FYP Proposal Pitch (Presentation)



<Pandemic> is a Virtual Reality Interactive Storytelling project utilizing the Oculus Rift VR Headset. It seeks to tell a story through VR environment, depicting the projected landscape of a post-pandemic world that has gone too far off into the deep end. This VR environment will be designed via Adobe photoshop and Adobe Illustrator and will be rendered in Unreal Engine 4.

<Pandemic> will utilize a Grayscale style of storytelling with charcoal/ brush stroke art style. It will be done in a graphic novel setting, where characters will fidget in their stations, their communication depicted through comic-styled speech bubbles that will not disappear. The player can interact with certain objects to unlock different scenes of the story and can travel around the area to find out more about a pandemic-ridden world. The world will be featured in Singapore, where various locations of Singapore will be depicted at their pandemic-ridden states. E.g. Marina Bay Sands, where tourists usually frequent, and Sentosa, where it has amusement parks and hotels that are usually filled with people.

ADM Gallery vs Gillman Barracks | Research Critique on the SG Biennale 2019


Image result for every step in the right direction singapore biennale

The overall theme of the Singapore Biennale 2019 “Every Step in the Right Direction” seems to revolve around the analysis of the past and the present and how far we have come, to take a better step towards the future. It is a reflection-based theme, where we are reminded without filter about the state of the world around us.

“Every Step in the Right Direction”

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The two exhibitions at Gillman Barracks and the ADM Gallery are slightly different in themes. The Gillman Barracks exhibition, titled “Every Step in the Right Direction”, highlights the importance of choice-making and the analysis of the current conditions the world is in, as well as the human endeavour for change. The Gillman Barracks exhibition focuses more on today’s truth, such as the possibility of losing our forests and nature to civilization, or how we should take the termite colonies as a role model for resource management. It gives us the brutal wake-up call of possibilities we probably have to live with if we do not start putting in the effort to correct what is considered inefficient or ineffective.

Zai Tang’s Escape Velocity III & IV

An example of the exhibition consists Zai Tang’s Escape Velocity III and IV (2019). It utilizes the sounds of nature to highlight the ecological crisis we are facing today. Wildlife is being eroded constantly, put at threat by manmade developments. The piece incorporates sounds from Mandai, an area undergoing development into an eco-tourism destination. Escape Velocity III comprises visual music scores alongside a dated and a modern vinyl player, foregrounding the tension between nature and capital. Escape Velocity IV, on the other hand, animates the visualisation of sounds of nature in the assumption that we can no longer see the nature around us anymore (lost to development).

“Tomorrow is An Island, as inland, a sin land”

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On the other hand, the ADM Gallery exhibition titled “Tomorrow Is An Island, as inland, a sin land” speculates about the future of islands, deep time, the fate of ‘crisis’ as a frame of our predictions and conceptions of future time, and the exchanges between bodies and cities. It talks about time being malleable and unpredictable, where moving on to the next moment can potentially be disruptive to the present culture. The ADM Gallery exhibition focuses instead on how time, as a subject, is so volatile. It can bring about many changes in any duration. In turn, it creates a black hole for culture to change. This “superpower” time has is the catalyst for the different significant parts of history we have.

Forest Tales and Emerald Fictions

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One of the exhibits, “Forest Tales and Emerald Fictions” (2019), is a 3 channel video installation featuring the dense skylines of a metropolis deep in the networks of the primeval forest and back into a hybrid world of urban and natural structures. It is a recount of the experiences the author has, the conditions, times and places, and the forest. These narrations are then interwoven with stories of a Singaporean Chinese woman recalling past times and her childhood memories of specific places and animistic parallel worlds. The collage in the videos featuring text, paintings, animations, urban and natural spaces alludes to co-existence, collaboration and co-habitation of human and non-human entities.

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The installation shows the forest not only as a resource, infrastructure and service provider (such as from colonization days) but also as an ecosystem of culture. The forest is seen as a pool of knowledge and matter, posing to us the question of to what extent the forest can serve as a model for sustainable urban development in the future. It teaches us that we should use history as a role model to generate better things as a whole, such as replicating forests to ease global warming, or creating spaces which are more conservative and resource-friendly.


Overall, I feel that overall even though both exhibitions revolved around human progression and further awareness of the world around us, they have rather different conceptual focuses. Both exhibitions do focus on what we can learn from our environment but in different perspectives. Gillman Barrack’s exhibition focuses on more environmental factors and how we should be inspired or be triggered by them, while the ADM Gallery focuses more on the exploration regarding the loss of culture, whether in terms of the way we view the environment or how the things we have are mere memory at this point.

I think it’s pretty interesting how different curators different views about progression have, as highlighted in their art pieces. Maybe it’s because of the countries the artists origin from (concrete jungle or nah), and the culture they have been raised in which has affected a different take on the same topic. Things like the environment can appear to be more crucial to one person, but things like a loss of identity or territory can be more important to another.

FYP Idea Generation | 2-3 Ideas


Access Slides HERE.

Idea #1: VR Visual Novel

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  • VR Environmental Storytelling
  • Hidden Nightmares/ Dating Sims/ the Horror around you
  • 3D/2D Elements around the scene, where you can access backgrounds and the environment before proceeding with the story
  • Unreal Engine/ Unity3D

Idea #2: Unimagined Animals; the world in 2000 years due to climate change

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  • Adapting to Climate Change
  • A fight for survival, especially in the decreasing natural space (Savannah, Arctic, Rainforests, etc.)
  • Animal Instincts increases, leading to greater intelligence. (Defiant Eye; Zoo [Netflix])
  • Physical manifestations and construction of creatures using 3D printing and Arduino (Interactive)

Idea #3: Interactive Storytelling + Environmental Storytelling + Interactive Storybook

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  • Interactive Storybook
  • Either through VR, where every page flipped will trigger a storytelling scene, OR
  • Physical, electronic book where elements will physically move every time the page is flipped. Kind of like a puppet show.
  • Arduino (Physical) or Unreal Engine/ Unity3D (Virtual) versions
  • Can also consider storytelling as a Visual Novel (So Idea #1 + #3)

Project Management for Design Professionals Ch2&5 | Review


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To be honest I don’t really know what kind of critique I am supposed to write for an research article that is so general, but I am going to give it a shot anyway at providing my own opinions after reading Chapters 2 and 5.

Chapter 2 talks about Project Management Goals and Activities. Project Management is an outcome-oriented process. Concepts are determined by the outcomes the projects produce and these outcomes, in turn, determine the usefulness of the project management concepts.

There are two main lists the chapter focuses on:

Five Phases:

  1. Start- the project begins
  2. Planning- figuring out how to perform the work
  3. Design- the project’s overall design is worked out
  4. Production- preparation of construction documents and/or other deliverables based on the overall design
  5. Closeout- the project work is completed.

Six Activities and Project Management:

  1. Defining the design project’s scope of work, budget, and schedule-in effect, determining the project objectives
  2. Planning the work effort so that the project scope of work, budget, and schedule will be met
  3. Directing the design team as it does the work so the project objectives will be met while staying within budget and on schedule
  4. Coordinating the efforts of the design team so that interdisciplinary information flows smoothly and at the right time
  5. Monitoring the design team’s work product and progress against the project objectives, budget, and schedule
  6. Learning from the project- what went right, what went wrong, and how to improve performance on the next project

Oookay I think these points are good for reference when it comes to panning a project. But I think I will be working solo for my FYP, so I feel that many of these roles have to be changed and altered for a solo job. Nevertheless I do agree that more planning and scheduling is never too much. This is why I keep a planner for my daily life as well; because I need that organization over my own hectic lifestyle.

Chapter 5 is about Planning the Project. It is mentioned that a project work plan should be developed before beginning every project.

Basic to-knows for a Project Manager:

  1. An understanding of project management
  2. The technical knowledge and experience that comes from actually doing design work

The project planning process is iterative (Starts from developing the big picture conceptually, without much detail. More details are added once the design develops.), while production task work is linear. I think that this is pretty reasonable, because when we focus too much on the details for a small portion, we tend to neglect the larger picture and we start becoming close-minded. The whole project will become a disconnected Pinocchio-looking donkey if we focus too much on one thing at a time without referring back to the bigger picture. Mix-and-matching does not work all the time.

Ishikawa’s Fish Bone

I think what is particularly interesting and useful for my project planning is the Fish-bone diagram by Dr. Kaoru Ishikawa. It is a graphic way of dividing a project, or problem, into its cause-and-effect bites. It is used to plan a project by diagramming all the cause-and-effect tasks that are necessary to complete a project. I think this is very relevant to a big project especially because more often than not, we tend to lose sight of our main objectives and diverge once we discover something new. It is like focusing on fancying your egg mixture with salt and pepper and other herbs when you are supposed to be baking a cake. With a fishbone structure it is easy to refer back to what we need to do and only focus on what is needed rather than diverge onto other topics and objectives that are not that important or significant.

Six Objectives of the Project Work Plan (a step-by-step method for accomplishing the work):

  1. Definition of the project objectives
  2. Identification of the project team
  3. Breakdown of the project into task budgets
  4. Development of the project schedule
  5. Establishment of the project quality-control program
  6. Identification of other project-specific procedures and standards

It divides the project into logical tasks for performance and monitoring purposes. It is easy to make mistakes or leave tasks out if objectives are unclear without a work plan. I will prolly be using this planning structure for FYP, but at the same time I feel that this is too early to think about for now since I don’t even have my final FYP idea yet. But it is still good reference.


The Ideal Work Breakdown Structure, just for reference:

  1. It is developed iteratively, starting with the whole and getting more and more detailed with each subsequent pass. It is hierarchical, that is, component parts relate to each other in terms of importance.
  2. It has the right amount of detail, no more and certainly no less.
  3. Tasks are defined by objective, duration and level of effort. It is based on relevant past experience in both project management and design.

I think after reading the two chapters, the whole gist is just to be super organized and orderly when you are planning a project. This means more paperwork, but this also means more clarity and more organization in life in general. It is very troublesome to keep track of everything in black and white schedule but it will ultimately benefit you because that one day you have a mental breakdown, you won’t lose track of your life because you can simply refer back to your very perfectly and clean planned schedule to figure out what you need to do. I mean in the end, there’s a reason why big companies have so much paperwork and schedules and files of information to sieve through. That’s because their projects can get so messy and complex that they need all these paperwork to keep things in check and keep even themselves up to check.

Overall, especially for FYP, it is very beneficial because the time spent doing the project is too long yet too short. Too long, because it is a whole year of things to do. Too short, because there are so many things to do and plan that not going without a schedule can be insane and you can get backlogged work instead.

Biennale 2019 @ Gillman Barracks | Escape Velocity III & IV


Work, their background, answering what you discovered that gave you more insight about the artist’s concerns and working methods.



Even though I did not attend the whole exhibition today, the work that caught my eye the most today was the first work I observed when I reached Gillman Barracks earlier than the meeting time.

Zai Tang’s Escape Velocity III and IV.

At first, I did not understand the whole concept but I realized that you have to sit there for quite a while in order to absorb the piece, through listening to the nature of the sounds and the tempo of the visuals. In fact, the longer I sat there, the more immersed I was into relating the artistic patterns to the sounds that were playing at the same time.

In Escape Velocity III, Zai Tang focuses on the difference between nature and synthetic, highlighting the tension between nature and capital. There is a delicate balance struck between the two, in a world that is slowly being devoured by concrete blocks. Tang uses slowed down field recordings of wildlife from places under threat by development and plays it against abstract art. The two art pieces incorporates sounds from Mandai, which is an area undergoing development into an eco-tourism destination.

I think that it is very interesting how Tang plays around with colour and the type of drawings to express the difference between smooth natural surroundings and the more jagged, rigid concrete jungle we live in. The sounds are also modified to expressed such, alongside the different vinyl players; the black vinyl player portrays a recording that will wear out over time, just like the nature around us when it deteriorates slowly. The white vinyl payer, on the other hand, is automated and does not wear out as it merely plays a recording. This is the synthetic nature of our concrete jungle, where it will never rot but will never be natural as well. I also think that it is very smart to make use of an analogue sound system to highlight the idea of sound, juxtaposed against a still image. This gives more room for the viewers to imagine how the portrait should tell its story, based on the sounds that accompany it.

While Escape Velocity III is more on a critical commentary about how nature is dying, Escape Velocity IV is about how we should conserve the nature.

Escape Velocity IV, on the other hand, focuses more on the visualisation of nature through sounds and abstract artistic shapes. I think that this piece is very unique because it does not really show any literal nature imagery unlike Escape Velocity III which does. However, I think what struck out to me the most as an ecological conservation art piece is how the nature is being preserved through this abstract visualization of nature sounds. It is quite sad in all honesty, but it is a way of preserving the nature that will soon die out if no one does anything about our planet earth.

If we take the artist’s background into account, I think he feels this more strongly especially since UK and Singapore are both countries that invest a lot in buildings rather than greenery and natural preservation. Also, when we observe the placement of the exhibition, we can see that Escape Velocity III is placed outside the room containing Escape Velocity IV. This plays up the idea Tang tries to convey, which is to first show us the dirty reality of how our ecosystem is dying, following by his presentation of conservation efforts we should be doing to preserve the ecosystem. Especially when these exhibitions are separated into two segments, I think it creates a very clear meaning about the purpose of the exhibition.


Research Critique #2 | Social Practice Example


“Transfer of a Zone of Immaterial Pictorial Sensibility” (1959–62)

Transfer of a "Zone of ​​Immaterial Pictorial Sensibility" to Michael Blankfort, Pont au Double, Paris

Transfer of a “Zone of ​​Immaterial Pictorial Sensibility” to Michael Blankfort, Pont au Double, Paris, 10 février 1962

Yves Klein created “Transfer of a Zone of Immaterial Pictorial Sensibility” (1959-62) as a commentary on the importance of materiality. This social practice art revolves around the idea of offering people a limited “edition” of ten “Zones of Immaterial Pictorial Sensibility” to collectors in exchange for specified weights of gold. These zones are “immaterial zone”; in other words, they don’t really exist as zones for purchase.

Anyone who purchases the zone will have a receipt issued to them, specifying the weight of gold they handed over. The receipt will then be burnt and then half the gold thrown into the ocean where it is irretrievable. The transaction between the artist and the collector had to occur in front of at least two witnesses, along with a curator or critic, and documented by photograph.

This is a symbolism where there can be no question of the buyer owning any physical object or residue, apart from their memory of the action. Also, every possible buyer must realize that the fact that they accept a receipt for the price which he has paid, it takes away all his possessions (the gold and any other items used to pawn). This art piece by Yves Klein brings up a question of material possession VS figurative possession. In other words, it is about having an actual object opposed to having the memory of having done something. Which is more meaningful and precious?

The immateriality of the zones created in exchange for the loss of gold means that the ownership of these zones can never deteriorate. It is through an unspoken rule that the zone is owned by the buyer, and this ownership cannot be transferred unlike if an actual object is being purchased.

However, some people also feel that it is more secure and real to have an actual sort of proof that they own the zones that they purchased. As a result, they refuse to incinerate their receipts, which leaves the immateriality of their zones incomplete because in a sense, their zones still existed with the receipt proof.

To be honest it took me a seriously long while to understand what the art was trying to prove, but I guess in terms of social practice it brings up a valid point; how significant is it in our lives to have something material? All of us have precious things such as our good memories with our family, or a relationship that was beautiful before it ended. These are clearly not material, but they are kept safely in our hearts. Then again, there are also material things that are important to us, such as a piano that has been with you for ten years, or a puppy that grew up with you from infancy.

However, after thinking about it, I feel that if I had to decide what is more important (material vs immaterial) I would say that the core thing that keeps us happy or satisfied are the immaterial. I see it this way because I feel that it is the memories or feelings, we had with the material things which makes us happy when we once used a product or spent time with something. Ultimately, these past feelings and memories are considered immaterial. This kind of proves a valid point in Klein’s artwork even though I am not sure if that was the point of it at all, that immateriality is sometimes the only thing necessary to prove a social point. As long as there is a common understanding between people that such a thing existed, it would suffice as an experience lived through.

Nevertheless, I still want to highlight how immaterial things are ultimately not very practical in our society even though as a social practice it can do things like save the environment or enhance a social experience. For example, money is material, but it is extremely necessary. Honey, memory alone will not fill a rice bowl, but money can be used to purchase food for survival. As a social practice, it is ideally nice to have nonsensical theories about how material proof is not necessary for a wholesome experience, but it is actually quite important. With how twisted reality can be, material products have to exist to provide some sort of proof against the law and justice system, and material products are also used to sustain our survival as a proof of us deserving of certain things. We need to consider the practicality of certain theories, and remember the consequences of drastically changing the system we live in.



This art piece is a social practice art because it goes against the usual societal perception of transactions. Where capitalism rules, materials such as money and products are highly prized and held with great importance. However, this art focuses on how immateriality can also be considered a transaction tool, especially since this art performance occurs 5 years before the rise of conceptual art.

Reading 1 Response


Write a minimum 250 word response FOR EACH TEXT and post onto OSS your response highlighting your own critique of the reading and what are the key ideas that are thought provoking in the reading.


A critique of social practice art by Ben Davis:

Davis discusses the conflict between reconciling socio-political viewpoints and capitalism, which I find a very real problem in our society today. Projects such as turning houses into community spaces integrated with artist residences and offering temporary and affordable housing to young women are supposed to bring about positive changes and mindset to the world. This, I will not deny. These projects are created in the name of “social practice”, which includes voluntary and non-profit initiatives. On the idealistic level, it sounds like what everyone should do to make the world a better place. It implies that this socio-political viewpoint is fairly accurate and plausible, because the ideal world is where everyone is good and selfless to one another. I will not deny that at first read, it does sound very pleasant.

However, what people do not realize is how such an artistic theory will always be restricted by capitalism in the end. These projects are funded by larger companies such as Bank of America, who preys on the lower income by collecting massive interest payments, aka extracting profits from the poor who cannot repay their debts. National Museums Liverpool decided to engage volunteers instead of workers to take care of such a cultural heritage, but this essentially lays off thousands of jobs and destroys the livelihood of even more. This is the reality; people simply cannot afford to be selfless all the time if they want to be able to survive. The reality is ugly, but no one can run away from it. Even voluntary organizations need money to help others, and people are the ones donating to these organizations. But to even attain this money from the start, they have to work. If every workplace in the world decided not to dish out salary anymore out of the good spirit of “volunteerism”, we would be seeing a pile of suicides worldwide within 24 hours. Good will cannot buy you food for life, but money can.

What Davis mentions is to me quite accurate. He describes these well-meaning projects such as the Young Mothers Program to be just desperate cover-up for the things we are not doing to improve life for others; whether it is the rich helping the poor more, or offering more quality of life standards in all workplaces through bills and regulations. To me, well-meaning projects can certainly give people revelations about how the world is operating, but it is just a person’s guilty conscience coming into play; they decide that they cannot actually solve the issue at root, so they create an art piece to show that they are “helping” to solve the issue at hand when in fact they are not actually doing any tangible assistance for the afflicted.

Ultimately, “Social Practice” is a pretty way of telling people that they have to be moralistic enough to do work without expecting profits, but reality is that people need these works to be paid in order to sustain their own livelihood. Artistic initiatives can help to prove a theory, but it only exposes people to the social problems but does not kill the root cause of the issue; money. Art is also becoming increasingly monetized; but I view it as the world’s system. Without money, no one can do anything substantial enough to make an impact. In order to create an impact, people must work with those who have money, but in turn the wealthy will only help out if they can get money out of the deal.



Designing For The Digital Age by Kim Goodwin

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Goodwin mentions how there are different types of designs, and that they all come in stages. As humans, we are smart enough to modify our environment and tools to make life easier and more efficient. This is, as Goodwin says, the intentional shaping of the world for mass consumption.

She discusses that design is visualising concrete solutions that serves human needs and goals within certain constraints. She says that in order for design to be design and not just art, it has to serve these needs and goals, and allow humans to accomplish something in an efficient, effective, safe and enjoyable way. Besides function, it has to be aesthetically pleasing and pleasurable to consume. At this point, even though it is very early in the reading, I feel that humans ultimately thrive due to one thing; greed. With greed, it causes them to thirst for advancement and betterment of information and technology to make their own lives better. This is without care for our natural environment nor the ecosystem we affect with our pollution. Of course, I am not guilt-free, but it does irk me to think that everything ranging from conservation efforts to high-end technology is done with a selfish goal in mind. It is done for only human needs and goals, regardless feelings or physical needs, rather than for other purposes. This fact is pretty sad. This is also pretty off-topic from the original intention of the article, but I am moving on.

Goodwin also mentions that design is informed by scientific learning and focuses on understanding only to the extent that it is necessary to solve the problem at hand. I think that even though this sounds very unambitious, it is unavoidable because time and cost are often problems faced as designers. Whether it is material constraints or regulatory requirements, these are red tapes that prevent a project from expanding even further. As a result, people can only tackle new problems as they occur instead of preventing them from the start. This is sad, because it also applies to school and paying large amounts of money for our projects. However, it makes me think that maybe more efficient creation of products is better opposed to just adding one or two function changes every time a product is revamped. By thinking more than 2 or 3 steps ahead, we can create products that are efficient ahead of its time. After all, being too efficient is usually prioritized over being under-efficient.

Goodwin then brings up the term “experience design” which supposedly consists human-centered products and service design, but she disagrees with this broad term. This is because every person’s behaviours, attitudes and perceptions tend to be highly individualised which makes every user experience different. As a result, this affects an intended product function and outcome. I agree with this, but thinking about every single possible person’s viewpoint of a product is plain impractical in my opinion. As a result, I think using the term “experience design” is actually not entirely wrong; how a person uses a product is up to them, and it can still be counted as an experience.

The last thing that I found very useful even in planning my own projects is what Goodwin calls the Goal-directed Design. It revolves around a fixed template about achieving certain goals at different stages of a project, which provides more accuracy and conciseness. It ensures thoroughness, timely-execution and consistently high-quality output without wasting any effort and time. This is done through utilizing four components; principles, patterns, process and practices.

Ultimately, design serves as a process catalyst by making ideas concrete. I interpret this as design being a useful tool for organizing projects. This is because by going through all the processes step by step, it reduces any loopholes and ensures clarity in execution. Somehow, to my observation of the outside world, this “step-to-step” habit is an unspoken rule by everyone in our daily lives. It is something that has been practiced, but when it comes to more complicated things such as building something, it becomes less instinctual to follow. This is interesting, because it shows that even as humans we can lag as well. We also require blueprints to work faster and more efficiently. Therefore having a fixed design to follow will benefit us and make everything more efficient. I should probably apply this to my real life as well when I plan my projects. Then again, this quality will ultimately be countered by time and money as well, but which also could be countered by proper planning and design with Plan Bs and Cs…

*Harsh whispers* Artist Biography + other stuff about me


Joey Chan Ker En // jouzenki


#1 Biography (200 words max):

Beneath a bubbly persona, Singapore-based interactive media designer and programmer, Joey, has dabbled in various artistic mediums ranging from web coding to hardware electronics. Working primarily with interactive installations and web programming, she has also explored game design and UX/UI. Joey is just like a normal person like any other passerby, but behind that exterior is an almost radical idealist. She is willing to chain up her professors in a metal box or make her friends walk through barb wires, if it is to achieve profound meaning in her absurd pieces. However, these bold and wild projects often convey a softer and more sensitive commentary on the world, her latest projects relating to animal abuse and societal pressure. Joey’s artworks places focus on achieving raw emotions, breaking through the wall known as the common conservative societal opinion. 


#2 Biography (200 words max):

Beneath a bubbly and joyous persona, Joey is a bold up and coming artist who is willing to chain up her professors in a box or get her friends to walk through barbed wires to achieve profound meaning in her artworks. Working primarily with interactive installations and devices, she proficient in getting  participants to internalise raw powerful emotions by getting them to experience the artworks first hand. Within her artworks however, there is always a softer meaning and purpose. From teaching participants about animal abuse to teaching participants about the hardships of life, they leave her artworks a better and wiser person. When not creating radical artworks, Joey is a normal human being who spends her days doing everyday mundane tasks like the rest of the world whilst thinking of extraordinary ideas.


Link to sample of your work + Short Description:

<Child’s Best Friend: MORRIE> is a handheld interactive substitute pet which aims to teach children how to treat their pets with proper care. It encourages children to learn how to care for them before getting a real pet.

Check the full project documentation here.



P.S. This is an old version 🙁 Not updated with descriptions and relevant categories and skill set yet.


Link to an example of a work that inspires you/ impacted you:

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Passage (2016) by Anthony Gormley @ www.antonygormley.com

Passage (2016) by Anthony Gormley was one of the inspirations which opened the world of weirdness to me. It is a very long passage which is shaped in a human, and people can walk through the passage. However, walking further into it will cause slight claustrophobia as you are unable to move as you please in the tunnel, and can only move forward or backwards. This constricts freedom, and creates a trapped atmosphere for the participant. It taught me that creating art does not have to be comfortable for the audience, as long as it is thought-provoking. Comfort is not number 1 in art; it is how immersive it can and how it pushes your mental boundaries which makes art so successful.