge of the material is relatively stronger than the other part)

So we decided to use wool to transform the piece

Moreover, we made a small bowl with paper and starch to make a small bowl and the carrageenan-based material can be used as both of the placemat and the carry bag.

Recipe

paper, corn starch, water 

(Once I broke up the paper I started mixing it with cornstarch and water and started kneading it until it felt like it was no longer dripping and could be molded, then pressed it into a small bowl mold)

During this process, I found that the material based on the paper and starch can be the replacement for the plastic since it becomes strong when it dries. The material based on carrageenan is more fragile when it is relatively thick. I think is can be a substitute for the plastic film when it is relatively thin.  

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Art and the Anthropocene

Art and the Anthropocene_Project Reflection

Project Overview

Project Title: Decay

Materials: tea, starch, glycerin, vinegar, iron wires, fabric, leaves, tree barks, rocks

Size: width 260 cm, depth 130cm, height 100cm

Description: The chair, typically a still and stable human-made object, becomes wobbly and unstable in the context of the Post-Anthropocene. As it gradually returns to the earth, it symbolizes the erosion of human dominance and the reclamation of the world by nature. This transformation reflects not only the chair’s decay but also the cyclical return of generations of its owners to the earth, illustrating a profound shift in our relationship with the environment.

Members: Jacenia and Ran

Process 1:

  • Sketch

  • Material Tests (with black tea and oolong tea)

Process 2: Biomaterial

After experimenting with a few various techniques, we decided to use cooked tea and a lot of tea leaves to achieve the greatest color and texture for our work. 

(The color of the green tea is relatively lighter than the red tea. The oolong tea tastes best)

Biomaterial Recipe (size of the material: 40cm x 30cm)

180g tea

36g starch (both of the corn starch and potato starch work)

18g vinegar

18g glycerin

Steps:

  1. Cook tea leaves
  2. Cool down the tea (very important! Otherwise the starch will clump)
  3. Filter out tea leaves, measure the amount of tea and constantly add and mix starch to it (to prevent starch from clumping)
  4. add vinegar and glycerin
  5. add tea leaves back to the mixture
  6. cook the mixture until it is thick (but not too thick… just like the sample in the picture)

pour into plate or apply onto fabric to let drycook the tea

add all the ingredients into the pot
mix everything together

cook until having a relative thick texture

apply the mixture to the fabric

or apply the mixture to the ovenware

drying process

Process 3: Chair Structure

We test with cardboard at the beginning but we find that the structure of the chair is not very ideal. It looked like it was going to collapse because of poor quality rather than for any other reason, and since we would be putting our biofabric over it, we didn’t think it would be supportive enough either, so we decided to change our plan

We asked Professor Marcela and Dalin for advice and decided to use wire to build the structure of the chair 

Process 4: Installation

We keep changing the position of the fabric, biomaterial and the chair to make the whole structure look more natural, showing the transition from human-made to natural.

Test with wire to see if it can be covered and support the material

Process 5: Installation in the Gallery

We want to create an environment that mimics nature in the gallery so we borrow some bark under the tree to build the scene.

melt the biomaterial to connect them with the wire

Installation version 1

Process 6: During and After the Gallery

After talking with Professor Monika, we make some changes to the environment to make the whole scene look more harmonious.

Final Installation

Video 1

video 2

video 3

video4

Process 7: De-installation

We cleaned the space put the bark back in its original place and stored our chair on the shelf.

  • What were some of the challenges you faced and how did you resolve them?

I think we were often faced with the unexpected during the production process, or situations where we tried something and it wasn’t what we expected and we had to make adjustments. For example, in the beginning, we actually envisioned wrapping the entire installation in biofabric, but we quickly realized that we wouldn’t be able to make that much material before the gallery opens and wait for it to dry completely. So we found cotton fabric instead, and brushed the biofabric we had prepared onto it so that the material could have a shape and fabric could have a natural texture even if the biomaterial didn’t dry completely in time (but thankfully they were dry by the time we finally showed them!)

We also did a lot of experimenting with chair structure building. In our original plan, we were going to make chairs out of cardboard. We were going to cut the cardboard into small pieces and then stagger glue it with rice paste to give it a slumped look. But we realized that it didn’t have the ideal shape, and changing the way the cardboard was assembled didn’t solve the problem. So we decided to use wire instead, to try to restore the structure of the chair and make the chair legs collapse “planned” (adjusting the position of the connection point in the center can change the balance between the chair legs, so that it collapses in the direction we want).

  • Who/what were some of your influences/references and how is that apparent in the project?

The game Horizon II shows a number of recognizable architecture wrapped in natural vegetation to show the post-apocalyptic landscape, which inspired us to perhaps use artifacts that are gradually returning to nature to symbolize the diminishing power of human beings in the post-Anthropocene era.

List of Real Locations in Horizon Forbidden West

After identifying the chair as an object, we searched for references to collapsed chairs, which stylistically inspired our work on this project.

  • What aspects of the project can you apply to the course/other areas of your work moving forward?

I will apply the production of biomaterial to the course and to my future work. It has inspired me to explore materials: adjusting different recipes and production processes can produce completely different textures. I had never combined biomaterial with fabric before. To be honest, I had absolutely no expectations of what the final result would look like until it dried. But I think it was fun and worthwhile to try it out, and as mentioned in the previous discussion, “the material would tell”. 

  • What would you do differently (materials, process, structure, installation, etc.) or how would you further develop the piece?

Looking back on our process I would like to unify the colors of our material as well as arrange their textures in a more planned way. We actually used the exact same recipe for every piece, but the colors didn’t come out the same every time. (I think it may have had something to do with the time it took to cook and dry, the number of tea leaves we put, and the temperature of the pot, which I tried to control, but the results were still not quite the same) I think that the variety of colors and textures was fun and beautiful, but sometimes these inconsistencies made them look less natural. As well, if we had more time and space, we would have made more material to help us have enough material to arrange the shape of the fabric.

  • Was there specific feedback that offered you new insights or was particularly intriguing?

I think the adjustments on the positions of the bark in the background made me realize the importance of the background. I did not notice the unnatural in the background until I really adjusted them. The rearrangement of the bark really helped the whole installation look more natural and harmonious.

  • Are there aspects of the collaborative process that stand out for you?

Thanks a lot to dear teammate Jacenia! We spent a lot of time on the chair shapes and fabric arrangement, thanks to her patience and encouragement. We also communicated and worked very harmoniously with each other, it’s not easy to stay up all night working during midterm week, but we accomplished it together!

 

 

 

 

 

 

Categories
Art and the Anthropocene

Art and the Anthropocene_Project Concept: Jacenia and Ran

Concept: Seating the Future

In this project, we wanted to talk about the Post-Anthropocene and explore the ambivalence of stability and change.

Based on the concept of the Post-Anthropocene, the human impact on the planet could be reduced to zero by 2050. Other than the Post-Anthropocene, Donna Haraway also proposes a move towards the Chthulucene—an imagined future where humans finally learn to live as a part of the Earth, rather than dominating it. In other words, both concepts suggest that the impact of human culture will start to diminish and the human-made object will be gradually covered with nature.

We would like to use the chair as the main object in our project. The chair is usually a still and stable human-made object, but in the background of the Post-Anthropocene, it became wobbly and unstable, and as a part of nature, it will change and erode. With its gradual return to the earth, several generations of owners of chairs also return to the earth. We wanted to use objects as metaphors to represent the fall of human dominance and the retaking of the world by nature in the Post Anthropocene.

From the perspective of material, we want to focus on fabric-like biomaterials and cardboard. As mentioned in the previous reading, cardboard has “affordability, availability, sustainability, and forgiving nature”. In this case, it is helpful for us to use cardboard to create chairs with modified shapes and be environmentally friendly. Biomaterials would be used for covering the surface of the chair, creating a soft and irregular texture. Conceptually, these two materials are both easy to sculpt and are gradually changing with time.  

 

Materials:

  • Biomaterials (Starch/Tapioca, Glycerin, Vinegar, Water; Cardboard, Rice, Water)
  • Nails
  • Rice Glue
  • Magnet 
  • Wood
  • Cloth

 

Site

Inside the gallery space, prefer the interior area

 

Scale

  • Overall Installation: about the same size as a normal chair
  • Height: 70cm, Depth:40cm, Width:40cm

Sketch

Material Test

We test with starch, glycerin, tea, vinegar and tea leaves to create these materials. We are considering changing the proportion of glycerin to create different textures. 

Reference:

 

Categories
Art and the Anthropocene

Art and the Anthropocene_Assignment 3

Link to the Slide

In this assignment, Jacenia and I learned how to use cardboard, paper towels, cornstarch, flour, and water to create a new kind of material. We find that it is crucial to control the proportion of water and starch to make the mixture feel sticky but not too moist. To dry it, we put them into the oven and set the temperature around 50 degrees. But I feel that we need about 2-3 days to make it completely dry. 

We are supposed to use these materials to replace the rock, eggshell and foamed plastic pedestal in our current installations.

1st installation: softness vs hardness

2nd installation: entanglement

 

3rd installation: universe

 

Categories
Art and the Anthropocene

Art and the Anthropocene_Assignment 2

Land Art intervention

In this assignment, I choose NewBund Small Huangpu River Park and Leaf Park as my site. (They’re very close together, just across the street)

In order to guide my walk, I choose the dice as my parameter: I decide the number of steps based on the number that I rolled and  look around for possible materials. But soon I realize that this setting is not very reasonable to find suitable material, so I modify it to walking ten times the number rolled.

Along the way, I picked up some fallen leaves, flowers and small peaches. Perhaps because it’s about to rain, the ants have become very active (or more likely, of course, there’s fallen food on the ground) I’ve also observed ant activity. This inspired me: people can be as small as ants in front of a huge landscape. So what if we magnify the tiny scenes in nature?

                         

Thus, based on the idea that I want people to pay attention to the natural things they don’t care about in their daily life, and at the same time realize the insignificance of human beings in front of the nature, I envisioned this playground as a playful way for people to have an immersive experience of the natural scenery.        

One of the Suggested Route   

Effect of people in the playground

Luckily, one little ant volunteered to be the first visitor to this playground while I was building it, and apparently it got a little lost. This will be the effect I hope humans can experience when the park is scaled up several times: a view of the world from the perspective of tiny animals. I envision this facility becoming part of the park, a combination of the man-made landscape and the natural world. Perhaps after experiencing this sense of insignificance, people will re-examine the grandeur and subtlety of nature and realize the importance of protecting the environment.