Nil to Nowhere is a slice of life, graphic novel series comprising three short narratives, where the character designs and identities throughout the series are generated through a set of questions that have been inspired by the process of alter-ego creation found in real life. Nil, the space grab driver and the main character throughout the three books, is my personal alter ego who I created using this method. He begins taking on the odd jobs of his passengers for extra cash, leading to misadventures, featuring the alter-egos, designed using a framework of questions inspired by alter-ego creation, in taxi trips across the galaxy.
Instead of “How can we help to improve people’s sleep with the aid of technology?” DU:SK focuses on what people do to affect their sleep. Moreover, currently, most of the apps that deal with sleeping issues are activated right before bed.
DU:SK explores a solution for users to experience more effortless and restful sleep habits through a sensorial sleep app and kit. It faces the bearing issue of city life young adults who encounter high anxiety and stress levels, resulting in restless nights. DU:SK engages the five senses before bed whilst incorporating a guided routine throughout the evening to help prepare for the night.
Science has proven that meeting the five senses can enhance one’s experience. Hence, this approach will heighten sleep quality and trigger a slow-down effect on the individual’s brainwave activity to help relax and reduce anxiety, making it easier for the user to fall asleep.
More Than Meets The Eye explores the dog-eat-dog society where people often make superficial judgements, landing themselves in difficult situations. The animalistic trait of ‘camouflage’ is used as a metaphor for the notion of prey vs predator, which mirrors the societal structure of human life. The motifs of prey and predator were curated through the basis of similarity, creating an illusory experience that demonstrates the unassumingly contradictory nature of these similar patterns.
The patterns seem to blend together uniformly from a distance, but closer inspection reveals each animal’s true form. The stripes of a tiger and the stripes of a zebra camouflaged among each other, yet their purposes are different — one uses it to hide, while the other uses it to hunt. It prompts people to reflect upon their own circumstances and serves as a reminder to be wary of their surroundings. In the dog-eat-dog world, you might not know who the real enemy is — to look closely.
In line with the recent pandemic, physical visual art exhibitions have been translated online for the sake of social distancing and the prevention of intermingling. Due to time constraints from the urgency of the matter, many translations of physical to digital exhibitions are completed in haste, resulting in the loss of physical experience when viewing an exhibition.
Deconstruction Reconstruction is a project that investigates the conditions that are considered when making a physical exhibition digital; comparing it to the considerations of creating a digital exhibition that was conceived as fully digital. In line with this process, the project aims to analyse the loopholes when exhibitions are shifting digitally and explore the significance of this phenomena. This inquiry also looks at the exhibition catalogue – also known as the exhibition’s legacy, and what happens when digitalisation changes the use and preservation of the exhibition catalogue.
The project also differentiates the virtual exhibition and the use of a catalogue. It reads into literature that looks at the various forms of virtual exhibitions and the use of the exhibition catalogue. Conclusively, it aims to integrate and understand the use of digitisation and the exhibition catalogue and finds contemporary case studies of virtual exhibitions and catalogues that hold true to these writings.
