In this final assignment, I used an article from the official Omega Website. I wanted to find an article that featured a product because I am genuinely interested to learn how to shoot products better.
The main approach I took doing this piece of work was to use soft and indirect lighting via strobes. This is because the watch is a shiny metallic surface and direct harsh lighting will look very bad from experience in my test shoot.
I think holding you near the kitchen light wouldn’t be so bad is an exploration of how human intimacy can be visually located in object language.
Through quiet searches of love through object-to-object relations, romantic ‘sculptures’ are identified within everyday spaces and close readings of the inanimate are formed. This work posits how objects, when recontextualised and stripped of their technical functions, could potentially inhabit signs of human likeness, and as a result represent a radical, liberated model of love in how they relate to one another.
An exploration of the dichotomy between solitude and interdependence, tracing the journey from a desire for isolation to a recognition of the profound need for human connection. Through observation of tides, the artist uses the natural phenomenon to symbolize the ebb and flow of relationships, highlighting the interconnectedness of individuals within the larger fabric of society. As the tides shift, so too do our perceptions of independence and reliance, ultimately revealing the intrinsic bond that binds people together.
By incorporating Singapore’s varied landscapes—Urban, Residential, Industrial, and Natural—this project revolutionizes automotive photography. Departing from conventional approaches, it authentically captures the city’s vibrant automotive culture. Each car’s individuality is showcased against the dynamic backdrop of Singapore’s urban and natural scenery, offering a unique glimpse into the intersection of automotive artistry and the rich tapestry of life in the city-state
…and someone cared enough about me in this world to take my picture is a curious attempt to reconnect with the younger self. The project makes use of archival photographs that represent memories of which the artist possesses but has close to no recollection of, revealing the fragility of memories while questioning its reality. Contemplating the “loss” of memory in our “infinite” memory storage, the detachment and disconnect is visually represented through physically manipulated photographs, which highlights the malleability of perceptions on the memories that we hold dear to our heart.