For the moment I chose to work on this project alone, I decided to seek for my inner peace because it is the only way for me to gain the courage to understand the outside world.

After a long time of struggle, I eventually manage to collect the answer. There are three most important things I need to do to relief my anxiety and depression.

1.Keep hoping.

2.Accept to be ordinary.


To showcase the development of my mental journey towards this answer. I create a narrative as a form of poem initially.


Here is the poem,also my artistic statement:Three Things


breathe with your hope,

when the sun rises every morning.

Let it go,

a handful of regret. 

Have a slice of bread,

to swallow your anxiety.

Don’t worry.

No one has passed your future,

or stopped at your presence.


Don’t fight against your mediocre.

You’ve wasted your adolescence so

be true to yourself.


We all are the same.

We all under the same

the same sun.


Have a long conversation with yourself.

Record the feelings left in your life.

The world won’t change for you anymore,

Be isolated,

or fuse into it.

If you feel helpless,

lift your arms

and hug yourself.

 Artist Research

As for the first and second projects, I explore video and sound art respectively. Hence for the final project, I decide to boldly exhibit in the form of performance art.

I have done some researches on several excellent performance artists as well as their skills and practices in their works.

Tino Sehgal 

A British–German artist who describes his work as “constructed situations.” He is also thought of as a choreographer that makes a dance for the museum setting. He uses the raw materials of voice, language, and movement to build pieces of art. For “This Progress” (2010), he filled the rotunda of the Guggenheim with a corps of “interpreters”—children, teenagers, baby boomers, octogenarians—who, according to a set of rules devised by Sehgal, engaged each visitor in a conversation, delivering him to progressively older interlocutors as he spiralled up the museum’s ramp.

The piece, which made intimates of strangers, was exhilarating.  “This Progress” reflected Sehgal’s desire to redefine art as the transformation of actions rather than of things. “What my work is about is, Can something that is not an inanimate object be considered valuable?” Sehgal said recently. He is, in a sense, an architect of interaction. His works are collaborations, new builds on human turf.

His art is ephemeral. Moreover, he forbids the creation of any of the by-products—photographs, videos, catalogs, wall text—that normally derive from work. His pieces leave no physical residue. To see one, you have to either visit the museum or consult a tertiary report.

Tris Vonna-Michell

A British artist who performs narratives and constructs installations through the layering of these narratives, photographs, and mementos, presented using antiquated technologies and slide projection.

Here are the collection of his arts


A performance cycle – Tris Vonna-Michell, 2010

He performed a sense of time and history in ceaseless talking and bring an illusion for the audience as if they travel back to another time and space with the performer. In this performance, Tris Vonna-Michell kept high concentration all along as if he is no long a person, but a record machine that is playing the records of the performer’s past.

Terence Koh

A Canadian artist whose work spans a range of media, including drawing, sculpture, video, performance, and the internet. Originally working under the alias Asian punk boy, Koh designed zines and custom-made books. His recent work has expanded to include durational performances, MacQueen, Kathleen (March 15, 2011). “Shifting Connections: Terence Koh.”


Koh’s work has been associated with New Gothic Art. In nothing to doo, his first solo show at the Mary Boone Gallery, Koh, “dressed in white pajamalike clothes, slowly circl[es] a beautiful cone-shaped pile of rocky solar salt — 8 feet high and 24 feet across — on his knees.” So Roberta Smith described the work in an appreciative March 2011, review. “This is performance art reduced to a bare and relentless rite in a space that has been stripped down to a kind of temple. (Its regal proportions help.) … Maybe the work is an extended apology for past bad-boy behavior.”

Complex installations, and the exploration of natural ecosystems. “An Art World Provocateur Returns to New York With an Unexpected Subject: Bees”


Much of his diverse work involves queer, punk, and pornographic sensibilities. In 2008, he was listed in Out magazine’s “Out 100 People of the Year”.


For the soundscape created for my performance art, It not only serves as an acoustic stimulation to bring the audience into other spaces but creates situations for the narrative.


I inherit the idea from my project to which transit from the indoor situation into the outdoor environment. Through reacting with the sound transition, it symbolizes how do I interact with the local community as a new immigrant from another social background. The meaning can be further developed into reflecting people like me: foreign students who live and study in Singapore. To explore how they struggle to rebuild their social circle as well as adapt to new cultures.

For the performance, I purposely recorded at the late night to capture my authentic state. I suffer from insomnia for quite a long period and only late night can bring me peace and concentration to be true to myself.


Video recording and editing is always my weakness, but through the learning process of this Semester, I strive to learn new skills as well as explore many artistic ideas for future development. For me, 4D art is previously obscure to appreciate, but now I can understand the concept behind the art. Perhaps in future, I can still have the opportunity to create more sound and video art to enhance my skills.


4D II Project3- Time, space & body #Artistic research#

My research mainly focuses on three artists and one of their representative art pieces. Their works inspire me in a way that they give me a general sense of concept and composition of performance and installation art. This can guide me to explore and express my ideation for my project.

Ho Tzu Nyen

Ho Tzu Nyen was born in Singapore in 1976. He earned a BA in Creative Arts from Victorian College of the Arts, University of Melbourne (2001), and an MA in Southeast Asian Studies from the National University of Singapore (2007). He works primarily in film, video, and performance, and has recently developed environmental multimedia installations. He has also written extensively on art. Ho appropriates the structures of epic myths, invoking their grandeur while revealing them to be not merely stories, but discursive tools. He is particularly concerned with those moments when contemporary figures imagine and invent the past in order to serve the needs of the present. These conditions are especially salient in the context of Singapore, which was established as an independent nation in 1965. A series of occupations and settlements by regional groups constitutes the history of the strategic port archipelago prior to 19th century British colonization. A desire to redress the country’s unaccounted-for history indicates the rise in nationalism that has emerged in parallel with accelerated economic development.

The Cloud of Unknowing

Ho Tzu Nyen’s multichannel video installation The Cloud of Unknowing(2011) explores the expansive subject of the representation of the elusive and amorphous cloud. Inspired by philosopher Hubert Damisch’s thesis on the form’s aesthetics and symbolism, A Theory of /Cloud/: Toward a History of Painting, first published in French in 1972, Ho’s work incorporates a set of eight compartmentalized vignettes, each centered on a character that stands for the cloud’s representation in historically significant Western European artworks by artists including Caravaggio, Francisco de Zurbarán, Antonio da Correggio, Giovanni Lorenzo Bernini, Andrea Mantegna, and René Magritte, as well as the Eastern landscapes of Mi Fu and Wen Zhengming. This incorporation and blending of cultural, historical, and philosophical references, both Eastern and Western, is prevalent in Ho’s practice, which references painting (EARTH, 2009), pop music (The Bohemian Rhapsody Project, 2006), literature (The King Lear Project, 2008) and philosophy (Zarathustra: A Film for Everyone and No One, 2009).

Ho’s practice speaks to the predicament of representing and interpreting contemporary art from South and Southeast Asia, and specifically from Singapore. In 1963, Singapore gained independence as part of the nation of Malaysia during the immediate postcolonial and postwar period; however in 1965, due to mutual differences, Singapore separated to become a country of its own. For this reason, and given the physical and cultural migration from South and East Asia into Malaya (the pre-independent region of Singapore and Malaysia), the sources of Singapore’s historical and art-historical narratives are entwined with that of its neighbors, and are often represented in terms of cultural and traditional assimilation and transformation. Ho’s art confronts foundational myths and historical geopolitics, and deconstructs the idea of modernization via Western influence or beneficence, by presenting viewers with a paradox. In it, Eastern and Western forms appear at once disjointed and seamless, coexisting in a fluid aesthetic interpretation that allows for the complexities of influence and adaptation to drift through each other, akin to the eponymous cloud.

Contrasted with the substantial figures of the work’s eight characters, each of which struggles against the burden of physical and material existence and the trappings of obsession and clutter, decay and disrepair, are their unexpected confrontations with the ethereal cloud. Ho’s installation is titled after a mystical treatise from the 14th century, written in the tradition of the Christian Neoplatonists, whose authorship is little-known, and which was intended as a primer for aspiring monastics on the art of contemplative prayer. In Ho’s work, the metaphorical limits of human knowledge that the medieval spiritual text anticipates as inevitable in the search for the divine are represented in the form of terrifying, surreal, or sometimes illuminative encounters with a corporeal “cloud of unknowing.” But these encounters with doubt and uncertainty, as guided by the gnostic text, are transitory, and the spiritual traveler is exhorted to keep the faith and trust that understanding will arrive. In Ho’s work, the binary division of Eastern and Western thought, belief, history, and representation, would appear to have collapsed, suggesting the possibility of new insight.

I Like America and America Likes Me

Joseph Beuys, 1974

German artist Joseph Beuys first attracted attention with his groundbreaking Explaining Pictures to a Dead Hare (wherein he quite literally did that) but it was I Like America and America Likes Me that exposed him to an international audience. For his first show in the U.S., Beuys flew to Kennedy airport in New York City, where he was met by a stretcher and covered in felt, presaging his preoccupation with the material. He was then loaded into an ambulance and taken to his exhibition space at René Block Gallery. For three days, Beuys shared the space with a wild coyote, performing actions both necessary to preventing harm to himself and carrying a symbolic weight for the viewer. At the end of the three days, by which time Beuys and the coyote had essentially become friends, the artist was once again loaded onto a stretcher, taken back to the airport by ambulance, and flown back to Germany. He never set foot on the ground in America and saw nothing of the country but the gallery.


For Native Americans, the coyote had been a powerful god, with the power to move between the physical and the spiritual world. After the coming of European settlers, it was seen merely as a pest, to be exterminated. Beuys saw the debasement of the coyote as a symbol of the damage done by white men to the American continent and its native cultures. His action was an attempt to heal some of those wounds. ‘You could say that a reckoning has to be made with the coyote, and only then can this trauma be lifted’, he said. Beuys believed that performance art could evoke a spiritual response in the audience, ultimately providing a healing process. He sometimes compared his role to that of a shaman. His performances or ‘Actions’ were ritualistic, incorporating powerful symbols of birth, death, and transformation. The objects that he used were often exhibited later as works in their own right.  


As a child, Beuys was fascinated by nature, obsessively cataloging all the plants and wildlife in his area. At the same time, he was enthralled by northern myths and folklore, in which creatures are endowed with mystical power. This reverence for the natural world persisted throughout his life and his art. He identified closely with certain animals, seeing them as guardian spirits: ‘The figures of the horse, the stag, the swan and the hare constantly come and go: figures which pass freely from one level of existence to another, which represent the incarnation of the soul…’ In the 1970s, Beuys became involved with environmental politics and was one of the founders of the Green Party.

Yard by Allan Kaprow, 1961

Allan Kaprow, an abstract-expressionist turned installation artist, coined the term “happenings” in the late ’50s, alongside contemporaries (and friends) John Cage and Robert Rauschenberg. His first happenings engaged the audience in overwhelming, often playful ways. Yard is perhaps the most significant of these early works, consisting of rooms full of rubber tires over which audience members jumped and forms covered in tarpaper audience members had to crawl through. For Kaprow, a former action painter, the action was as important as the paint. “Life is much more interesting than art. The line between art and life should be kept as fluid, and perhaps indistinct, as possible,” he once wrote.


Allan Kaprow was a pivotal figure in the shifting art world of the 1960s; his “happenings,” a form of spontaneous, non-linear action, revolutionized the practice of performance art. While Kaprow began as a painter, by the mid-1950s his interest turned to the theoretical, based primarily on the shifting concepts of space as subjectively experienced by the viewer. Kaprow emerged from the group of artists known as the Rutgers Group, based out of Rutgers University where Kaprow taught art history and studio art. Kaprow was among the many artists and critics who focused on an intellectual and theorized view of art, rejecting the monumental nature of Abstract Expressionist works and instead focusing on the act of their production. In particular, his influential essay, “The Legacy of Jackson Pollock,” (1956), called for an end to craftsmanship and permanence in art and instead demanded that artists shift their attention to “non-concrete,” or ephemeral, modes of production.

Key Ideas
Kaprow’s happenings changed the definition of the art object. “Art” was no longer an object to be viewed hanging on a wall or set on a pedestal; rather, it could now be anything at all, including movement, sound, and even scent. Kaprow stated, “The everyday world is the most astonishing inspiration conceivable. A walk down 14th Street is more amazing than any masterpiece of art.”
Kaprow was very clear that his works were connected with art and not theater. He stressed that his happenings were in the same category as the action painting of Abstract Expressionists and not with scripted scenes involving actors playing parts. Kaprow’s pieces involved spaces he physically altered, with sights and sounds as deliberately composed as any canvas by Pollock or Rothko.
Kaprow rebelled against the prescriptions of Clement Greenberg, both in his art and in his writings: formal aesthetics, Kaprow believed, were no longer relevant when the art left the canvas. Kaprow’s work was based on an “aesthetic of regular experience,” a transient and momentary experience felt by the viewer being as significant as a painting on canvas.

Foundation 4D II Project 2: Soundscape


A journey on a train towards nowhere.

Nowhere better where I am.


To explore my desirable state of mind in contrast to the current one.

To portrait pictures of my various mental space and the transitions among them in this sound narrative.



Self-personality evaluation

Impetuous, Extreme, Cynical, rebellious, pessimistic

The world in my eyes

Full of artifacts, noise, and fakeness.

The beauty of the world, on the other side, magnifies all those hideousness and hypocrisy which are intolerable for me.

Personal emotions against these flaws

Panic, fear, perplexity, willing to escape.


Start                                                 Transition

Wake up                 In the lift(Spatial transference into mental space)

Climax                                                      End

Helplessness from the world          Towards Nature and Authenticity


Symbolism and Sound Transformation

All sounds are self-recording except the final train sound – Symbolise the world around me and my imaginary world

Characteristic of the sound pieces

Sound symbolized my daily life: Get up from bed – drinking water – walk into the lift.

Transition sound:Lift going down.

Abstract sound:Knocking, scratching, rubbing, fan rotating-Mix with-

Noise of people talking——Symbolize the imperfect world.

Sound of nature—-Symbolize inner peace and self-forgiveness I yearn for.

Also, the soundscape follows chronologic order in a sense that everything will eventually go into peace at night. Ironically, that’s when I am sober.


  1. It is an extraordinary challenge to find sounds in accordance with minds.
  2. The technical problems to produce original sound effects for real to surreal transition.
  3. Difficulty pushing the soundscape to the climax.



Foundation 4D (II) Project 1: Alter Ego


Final video https://vimeo.com/202657184


Generally my story aims to dig on my personal understanding of love and freedom.

My Storyline has 2 sequences that develop simutaneously  yet one is in slow motion which indicates memory and the other one flashes in between the first one, which represents the hint of interference in the character’s brain. Finally the character stands in front of the mirror and finds out the one inside isn’t her, but is me. Actually, I arrange this story such that the it is just me alone from the start and the girl is just my imagination. Or in another word, my reflection.


Concept Development—

From the start, I am trying to develop a girl with every single character that attracts me. She’s Gentle, Genuine, merciful, empathetic and adorable, but as the relationship goes on, the argumentative and unsettled side of her gradually drains my love from her and I finally decide to tolerate her no more and chase after my freedom.

However, when I am calm and think over our relationship. Indeed her argue is because of my indifference and her unsettledness is due to my impatience. Every lovely side of her reflects how desperate I desire to be loved and every flaws of her reveal every flaws of mine.

Actually the greatest freedom is to understand and to forgive.


Inspiration: Basically I draw the character inspiration from Leon, the Assassin. The reason I chose him as my alter ego is because every character who has affinity with me share several things in common. Lonely, sensitive, crave for freedom yet desire to be loved. One thing special on Leon is his awkward relationship with Emma and that’s what I want to further explore.  In the movie, Leon was inexperienced, sentimental and severely isolated from the real world. He also serves to illustrate the divergence between Emma’s dreams and her reality. This divergence forces Leon to conform to her idealized concept of a lover and caused Emma’s predicament. In my story, I also share the same dilemma with Leon. I felt panic and finally become impatient with the endless requirements from my imaginary girlfriend.

For the shots, I mainly use close shots on the character with slow motion to reflect my affection on her or can say, myself. I draw reference from Leon which appears to have massive number of shots on facial details of Lando to magnify her personality and Leon’s affection on her.



French mini drama series Brief.


For music selection, I chose the nocturne ( Claudio Arrau ChopinNocturne 2 Op.9 No2) to show the peaceful atmosphere and solitude emotion. Behind the peace, there is a sense of lost which perfect fit the mood of the video.

Initially I plan to add in voice over but I don’t want to interfere with the mood created by the nocturne.

I decide to leave the video without adding any effect to keep the crudeness which is what human eye see originally.