How Do You Sleep at Night?
How Do You Sleep at Night?,
digital print presented on a custom-made lightbox,
114 x 344 x 15 cm, 2023
Display of "How Do You Sleep at Night?",
from the exibit SHOW, 2023
Sketch of "How Do You Sleep at Night?"
digital fabrication using Blender
Coven of Witches ,
digital print on paper, 96 x 110 cm ea, 2023
Love you forever
(as long as I'm living my baby you'll be)
Love you forever
(as long as I'm living my baby you'll be)
transferred print on soap and porcelain,
24x17x9 cm (L), 27x19x10 cm (R), 2023
Love you forever (as long as I'm living my baby you'll be) front view,
transferred print on soap and porcelain,
24x17x9 cm (L), 27x19x10 cm (R), 2023
Love you forever (as long as I'm living my baby you'll be) back view,
transferred print on soap and porcelain,
24x17x9 cm (L), 27x19x10 cm (R), 2023
Display of "Love you forever (as long as I'm living my baby you'll be) ",
from the exibit SHOW, 2023
Love You Forever (as long as I'm living my baby you'll be)
has been a long-term project in the making since 2022.
The initial concept was to create two sculptures that appear deceptively similar,
yet are composed of entirely different materials. To bring this vision to life,
I employed a diverse range of techniques, including etching, screen printing,
3D printing, laser cutting, ceramics, and foundry work, culminating in the final piece.
My research primarily focused on methods of visually
representing ambivalence, and I began experimenting with finite materials
that could effectively communicate this concept.I chose materials known for their
malleability and responsiveness to external conditions,specifically soap and ceramic.
The significant contrast in these materials' resistance is paramount.
Furthermore, their initial visual resemblance in terms of
color and texture played a vital role in this selection.
The first sculpture, crafted from soap, symbolizes the
ephemeral nature of cherished memories,easily dissolving and disappearing.
The second sculpture, shaped like soap but made from porcelain,
represents how traumatic experiences resurface persistently.
This mirrors the way individuals with obsessive-compulsive disorder are
unable to stop fixating on specific memories.
Love you forever
(as long as I'm living my baby you'll be)
from the film “Clean Slate”
“Love You Forever (as long as I'm living my baby you'll be)"
was introduced in my film, "Clean Slate,"
and the original etching that served as
its inspiration has also been showcased independently.
The concept behind this piece was to provide viewers
with an opportunity to explore and discove
r the subtle hints interwoven into other artworks,
fostering a sense of connection within the collection.
Original etching pieces for
Love you forever
(as long as I'm living my baby you'll be)
The creation of the porcelain piece presented a considerable challenge.
It commenced with the development of a 3D blueprint for the sculpture,
aiming to achieve a seamless, factory-manufactured quality for a
massive soap-like object. Using a 3D printer, I produced the large soap,
which served as the original for the mold. During this phase,
I had to adjust the size of the 3D print to fit the printer and
experimented with different filaments to achieve the smoothest texture.
The soap logo was initially intended to be embedded into the print,
but after several attempts, we decided to print the logo separately and
add it during the plaster casting of the original.
Creating a slight ramp during logo printing was crucial
to ensure successful demolding, especially for intricate fonts.
3D Sketch for
Love you forever
(as long as I'm living my baby you'll be)
The mold itself was crafted from plaster,
an affordable material capable of capturing precise details.
To facilitate demolding, the plaster mold was divided into two parts.
An essential step was to create a separate plaster
cast for the embedded logo to preserve
font details and prevent unwanted bubbles.
Plaster mold casted from the 3D print
Final stage of plaster mold with logo glued with runny plaster
For the porcelain sculpture, the "press molding"
technique was employed to replicate the soap's every detail.
However, due to the sculpture's size and the delicacy of royal porcelain, the
use of "porcelain slip" was inefficient. Unfortunately, the press molding technique led to
small cracks and warps. To address this issue, we had to rectify the porcelain sculpture
during its "leather hard" stage, using kidneys and soft clay to restore the shape before it reached the "bone dry" stage.
Porcelain cast made out of “press molding” technique
The final challenge was to transfer the image onto the porcelain.
I considered three options
1: digital image transfers
(printing high-resolution images on film and attaching them to ceramic),
2: screen printing using glaze as the ink,
3: pressing the wet etching print.
While the first option offered accuracy,
the downside was a digital-like,pixelated texture and a noticeable
shimmer once glazed and baked. The third option, although aesthetically ideal,
lacked sufficient research regarding the durability of the etching ink in the kiln,
posing a risk of color deviation or potential porcelain damage.
Ultimately, I opted for screen printing with glaze.
I created small test tiles to evaluate
color, bleed, and the compatibility of the glaze and image.
Through experimentation, I discovered that maintaining the porcelain
in a "bone dry" stage was crucial for preserving details and clarity
during the screen-printing process.
Test prints on porcelain tiles
- testing out different glazes, and bitmap combination
Final result of transferred print on porcelain
Creating the soap sculpture was relatively more straightforward.
The main challenge was achieving the same shade as the porcelain,
considering that soap's color can vary depending on its state of solidity.
Demolding of the soap sculpture
Conscious Death
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Conscious Death,
14.5 x 20.5 cm, pencil on paper, 2023
Conscious Death,
15 x 24.5 cm, pencil on paper, 2023
Conscious Death,
18 x 25.5 cm, pencil on paper, 2023