STUDY OF SPACES // Glover and Peranakan Culture

Moving and static image: Childish Gambino, “This Is America” (Dir. Hiro Murai)

Glover aka ‘Childish Gambino’ addressed many issues in today’s society surrounding the black community in the states. For this music video, the indoor production required space for rows of old cars, including one engulfed in flames; a bound and hooded man on a galloping horse; and a group of dancers working through stereotypical black dance tropes as Glover danced for the camera.

Image result for Childish Gambino, "This Is America" set design

It was a one-take music video where Glover was the focus of the video. The simple set up of the warehouse was important in giving the audience the range of view of Glover and the extras on set. It gave us a strikingly good contrast of the actors against the white backdrop. Which is, sure enough, the topic of this whole music video. Someone being put on the spotlight for whatever he does, someone who is half naked and who has barely any type of protection or weapon on him. He also illustrates when we over-medicate; We dance; We cheat; Steal; And, we do whatever it takes to ignore the chaos that’s happening right now in the backdrop of our lives.

The whole space required a large warehouse with a second level and an exit and entrance and corridor. “Part of the fun is finding out how elastic that box is and, you know, test the limits of what TV shows can do or what a music video can do,” says Murai. Architecturally, this music video was able to encapture all the different elements and situations posed by Glover. This was very important culturally due to the challenges faced by the black community at that time. While Glover is dancing and telling us to “watch him move” with young children following his every move, there’s an intentionally ironic and chaotic backdrop filled with persons being chased by cops, there’s a car burning, and a hooded man riding through on a white horse. This also highlights the wariness by the growing youtube generation of shaming and comments. They don’t want to be too controversial because then it could start a whole storm.

Physical space for art:

This is a Singaporean play who reinterpreted a 78-year old Spanish play into an Asian Peranakan setting. This play explores themes of repression, passion, and conformity, and inspects the effects of men upon women. There is also the deliberate exclusion of any male character from the action helps build up the high level of sexual tension that is present throughout the play. Pepe “el Romano”, the love interest of Bernarda’s daughters and suitor of Angustias, never appears on stage. This is elevated even more by the Peranakan culture where the females are the heads of the house.

This cue was from Peranakan houses in Malacca and Penang, with a deep layout and open courtyard. This openness was actually crafted with the predominantly black set with minimal props that allowed its all-female cast to shine. This actually made the theme of the play stand out more due to the oppression and claustrophobic feeling of the minimal furniture and predominately black interior.

The scale of the whole project was very important as well. The larger-than-life door at the back of the stage at the theatre was similar to Greek tragedy. In this production, the door acted as a reminder of the border between the inside and the outside world.

Wong explains that he had wanted to create the feeling of “being trapped once the main house door was closed” and using the windows to create a “false belief” that the women were safe in their house, “yet open to the gossip and peer pressure from the villagers”.



1 light

Put in one corner of the room with four walls, on the ground. An unlikely placement to create a form of interest in the setup.

10 lights 

One on all 6 planes, 2 on 2 corners on the ceiling, 2 on 2 corners at the bottom.
This is to spread out the 10 lights that might seem very little to place in a room.

100 lights

I would place them either in a pile in a corner or have them drop row by row from the ceiling and fall towards the ground and pool at that corner of the room and trickle across the floor as if it were water.


So the thing I thought about first was the donation tins that we use in school for public donations. I planned to put them into a little pyramid at the corner of the room. This would help highlight the importance of each and every tin.

Secondly, I thought of using the parking tickets we use to put in our car’s Dashboard. This would be stacked onto one another to make a fabric almost and I would drape it over a car and cast it in the form of the car. The parking tickets would have their timestamps cut out as well.

Thirdly, I thought about using was EZ-Link, the card we Singaporeans use for transport. If we were to use it for a Singapore Pavilion, I would place the EZ-Links levitating in space, in orientation as if there was an SBS/SMRT bus full of people and they left it on the seats. This would hopefully give the impression that everyone relies on this pretty little card and the orientation of the buses are important as well.

QUANTUMQT // FYP Final Presentation

For Presentation:

Full layout:



5% FYP pre-presentation + 100 words

Link to my FYP Pre-Presentation

100-words summary – 5%

Contrary to popular belief, Quantum mechanics is not just purely imaginary or mathematics. It has always been an essential part of life; However, we are only now discovering what more meets the eye. Visualizing the effects of Quantum Mechanics have not been an easy task, even scientists are not able to observe such instances at such a small scale. Therefore, making the concept of Quantum mechanics even more abstract and uncertain.
5% is a project that would like to bring forward these ‘simple’ laws of physics and talk about it in real life applications and also in the smallest scale. Hopefully, one day we can all understand that these things are not fiction anymore and we are moving forward towards knowing more in-depth what does the world do for us.

Minimalism showcase // Reflection – Mona Hatoum

Mona Hatoum
Black finished steel and fishing wire.
300 x 300 x 300 cm.
Collection of Yuz Foundation. © Mona Hatoum
An inviting piece at first glance, what seems to be a very dynamic cube sculpture changes shades of grey, black and white every time you take a step towards it. A few steps closer and you realize the sculpture is not one sculpture by itself, the ‘rods’ are not bound together and they dangle in the middle of nowhere. Once you are right in front of the sculpture, you are engulfed in the entirety of the cube, you realize each of the black rods are bejeweled with ‘thorns’ resembling stretched out barb wire. They dangle on a translucent array of fishing line, spaced out far enough to distinguish each rod from the next but yet not enough for you to step into the trap.
This is what Mona Hatoum does the best, she creates the most enticing, seductive sculptures that disguise as installations that you can roam in. Her main topics of her works are confrontational themes such as violence, oppression and voyeurism, often in reference to the human body. The visual conflict of her works arise from the seductive  juxtaposition of opposites such as beauty and horror, desire and repulsion. This idea can be simply seen by how the sculpture was so inviting for the audience when they would be meters away from it however, the audience would then be repelled as soon as they see what the black rods really are.
These ideas can be seen by her other works such as ‘Homebound, 2000‘ and ‘Light at the End(2002) ‘ however, in a different manner. Image result for mona hatoum installation"A Shock to the System": Connie Butler on Mona Hatoum's Red-Hot MinimalismBoth of which have a different kind of harmful element to it which is electricity. They once again invite you into the space of the artwork but they repel you once you are in the space of the art work. Such harmful elements that become very real and apparent in her work is so important because she wants the audience to actually fear her work, which is the awareness of the real harm in her daily life, and ours as well.