Investigating Reality Through Art: The Initial Concept of My New Project 'Fragments'

Art can express and explore the inner workings of our minds and how we perceive the world around us.

A new project idea arose from reflecting on my earlier work, 'Reverberations,' where I explored fragments of sky, memories, places, and the reality shaped by my perceptions. This experience prompted me to reconsider how each person's reality is constructed and how these constructions differ from one another.

I have always been fascinated by how we construct our reality. Each person's surroundings and experiences serve as fragments that shape personal reality and contribute to our collective understanding of the world. Social media and technology introduce complexity to this notion, as AI algorithms filter the information we consume. They reinforce extremes and create polarisation, leading us to question what is real and what is fiction.

Therefore, I chose 'Fragments' as a concept of the new project, and I intend to delve deep into the intricate layers of experiences, memories, and perceptions.

The Initial Concept

In this project, I plan to explore various forms of 'fragments,' both physical and metaphysical. The current intention is to create an immersive art installation featuring moving objects, sculptures, and images that invite viewers to engage with the concept. I aim to examine impressions of fragments, including comfort, fragility, and potential threat, encouraging viewers to construct and reflect on their own realities.

The interplay of light and shadow will be crucial to this installation, as shadows can obscure the details of the objects, directing viewers to focus on objects' essence. By incorporating these elements, I hope to create an experience that highlights the fragmented nature of our perceptions and the fragility of our narratives and reality. Viewers might encounter objects that serve as metaphors, prompting them to think critically about the realities they perceive.

Inspirations from Other Artists

As I embarked on this journey, I began by visiting various galleries and exhibitions to seek inspiration and study the presentation of artworks. I visited more than 20 exhibitions around London, and some artworks left a strong impression on me.

Joseph Kosuth's 'The Questions' exhibition at Sprüth Magers was among them. The press release stated, '...his enduring interest has consistently privileged the questioning process as the primary starting and ending point for both art and its public.'. This made me think about why I make art and what it is for, and while viewing his work, it aroused more questions, such as the relationships between objects, images and languages.

‘One and Three Shadows’ [Ety./Hist.] (1965) by Joseph Kosuth at Sprüth Magers, photo by author

'One and Three Shadows' is one of his works that I really liked at first sight because I am fascinated with light and shadow. His questioning of 'shadow' as an object prompted me to rethink the boundaries between reality and representation.

My perception of shadows has been distinct from the objects themselves since my childhood. The shadows of trees, birds, and butterflies that I observed on the Shoji screen appeared to me as different entities compared to the actual trees, birds, and butterflies. When shadows manifest, they simplify the details of the objects, becoming something more abstract and elusive.

However, shadows cannot exist without the objects they derive from; they are dependent on these objects, which act as their hosts. This dependency leads me to consider shadows as representations, yet they do not always accurately depict their corresponding objects. Depending on how and where shadows are cast on a surface, they can create unique shapes and realities of their own.

To me, there are no clear boundaries between shadows and objects, just as there are no distinct lines between reality and representation. We exist in a space between these two realms, and everyone sets their own boundaries along this spectrum.

Additionally, displaying the definitions of the words "shade" and "shadow" alongside the actual shadow and its photograph prompted me to reflect on the meanings of these terms and the role of language. The impression I gained from observing the physical shadow and its photographic representation cannot be adequately captured by the simple definitions of the words. I need to provide context and share my perspective to fully convey my impression.

This experience reminded me of the limitations of languages that I realised while translating between English and Japanese. I also often struggle to put mental images or ideas into words. Once I attempt to do so, they depart from what they were in my mind. Some expressions in the Japanese language don't exist or don't carry the same meaning when they are translated into English.

Kosuth's work reinforced my understanding of words and language, leading me to reconsider how I use them to communicate with others. It served as a valuable reminder of the risks of miscommunication and misinformation that arise when we detach words from their contexts, especially as we frequently see in mass and social media. His work inspired me to consider how text might play a role in my project, enriching the narrative and offering layers of meaning for the viewer to uncover. Exploring language and its integration into visual artwork helped deepen my recognition of the ‘fragments’ I observe every day.

Other artwork I was inspired by was Amikam Toren's Criminal Record exhibition at Anthony Wilkinson.

Pulped original painting's paint (turned into monochrome dust) is placed in a fragment of the original painting. photo by author

The gallery showcased a series of paintings titled 'Reproduction.' These canvases feature monochrome works created from the pulp of original paintings that had lost their colours and images alongside fragments of the original artworks. The fragments are positioned where the original paintings once occupied space before destruction.

I found the concept of the destruction and resurrection of objects fascinating, as it allows for the reconstitution of new meanings. The remaining pieces of the original paintings subtly hint at what the originals resembled while simultaneously amplifying their destroyed state. The textures and monochrome palette on the new canvases have become a new work following the destruction. The colour evokes a sense of neutrality, uncertainty, and ambiguity. It also reminded me of the ash and stories of the Phoenix and Pandora's box, where destruction leads to renewal or the revelation of hope. The uneven texture of the artwork felt like a narrative of the time the paintings endured. The moods of those paintings made me think about the state of the works - is it still alive or dead? Maybe somewhere between?

I now wonder, how would the impact change if the fragments of the originals were absent? Without them, the artwork would likely fail to convey its intended message, merely representing the death of the original pieces without evidence of their former vitality. This exhibition made me realise the significance of fragments—small and subtle, yet profoundly influential to the whole.

I want to discuss one more exhibition, SOFT RESET by Hanne Peeraer, at SOHO REVUE. I found this exhibition by chance while casually browsing current exhibitions around London in March. When I saw the installation still on the website, I wanted to experience it in the space.

The fragments of objects on the mobiles sway and spin as the air shifts. The small white objects on the wooden bars are three faces on one head, closing their eyes. Photo by author.

This art installation resonated with me due to its use of fragmented objects and the way it is displayed in the space. I envisioned a delicate, calm, and minimal aesthetic for my new project, aiming to create something contemplative, and this installation exemplified those qualities.

According to the press release, the mobile work is titled "Baby Universe," which seeks to embody the hypnagogic space between waking and sleeping. Each piece features the initials of loved ones who have influenced Peerae's life. The use of white and pastel colours, shapes, and materials creates an innocent yet futuristic mood. The hanging objects from the ceiling evoke the feeling of gazing at the sky.

Displaying fragments of objects as a mobile could be an approach I consider for my installation. This method would suggest a loose connection between the objects, resembling the fragmented information and experiences in our minds.

The two spotlights illuminating the mobile cast shifting shadows on the white floor, quietly changing their position and shape as the pieces sway and rotate with the movement of air in the gallery space. This effect could be used to express the ambiguity between reality and perception.

Placing cushions on the floor encourages viewers to relax and look up at the mobiles and paintings on the walls. Soft ambient sounds enhance the meditative and reflective atmosphere. These presentation strategies help viewers experience the work in the way I intend.

The Process of Discovery

To further develop my ideas, I will document my observations on the streets, photographing fragments that catch my attention. This continuous interaction with my environment will guide my reflections and spark new ideas and directions. I plan to develop my thoughts through the process of creation, allowing the project to evolve in response to my surroundings and observations, without preconceived intentions or expectations, and letting go the need for control.

A crucial aspect of this project is embracing change. Although I currently have a certain vision, experimenting can uncover unexpected and thrilling results. As I explore new materials or techniques that align more closely with the concept of 'fragments', my ideas might evolve. This exploration could unveil unforeseen paths, offering new perspectives for this project, and serves as an experiment for me to engage with the unknown and embrace it as an artist.

As I move forward with the 'Fragments' project, I am excited about the possibilities that lie ahead. I look forward to the challenge of constructing new relationships and narratives between different objects, materials, and processes to demonstrate the multifaceted nature of our realities.

Closing Thought

'Fragments' will be a thoughtful exploration that invites viewers to reconnect with their experiences and rethink the reality we all navigate.

What "fragments" of experience and information have influenced you, and how do you shape your reality?

Let the exploration begin..