1 Join = 1 Flick

The objective of the work is to allow the crowd to participate in my conditioning. An example of conditioning is training the test subject to react to certain triggers, in this case my group has conditioned me to react to a new ‘joined’ notification by anticipating a flick on my forehead.

We uploaded a post on Instagram to preempt the audience of our project but we did not reveal the purpose of it. Then, we started an Instagram live video that can be accessed by my followers. We started off the project by using tickling as an action and using likes as a trigger. As the participants were either my friends or acquaintances, they enjoyed the little exercise quite a bit by leaving comments such as ‘I spammed likes, tickle him harder’ and so on. They did not take it seriously as they were able to feel satisfied with low consequences as ‘flicking’ was not inherently dangerous. After a while, I stopped reacting to the tickles as I was used to them and the participants were able to spam likes on a live story, making the reaction less responsive.

We decided to create a better conditioning by changing it to flicking my forehead as an action and joining/leaving a comment on my live chat as a trigger. Whenever someone comes to watch the live video, a notification will appear and state ”XXX joined”. When that happens, either Li Xuan or Han Yun will give me a flick on my forehead. After awhile, I become accustomed to the feeling of getting flicked whenever a new person joined, and I had some anticipatory reaction even when the two of them did not flick me. At that point of time, I still flinched whenever new somebody joined as I was conditioned.

The creators of the project were both the crowd and the test subject (me). Without the participants, the work will not achieve the intended outcome as I will not get flicked and be conditioned. It was different than the classic conditioning done by Ivan Pavlov – refer to https://www.youtube.com/watch?v=iawj42z4dPM , as my project involved a crowd that was essential to making the conditioning work. Unlike his experiment having a constant, mine did not have one as my participants were a variable. They were able to choose whenever and how many times they want to appear.

How are we so sure that the participants (my friends) would join the live chat and watch me get flicked? We based it off the schadenfreude experience. Schadenfreude is the experience of pleasure, joy, or self-satisfaction that comes from learning of or witnessing the troubles, failures, or humiliation of another. It is one of four related emotions or concepts. Hence, we were sure that my friends would want to see me get flicked. Indeed, there were some who left the room and rejoined just to see me get flicked more than once.

We had to switch up the project as we did not get the intended response whilst using 3 phones as Li Xuan and Han Yun’s friends did not know me and did not care to inflict pain on me. Additionally, I learnt that having a controlled group of participants were important as the context of the audience would affect the intended outcome of the work.

The spray paint area in front of the ADM car park; where I had spent many hours(one day in particular) to finish up a 3D project, captured a still memory of my dilemma. In a flashback which I can perfectly re-enact, Jasmine(classmate) and I were staying back late to complete our 3d project over the weekends. Holding two spray cans in my hands, I was tapping my feet and pacing up and down the spray painting area, thinking about my next step of my 3d assignment. Late hours and hard decisions were a constant in my ADM experience, and I have chosen this space as it brought me back to the moment of dilemma, an alternate space of thoughts and ideas.


This alternate virtual space I created was characterized by my creative thoughts, layered into rooms of hypothetical outcomes and boxes of imagination. The ‘messiness’ and past graffiti on the walls made me ponder on the decisions these ‘street artists’ have made, be it for fun or had meaning behind them.


The outdoor space that distinguished itself from the rest of ADM was almost ‘open-source’, where people can edit, add upon or even remove (by covering over with spray paint), and that in a way modifies the alternate space as a new user of that space comes along. It is also possible to change the space alone or with others, as it is not bound by its physical properties and changes with the intent of users.

Task 1:

Consultation with client. My client was Fatin, and on our first consultation she wanted a desk organiser. As a rigid object, I found it hard to work with and was not easy to come up with a ‘special’ desk organiser, as there were many organisers already made. It did not resonate anything unique about Fatin. I asked her a few more questions about the organiser to add onto the idea and consulted my professor Peter on the subject.

After much thought, I consulted Fatin again and asked if she wanted anything else. This time round, I asked specifically if she had any memories, whether good or bad, that she was comfortable to share and create something to represent that memory. She shared with me her secondary school teacher, Mr. Wee, who would pick on her and make her stand in class for no good reason. He would also shout at her face and caused much emotional hurt to her. I asked what she liked as well, so that I had a wider angle to work with. Fatin enjoys collecting items, such as ring tabs and chains. Her favourite colour was red, but I decided to use blue as a contrast to what she liked (as she detested the memory of Mr. Wee). I used other metallic objects in replacement of ring tabs and chains as they were easier to rust (as part of her story, the relationship between the two deteriorated over time). This was my process, I thought about the design of the bag first.

I gathered my metallic objects (iron and steel based) to rust. I used a solution made of vinegar, salt and hydrogen peroxide to rust the objects. Firstly, I threw the objects into a pail, poured in vinegar for a duration of 5-10mins, and then added hydrogen peroxide and salt. The solution made the objects in the pail bubble up, and formed a thick layer of foam. The objects started rusting, and I left them in the solution for half an hour.

https://youtu.be/bImH4jAjCzw –Link to my rusting process

In class, I bent the copper wires and soldered them together to create a frame for my bag, and used pvc roll as my bag (I glued the pvc plastic together according to the dimensions. I sew a zip on the bag for practical purposes (for ease of adding and removing objects from the bag). I placed a cone on the top of the bag to funnel in the salt that represented Fatin’s saltiness towards Mr. Wee. The items in the bag represented the frustrations and restrains of their relationship, and the rawness of the degradation she felt. This was the final product.

I used copper wires for the bag strap to represent how uncomfortable the emotional baggage would be for her, and added salt into the bag for demonstration in class. Some of the items in Fatin’s bag were not rusted, to show the process of her deteriorating relationship.

Feedback: The styrofoam balls I had placed in initially to represent salt was not removed. I did not do so as it was able to absorb the rust from the metallic objects and gave an overall ‘gross’ and dirty feel to the bag.

Reflection: I was surprised how I was able to work with the objects and create a clear narrative to my work. I really enjoyed the process and am glad that Fatin really enjoys the product I made for her! The bag was more non-functional and more conceptual as I had hope for it to be.

Task 1

We were told to bring objects that either had meaning or we just have in our possession from our homes.Initially, I brought a few random objects that did not really have a meaning, some items from secondary school prom and etc. One of which was a marble, which represented my fear of them when I hear them bouncing on my ceiling (I live on the highest floor). These objects did not provide me a good idea of what I wanted to do, so I went home again and flipped through my memory box. These boxes were all filled with past letters written to me, some of which were very well thought and designed. Most of them were birthday and Christmas cards. As I read them, I was reminded of how fast time has flew and how fast I grew up. I have gone through so ‘many’ life stages at this point, remarkably JC to army to Uni in such a short span of time. These letters meant a lot to me, and were among the few items I choose to keep after renovating my room.

Task 2

We were told to make a shadow box using the idea/concept that we got from the items we brought. I did not want to use the conventional shoe box as advised. Instead, I wanted to create a shadow box that represented life in a way, and I coined it as ‘The Game of Life’ box. I wanted it to look like a game box, a Gachapon machine as the element of randomness and curiosity was present. The idea of not being able to choose what you received intrigued me, just as how we aren’t able to choose what we get from life. This progression in life was taken from the idea of growing up from my letters. My items were carefully chosen; they were:

  1. Slinky (To show a transcendence of time, a connection)
  2. Polaroids (Memories of different time periods)
  3. Wrist coins (Childhood game)
  4. Game Capsules (To encase my items)
  5. Fairy Lights (To bring out the ‘game’ element)
  6. Old Phones (To show a progression of upgrade of technology in my life)
  7. Army items (As a ‘phase’)
  8. Ring (received on my birthday)
  9. Clipboard to write my game instructions

The rest were for design purposes.

This was my process; I started off my thinking of how I wanted to build my box.

After the brainstorming, I brought my items and glued my boards together as a start. I was careful with the process
because I was afraid of mixing up the steps of creating the box.

I did not use the ply wood for the middle platform as I wanted it to look clear.

After this step, I coloured the board with spray paint. I screwed in the nuts as well for the middle platform.I tried out the layout for the box as well.

After gluing everything together, placing the items and attaching the fairy lights, this was the final product.

I really enjoyed the process, even though I was not familiar with drilling and gluing things together, it was nonetheless exciting to carefully plan out a box that was meaningful. At first I thought really hard about spray painting the box, and I went ahead with it anyway as I knew what I wanted it to represent (The colours faded at the bottom to show the progression to dull, mundane adulthood).

Roman Ondak
(Slovak, born 1966)

Measuring the Universe













I found Roman Ondak’s work really special, the simple gesture of recording down the name and particulars of each individual
that went to the exhibition according to their height created a thick line across the room. The work has personality,
creativity and most importantly, to me, it was created through individualism. In participatory art, the artwork grows along
with the participation, and watching the exhibition unfold was really interesting. Roman Ondak portrayed how simple it is
to create an artwork through our uniqueness.

Erwin Wurm

(Austria, 1954)

Ice Head 2003

























Erwin Wurm invites participants to interact with the art pieces, which have holes in them specifically for the participants to stick a limb in and pose for a photo. With the involvement of the participants, the art piece, which initially seemed mundane and uninteresting, suddenly comes to life and also has a little bit of humour embedded in the participatory art. In a way, the art piece cannot be recreated in that exact setting, making it more intriguing and unique.



I want to show, through a series of simple drawings created by 10 participants,
the presence of influence we have on each other, whether in a big or small way.
I folded 2 A4 cardboards, attached 2 different flowers on one end of the cardboard,
and cut a hole on the other end.

The presentation went as followed:
The 10 participants would be separated into two groups: One would be able to see
what each other have drawn, the other group would not be able to do so.
They would go take turns to enter the classroom, and the participants were not
allowed to communicate verbally. They would then insert one hand into the cardboard box
and feel the object, and draw whatever they felt the object was. There was a little twist
to this, I switched the boxes around after the second person from each group had drawn their
drawings. The third person from each group would then draw a different object, and because
they were not allowed to communicate, they would not know that it was changed. The group
that were allowed to refer to one another’s work ended up drawing similar items even though
their objects had changed.

The group that was not allowed to refer to each other’s work drew objects of their own interpretation. I explained to the class afterwards that my point was made, that we were inevitably affected by one another, and this extended much further than simply drawing flowers from a cardboard box. Consider influence in a bigger context, such as in our daily lives. We are affected by the choices that others make, such as giving bad reviews to a particular movie and bringing down its ratings. We would always check the reviews of a movie before watching, and would more often than not skip the movie if it had terrible reviews.

The objects could have had more difference to make the participants think twice about what they were drawing.

Reflection: I was glad that I was able to convey my ideas through a simple participatory work, and with a revision, I believe that the work could have an educational aspect for the younger generation and possibly educate on the importance of having individualism.

Combining many of the lessons and concepts of drawing we have covered so far, your assignment is to design a composition that depicts at least 6 people in a queue that you feel would be interesting to record. The space you choose should have opportunities for you to draw interesting perspectives, objects, textures, etc.

The drawing must be done on location and from observation.

I had drawn this at the Canteen 1 drink stall. The main goal I had set out for was to create a naturalistic drawing of the location, making it convincing and clear the foreground, mid-ground and background. The figures were rather hard to capture in real time, so I had to do a lot of figuring out, especially for the shirt folds and shades. I had focused greatly on the use of different tones to create a hierarchy. I felt that it was important to emphasis the lightest light and the darkest dark in the drawing. The solution that I came up with was tied together by the positioning of the light source for the character.

Feedback that I received:
Tables could have been drawn in a more convincing spherical shape;
and toned according to the drawing.
The shadings on the middle character, especially below the pants, was inconsistent with the rest of the characters.
The shading on all the characters should have been consistent.

Draw 3 compositions of the interior of your apartment on A2 paper. Set a timer to 35 minutes for all 3 drawings. Focus on the tightness and looseness of the space, ensure lines are not floating at the edge of the paper, difference between positive and negative space, cropping of objects, and the objects do not have to be detailed or rendered.

Critique by classmates Don and Celia:
• Frame is unique
• Ceremonial sword has the darkest tones
• It is unsettling with regards to the midtones and rough texturing

• Weird shadows
• Lack of items
• Feels like night time for the walls are rendered dark, but window is bright

• Rendering is rushed
• Seems naturalistic
• The objects lack in key details, can’t make out what they are
• Looks honest, area looks lived in
• Computer is turned on but no details on screen

• Ceremonial sword seems heavily invested in for it has the most amount of details

• Table is not complete, the wire as well
• Try adding more details, define the areas where they overlap
• Define separation of areas more

• Chose to put focal points on the left
• Not a lot of heavy cropping at the top, making the scene feel slightly distant

• Challenge himself by choosing to leave the window and computer blank, giving some sort of relationship of where the light is coming from

• He could try adding more light sources which can work as motifs with regards to the window and computer screen

– Creative use of negative space to show form