I Think I Can Keep My Faith In Man
I Think I Can Keep My Faith in Man relates to how
dreamscapes are constructed as a physical reality in architecture,
painting and film. With the advancement in technology, the world can be
freely built from our wildest imagination, we can easily find a
nostalgically themed café in a shopping mall, revisit the Jurassic age
at an amusement park and be immersed in an epic magical world in true
high-definition 3D.
Our experience of the material world has become phantasmagoric like a
dream (or perhaps a nightmare) in which disconnected scenes morph
seamlessly from one to another. Unconsciously, we have adopted a stance
of unquestioning indifference towards this confusion created by the
constant blurring of reality with fiction in our environment.
In this work, I have created a dioramic collage of disparate scenes
and landscapes which merge into one another, and through the employment
of different scales and proportions to induce alternating perceptions
about the composition. There is an emphasis on faux painting techniques
which are often used to fabricate the aged furniture in period interiors
of now popular coffee-shop franchises (for examples, Toast Box and
Killiney Kopitiam) in Singapore.
There is also a reference to a pre-CGI cinematic technique used in
Akira Kurosawa’s Rashomon in which black sumi ink was used to intensify
the rainstorm in the film. The work leads to the scrutiny of its
manufacture and bring forth an inquisitive attention to the
constructedness of our physical environment.
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