Pitch Project


For the pitching of project ideas, I would like to suggest the following:

1 Personally, I would like to create an interactive installation that explores with the idea of Momento Mori, one that evokes potentially uncomfortable feelings of loss and empathy with the audience.

For the pair work, I would like to create a creative public space that encourages free artists expressions, like a lepak corner for artists to come together and share.

Human Robot Interaction



With regards to the works of Professor Louis-Philippe Demers, he explores a lot on the interaction between robots and humans (i.e. Inferno and The Blind Robot). What drives your intentions behind exploring this area?

It in intrigues me because of how people are willingly experiencing these, putting trust to the robots and letting the robots interact with them. To me, I would have my doubts going along with the movements of the robots, such as letting a robotic hand explore my face (as in The Blind Robot). Are people becoming to trusting on technology or do they have absolute trust the person that created it?

What are the key constrains that you have faced while working on the projects?

Candice works


Candice’s works draws my attention as it deals a lot with remembrance and ways she deals with her father’s passing. I feel a sense of familiarity with her works as it comprises of elements that are close to our hearts, i.e. incense paper, and it is very prominent in the South East Asian culture.

Crystal Universe x Brilliance of Life


I have chose to elaborate on the two projects, “Crystal Universe” by TeamLab, and “Infinity Mirrored Room — filled with the Brilliance of Life” by Yayoi Kusama.

Both of the mentioned projects are light installation projects of Japanese origins. Both of them are similar in that they deal with LED lights suspended in a space, and both of these projects were likely to have focused intensively on the viewers’ experience rather than just making it a piece of art.

Though similar in that both simulate infinite spaces, they differ in the scale of materials and the method used to achieve it. In “Crystal Universe”, the infinite space is achieved by suspending 60,000 LEDs in the 4D space, while in “Infinity Mirrored Room”, it is smaller in scale, with hundred of small round LEDs and the infinite space effect achieved by strategic placement of mirrors and shallow pools of water on the ground. Based on its scale, we could also assume that “Crystal Universe” would have taken a longer schedule and planning as well as a higher budget for the project.

Furthermore, it is also an interactive installation where the viewers are able to influence the lights with their position, as well as selecting elements to bring to life display through their smartphones. Therefore would have required a longer planning and executing time for the programming and design of the interactivity of the project. Also, the fact that TeamLab is a “collective, interdisciplinary creative group” with varying professionals working together may have taken a longer time in communicating the idea to the different professionals and having everyone to work on the same page. On the other hand, Yayoi Kusama execute her works on her own.

I would say that the two works are site specific. However, with minor adjustments, it has been possible for the works to be readapted and showcased in galleries around the world.

The nature of the two projects probably differed from its objectives. Yayoi Kusama’s is a work of self expression, where she draws her inspiration (the polka dots) from her hallucinations, and also illustrates her confrontation to her fears. Whereas for TeamLab’s “Crystal Universe”, it is probably an exploration and collaborated take on spatial objects, where they define the elements in their work to be “connected within a spatial network, they form a unified artwork — a physical space that can be entered by the viewers”, thus with a main focus of replicating a “universe” to the audience, with them being the centre.