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BCIS SS Visual Art -2020

BCIS SS Visual Art -2020

3D exhibitions

  • BCIS SS Visual Art -2020

    BCIS G11 IB Art Exhibition

    IB Art This 2 year studio course aims to encompasses both a group and self-structure providing opportunities to explore, study, and master processes and techniques necessary for expressing a creative visual statement. Students draw upon local as well as global resources in pursuing individual growth. Through individual research and group interaction, students develop artistic literacy and critical analysis of artworks from both contemporary and historical perspectives.

  • BCIS SS Visual Art -2020

    BCIS G11 IDEATE EXHIBITION

    ID8 Visual Arts This course aims to develop & explore personal themes and ideas using a variety of media as a mode of expression. This program of inquiry allows for the development of an individual ‘visual voice’. It provides an opportunity for students to explore, practice, resolve and understand why they and others make art, who they are as an artist, and how to express their ideas, feelings, values, and beliefs. This year through examining art over time, place, and space, students expressed relationships between artist's identity and culture. Through personal discovery, students developed an independent artistic vision.

  • BCIS SS Visual Art -2020

    Perception of Depression - Vanessa Zhao (IB-HL)

    17 Apr 2020 – 16 Jun 2020

    Throughout the preparation for my final exhibition, I wish to express my reactions and thoughts regarding some social phenomena or my perception of depression through daily experience by using visual arts as a vehicle. During two years of taking DP Visual Arts class, I progressively encountered and experienced many things that happened, inspiring to create artworks that are used in this exhibition. The ideas I have explored include the loneliness, depression, pressure from outside, and more. A lot of ideas that contributed to make these artworks the way they are did not derived from my real-life experience, but they were very related to the artworks from other artists and from the inspiration I got from my teacher and her guidance and explanation to the themes of each task we have had. Over the course of two years, I became more and more sensitive to everything around me. Thus, though my own experience did not contribute to the creation of my artworks a lot, what I thought and observed became major contributions of the works presented. • Beyond the concepts, I also intended my exhibition to vary the kinds of artworks as much as possible. This is also my focus on selecting the artworks for the final exhibition. Most of the artworks are oil paintings on canvas. I am very used to use oil painting. However, my selected artworks also show my exploration in other mediums that I was not very familiar with prior taking DP Visual Arts. Artwork 9, for example, was dedicated to my exploration to paint primarily with only black and white color. The two sculptures presented also present my progress and improvement of using clay as a material to produce sculpture artworks. To all my creations of artworks, materials do have their significance. When given the task and theme, I usually have the habit of making several sketches or think of a few different ideas before making the final piece, and the majority of the ideas had the potentials to be made with different materials. I usually judge which material to express the idea by determining whether the concept requires more exquisite details or looks generally more concrete. For example, for artwork 3, I could have created an oil painting like the painting I referred to, but I felt that the features could look more solid. Creating a 3D sculpture using clay could make the hand and gesture more concrete and stand out than the 2D presentation. • I would arrange the artwork mostly on white walls. The concepts of the artworks exhibited could be sorted into two kinds: “exploration of myself” and “sentiment of the society”. The main theme of this exhibition is the presentation of my thoughts into the humanity of individuals and society. Since my artworks are all quite distinct in their color schemes and styles, the artworks could hardly be sorted by color and style. I would hold the exhibition at a corner of the walls. One side of the wall would display the paintings that manifest the concept “exploration of myself”, which includes artwork 6,7,8,9, and the paintings that manifest the concept of “sentiment of the society” would go to the other wall that includes 2,3. Finally, a table covered with black cloth that stands in front of the walls would be used to place the sculptures. • The way that the artworks are displayed and organized might be able to help the viewers to acquire the message. My overall vision of this exhibition is to not only showcase the artworks but also inspiring the viewers in a way that would make them t think about the issues and concepts presented in those artworks that were merely considered in daily life. A lot of my artworks hide their message in its use of symbolism, so I would expect the viewers to grasp the message by viewing the elements presented and making connections to the world.

  • BCIS SS Visual Art -2020

    Cities- Albert Liu (IB- HL)

    17 Apr 2020 – 16 Jun 2020

    The theme of my work revolves around dynamism in a city. Cities always convey vividness through a diverse range of ways. Throughout my art pieces, I explore different media to express the dynamism within a city. I aim to show how Beijing is a dynamic city, to convey a vivid and energetic feel within the artworks. Despite being very modern in the perspective of many citizens today, the city is also considered ancient due to the presence of historical architectures. Most artworks depicts Beijing in a simple way, usually it’s just a drawing of particularly architectures, but I want to show that hidden within the city lies dynamism and explore this aspect through each of my artwork. Through my visualization and exhibition, the audiences see and comprehend how this city is dynamic and is being introduced a new perspective of this city. I really love making art with technology, so many of my artworks are either digital pieces or photography, this is different than ordinary installations(2D painting, 3D model). The use of software to create some of the artworks connect to the modernity of the city in the artwork itself, this is because using software and technology is only just a modern way of creating art. During the creation of several artworks I extensively used Photoshop, which helped to carefully alter the color of the artwork as well as details such as reducing/expanding the space between the buildings. Throughout my artworks I explored the theme of dynamism and showing how the city of Beijing is dynamic, on top of this, my artwork can also be described as vivid and lively because of the various details and tone present. My exhibition space will be set on an open space. When the audiences see my artworks, the wide space will make them feel relaxed, compared to being set at a corner that makes the audience feel surrounded. So only through the elimination of negative feelings can I help the audience perceive dynamism and how cities are vivid in my artwork. Most of my artworks will be printed in A3 and placed onto walls. The large scale of them provide the audience with the feeling of the large size of a city where dynamism prosper. I sought to develop a relationship between the artwork and the viewer, this way, they are able to personally connect with the artworks themselves and be able to perceive my artwork in a flexible way. I chose Beijing as the city I focused on in my artworks and I know that the audience in the exhibition are already familiar with the qualities of Beijing and the city’s unique features. So, I especially created familiar buildings of Beijing, such as the Pangu tower, Skytree tower, and Bird’s nest stadium. Because my chosen theme is dynamism, I want the audience to perceive my artworks as being vivid and energetic, to feel overwhelmed by the stylish features of the artwork, the atypical way of depicting a city. Dynamism is present in a lot of cities and in Beijing, I’d like to explore this rarely touched theme and showcase its majestic visual aesthetics.

  • BCIS SS Visual Art -2020

    Human Presence - Mariana Cui (IB-HL)

    17 Apr 2020 – 16 Jun 2020

    By presenting this body of work, I wish to evoke thoughtful responses within my viewer where they reflect on the nature of human presence, including our relationship with the world, what constitutes the presence of people, and how non-human things can reflect human presence. My exploration of “human presence” is inspired by Edward Hopper’s paintings of urban life and a series of watercolor pieces by Xi Jiu on Weibo. While Hopper explores the relationship between people and city, specifically focusing on themes such as solitude, Xi Jiu explores the way scenes and objects can reflect a sense of humanity which stimulates the feeling of nostalgia. These two artists inspired me to examine the concept of human presence and its different perspectives. Initially, I wanted to express human presence merely through the portrayal of daily life by presenting details of life, such as a glass of water or a blanket, that usually go unnoticed in our busy daily routines. However, this theme developed as I discovered more sides of human presence I wish to explore. I decided to also examine our relationship with our surroundings and the different forms of human presence. By expanding the ways I approach the theme of human presence, I wish to evoke thoughtful responses within the viewer where they can reflect on the niche of humans as a species, a civilization, and/or as individuals in this world. My collection puts an emphasis on movement, conveying a strong sense of atmosphere. From the roads in Lockdown and the birds in Flight to the sense of fluidity in Oops and Ambition, I wish to use movement to convey a sense of action, elevating the vividness of my artworks, thus highlighting the sense of “life” in the subjects of my work. I used oil paint for three of my works because of the variety of techniques I can use (impasto to create texture and glazing to create gradience). Oil paint also has the advantage of bright colors, allowing the objects I paint to appear vibrant and lively, reinforcing the delivery of my theme. Meanwhile, I used pen/pencil, or a style in black and white that has less emotional quality, for works where the emphasis isn’t on the intimacy of human presence, but rather its factual existence (An Injury) or the coldness of the lack of it (Lockdown). I also attempted digital art, which allowed me to experiment with color/textural combinations in Flight and create a sense of photorealism in Ambition. Lastly, I used photography for Urban lights because the realism allows the viewer to easily relate themselves to the artwork. I used a variety of mediums and styles in order to echo how I portray a variety of perspectives to understanding/conveying human presence. I intend to arrange my artworks on three different walls, which follows my exploration of the different aspects of human presence. On the left, I examine human presence in relation to nature. In the middle, I shift my focus to inanimate objects that reflect details of daily life. On the right, I explore our presence within the unique urban ecosystems of cities. My collection comprises of artworks that fall on a spectrum between realism and surrealism. Thus, my artworks are also arranged in a way so that as the viewer walks from left to right (or vice versa), they not only experience a subtle change in theme, but also experience the stylistic transition of my collection. I intend to exhibit my work in a simplistic center-line (approximately eye level) arrangement in a closed area. Through this, I intend to close in the distance between the viewer and my work and make it easier for them to feel immersed in the atmosphere. I intend to choose light grey as the color of the wall because it emphasizes light (in value) artworks like An Injury and dark artworks like Ambition, and doesn’t take attention away from my works. The color is also neutral, allowing the mood and atmosphere of the area to be flexible according to each viewer’s response to my work.

  • BCIS SS Visual Art -2020

    Heaven and Hell- Cissy Qian (IB-HL)

    17 Apr 2020 – 16 Jun 2020

    The theme of my work revolves around the concept of “heaven and hell”. There are many ways that one could approach the concept of heaven and hell, from the ornate paintwork adorning Renaissance Era chapels to modern visuals of demons and angels, the visual spectrum that could be used is very broad, and is somewhat up to personal interpretation. Taking “heaven and hell” out of religious contexts, personally, I believe there are many visual ways of defining “heaven” and “hell”. However, the most commonly accepted emotions that are associated with heaven and hell are usually “kindness, purity,” as well as “wrongdoing and hatred” respectfully. I also realize that the terms are different depending on the circumstances that the person was raised in and their experiences from life. Due to the wide societal divide, one persons reality could be another person’s heaven, which influences the imagery that each person associates with the terms “heaven” and “hell”. My work aims to showcase heaven and hell using many different symbols and viewpoints, however they all respond to the theme through the emotions that it brings the viewer. I was inspired to explore this theme because as I grow older I continue to wonder if anything is truly black and white, hence heaven and hell. I was also inspired by complex imagery used in music that allude to heaven but are in reality describing hell. Furthermore, as I grow older, the line between right and wrong grows more certain, and I find myself searching for how I can represent goodness and make the right decisions. However, as I grow and experience more, my perception of heaven and hell also blur as well. Sometimes we experience things that may seem “hellish” but in reality is setting up our path towards happiness and our goals. Furthermore, depending on various experiences and ages, the concept of “heaven” and “hell” differs from one person to the next. Thus, this led me to think, how do we materialize concepts such as “heaven” and “hell” because they are so different from one individual to the next? Thus, I decided to use various symbols, complemented with color and composition, to express different emotions that I personally associate with “heaven” and “hell”. For example, I have explored motifs taken from greek mythology such as angels and demons that are directly related to my theme. Furthermore, I have also used color to represent my understanding of “heaven” and “hell”. To represent goodness and purity, I chose brighter colors to represent “heaven”. To represent wrongdoing and sadness, I chose more grayscale, monochromatic colors. Representing my understanding of my chosen concept, I aim to showcase 8 works in total, 4 representing heaven and 4 representing hell. Not only does it represent a balance between the two, it also represents my understanding of reality, because there is no absolute residing in one or the other. For my selection of 8 works, I include both direct imagery that would commonly be utilized in children’s narratives, as a representation of my understanding of “heaven” and “hell” when I was younger, as well as more complex imagery, which represents how the concept of “heaven” and “hell” blurs and varies depending on a person’s situation. The works are exhibited according to their own themes (“heaven and hell”), which help the viewer understand my theme at first glance and give them time to ponder over the different symbols and meanings. Through my arrangement of the artwork, I aim to give a strong visual impact and a sense of separation to the audience. Because the colors and motifs that are represented in each collection are distinct and vivid, I aim to present the viewer with a stark contrast between “heaven” and “hell”. Through the shock impact, the viewer is able to process distinctly different emotions, hence calling forward their own perception of “heaven” and “hell”. This way, I am able to use color and symbolism to call forth a concept, and place it back into the viewers head in the form of emotions, which can be interpreted freely by the viewer’s mind.

  • BCIS SS Visual Art -2020

    Identity - Shuting Yang (IB-SL)

    17 Apr 2020 – 22 Jun 2020

    The theme of my exhibition is “identity.” This body of work intends to draw attention to one’s interpretation of their identity through the depiction of meaningful imageries. For instance, I have expressed my personality, the manipulation, and distortion of identity, the loss of identity, and more in this series of work. I’m exploring this theme to guide my viewers to reflect upon themselves and have a clearer self-image. This theme is chosen because “who am I” is a question that is always crossing my mind. Every day I see people with unique identities. I hope to better understand the world around me and myself by investigating the idea of identity through multiple perspectives. The theme and motif of identity are being explored via various materials and techniques. I expressed the idea of “identity” through both 2D and 3D forms of art, including oil on canvas, digital illustration, marker on paper, 3D installation, and acrylic on canvas. The use of a variety of media helps to express the idea that identity comes in all shapes and sizes. Although different media are being experimented, the style of drawing remains consistent in this collection. Six of my artworks will be displayed. My audiences will go on a journey when reviewing my artworks. I wish them to be a part of my artworks since they are also unique individuals. This exhibition is a journey of realization. All six artworks are placed in a semi-circle. All six of my artworks are created intentionally with similar sizes. They will be placed at even level on the semi-circular wall. The exhibition starts with the introduction of the artist’s (me) identity through “Emotion.” Then, it displays the artworks that investigate multiple perspectives of identity. For example, the manipulation of identity and the distortion of identity. (e.g., “We are who we want to be” and “Who are you”) I hope to draw attention to social issues regarding identity and digital reputation. The installation “Identity Transaction” is placed in the middle of the semi-circle. It separates the wall in half. The first part of the exhibition explores individual identity, and the second half explores the identity of a crowd through the installation and “The Museum of Us.” Finally, the last work “You” is a portrait with no face, which allows the audience to picture and think about themselves at the end of the exhibition.

  • BCIS SS Visual Art -2020

    Technology- Sarak Rhodes (IB-SL)

    My theme is technology and the future, and could feel like a continuation of the futurist movement from the early 20th century. I want to create pieces of work that display intricate explorations of technology and things that seem impossible for current times but could be made in the future. These intricate explorations should help my audience feel a sense of awe in the creativity and also the functionality that could be. It can also serve as inspiration for future technologies. The best way to come up with innovative ideas is to explore with no limits, which is what art can allow you to do. These explorations that I can make also allow me to open my mind and way of thinking and create from my dreams and imagination and I want the audience to feel not only inspired to create similar things, but also to create and imagine with no limits. My First piece ‘Red Tractor’ was the perfect stepping stone for me to continue to flesh out the theme, This helped me find a relationship that I could explore both sides of harmony and disharmony to create stories. It also strengthened my understanding of the medium I wanted to explore. Despite it being just one piece, I was still able to look at different aspects of nature such as the ethological qualities but also scenery and foliage. I think my best piece is ‘Roadblock’ because it is very busy and theres lots of details in it. Each aspect took a very long time to make and it was nice to see them fit together. It was also my most time consuming piece so being able to have it done made me feel very accomplished. The pieces as a whole despite being just looking at my one theme of technology, is still able to explore the good and bad, the harmony and discord. The pieces also fit together to tell a story, more than one piece features robotic animals, but one is harmonious, and the other is chaotic. I layered the pieces and showed some broken connections to show how they didn’t fit together. This means I can give the viewer a more holistic view of what I want to express and which parts the reader should feel are connected, and that everything connects to my piece ‘Afterlife’ which is the end.

  • BCIS SS Visual Art -2020

    “Independence” - Maggie (IDEATE)

    17 Apr 2020 – 16 Jun 2020

    The form of art can convey my feelings to the audience. Different types of art should have their own uniqueness. They can use their own creative inspiration and display their feelings that can not be realized or expressed in reality. Art also give a correct guidance to the audience, both morally and ideologically. I think my art work should contain a lot of details. I like art with a lot of details for example like in painting the symbols and color should all have a meaning. I like to express my ideas and themes through a hidden way and let the audience think about it without giving an accurate answer. In an art work, I think every detail is worth pondering. I hope every place is meaningful, not random. I think the details play a very important role in rendering the atmosphere and expressing the story. But at the same time. My story should also be meaningful, the story can be real and not real. It need to be something I feel very much. So when I'm making an art work, I'll combine these two things that I'm good at and make my work different from others.

  • BCIS SS Visual Art -2020

    HOPE-DING DING (IDEATE)

    17 Apr 2020 – 16 Jun 2020

    Artist Manifesto Goals: Rather than bringing an eye-catching visual effect or popularity, I am more concerned about how to bring empathy to people through my design works. Namely, they are means whereby I would like to express my inner echoes towards the various social hot spots and strike a sympathetic chord in the heart of others, however, I also wish people learn to comprehend and tolerate one another through my project. Learning&Development: There are various art exhibition shows launched by my school, I have been raised the basic awareness and concept of art. Initially, I thought art and artist are independent from each other, and that the creation and manifestation of art works all rely on the artists, which have nothing to do with anything else. Later, with the accumulation of knowledge and more communication with various people who love art, I have realized that art not only functions to change my mind, but also its creation is a process of cultural and social collision for sparkling ideas. Beliefs: The integration of an art work calls for the benefit from both the artists and the society. More importantly, I consider the value of art lies in the conveying of inner thoughts of people in any form. Personally, I wish to contribute to my school and even the whole society with my design works, awakening people on certain aspects. To me, art will be the way that I’ll always running to. On the other hand, art is the way to persist on my own selection and to bring the real kind idea to my surroundings and even to the world would be the most fascinating determination of my life.

  • BCIS SS Visual Art -2020

    Value - Annie Zhang (IDEATE)

    17 Apr 2020 – 16 Jun 2020

  • BCIS SS Visual Art -2020

    Conformity-Dayeon Hong (IDEATE)

    17 Apr 2020 – 16 Jun 2020

     Artist Manifesto   I declare with confidence that:    Art does not have to be odd, shocking, gory, or controversial. Artist does not have to be tragic, strange, depressed, or insane. 
 Human beings are born with a gift called creativity, but the charlatans who call themselves an artist destroyed the beauty of creation.    Art these days are controversial for the sake of being controversial. Artists these days are weird for the sake of being weird.  Artists these days are an artist for the sake of the title, "artist." For centuries, art has been the mirror of our society. By exposing corruption and satirizing the establishments, the artists scratched the itches of people and called out the elephants in the room.   However, modern art became the exclusive property of the wealthy elites. The "artists" started to produce bizarre works that had made-up hollow meanings to justify their high price tags. If the audiences fail to comprehend, they become "an uneducated one who does not speak sophistication." These people, who call themselves an artist, are desperate to attract attention, get richer, and feel pride when they are called an artist.   I am against all this. I believe art must show artists' appreciation for beauty and show their genuine care for the message that they communicate.    "The artist is a receptacle for emotions that come from all over the place" said Picasso   I am not convinced with works that fabricate a tragic image and give a momentary shock to the audience. I aim to create art that can visualize one's experience and suggest a new perspective of looking at the world around us.   I believe art has to be immersible and relatable. Everything we see, hear, feel, and smell stimulate a part of our memories of emotion that we once felt but forgot. I aspire to explore the relationship between humans and a human, a thing, a minute in time, and a place. A scene of the ocean can be painted on a canvas. It can be decor, an awfully expensive one or it can guide the audience along the path of emotion, to a place in their memory where they heard an enchanting sound of the waves.   I aim to enable the sharing of these somewhat irrational or ambiguous feelings that we can't explain with words. I find this meaningful.  Being hypersensitive to the surroundings and inspecting our world to accentuate the beauty that we were unaware of, this is my intention as an artist.   

  • BCIS SS Visual Art -2020

    IMMERSION - Amy Ai (IB-HL)

    17 Apr 2020 – 16 Jun 2020

    The theme of this exhibition revolves around the abstract concept of “immersion”. To see beyond the superficiality on canvas and an artwork’s aesthetics, it could be argued that one must carry out a concentrated attempt to fully perceive the artwork’s content in a state of immersion. “Immersion” is defined literally as “being completed surrounded by something,” and figuratively as “deep mental involvement.” This idea came across my mind after visiting the exhibition “Living Digital Forest and Future Park: Lost, Immersed and Reborn”. With interactive digital and light installations, the exhibition itself immersed the viewers into projections of seas of flowers. The interactions between lights and large mirrors purposefully bewildered the viewers when walking in the gallery space. This exhibition triggered me in thinking about how traditional 2D artworks can create a similar experience.  Visual and sensory immersion has long been bound inextricably to the world of art in which paintings aim to interact directly with the audience with a high level of intimacy, spurring the audience’s deeper emotional and intellectual involvement. In such a situation, the ambiguity surrounding the meaning of “immersion” allows this experience to exist in many forms; it can be the placement and interaction of objects in the artworks or the vague and overwhelming atmosphere created through techniques. For instance, many impressionist artworks use spontaneous, loose, and visible brush strokes to create scenes with objects immersing into each other; correspondingly, a sense of change of immediacy pulls the attention of the viewer into the canvas to create an immersive viewing experience.    Different interpretations of the word “immersion” stem from different methods of artistic executions; therefore, revolving around one central theme, this collection of artworks explores relationships between objects, physical placement of objects on canvas, stylistic features creating ambience, and eventually abstract sentiment evoked from the audience. Starting with a landscape painting inspired by Arnold Böcklin and Caspar David Friedrich, the distinct contrast between the sizes of the traveler and the volcano conveys the insignificance of human existence in the face of nature. The viewers are invited to immersed themselves in the scene as the traveler is physically surrounded by the enormous landscape. The view of the back of the traveler signifies the start of an unpredictable journey ahead—the journey within the depicted landscape and the journey of viewing the rest of the work in this collection.  From Work No.1 , the subject matters of the collection gradually change into daily objects that aim to resonate with the viewers on a more personal level. The grandeur and overwhelming atmosphere created by a long-range perspective in the first painting transitions into a sense of encompassing intimacy created by closeup views.  In the collection, water, light, shade, and mist are reoccurring subject matters that I found to be quintessential representations of the concept of “immersion”. The nature of these objects highlights dynamics in shapes, transparency in forms, and versatility in colors. The combination of them creates a range of intriguing interplays of objects that immerse the viewers into the illusory atmosphere of change and ambiguity that I perceived as the center of the concept of “immersion”.  On the other hand, “immersion” includes two subtopics that are innately contradictory: tranquility and chaos. For instance, the static scenes in work 1, 3, and 4 evoke an encompassing sense of tranquility that holds the viewer’s attention to a certain fixed point on the canvas. Whereas in Work 2, 5, 6, 7, and 8, objects overlap, collide, and immerse into each other; thus, the viewer will gravitate into an overwhelming confusion generated by the complex dynamic or dense composition of objects.  The exhibition is planned to in a relatively confined space (e.g. my studio space) to create intimacy and immediacy for the immersive experience. All digital works (Work 4 to 8) are expected to be printed out on transparent film and hanged down from the ceiling . With the help of natural lighting, the illustrations will appear translucent, and light will create illusory projections of the illustrations on surfaces. To further reinforce the theme, work 6 and 7 are going to be printed in large sizes (e.g. work 6–160x200cm) to not only showcase the details but also to make overpowering visual impacts. 

  • BCIS SS Visual Art -2020

    IDENTITY/UGLINESS-SHERRY HE (IDEATE)

    21 Apr 2020

    IDEATE Artist Manifesto "I think there is beauty in everything. What 'normal' people perceive as ugly, I can usually see something of beauty in it."—Alexander McQueen Coincidently hearing a line from Macbeth-“fair is foul, and foul is fair”-which means beauty is ugly and ugly could be beauty. I made up my mind to deliver the theme of “ugliness” in Visual Arts at school. Over the course, I discovered that although I was not an articulate communicator, but I was able to employ my artworks to deliver my messages or appall the audience, in the aforementioned project specifically-a sense of discomfort. Since I am still wondering around the unknown path to find where my true style is, I been exploring and challenging my self though variety material experiment. Personally, I love observing audience during exhibition, not comply to the general public perspective-definitely assured me the significance of finding the true-self in this field and persevere regardless of difficulties or hostile critiques. However, seeing others response create a sense of satisfaction and the level of their discomforts shows the success of visual communication. Amongst my academic interests- Animation, Sculpture, Illustration, Painting, Fashion, and Photography-stands but lately Ceramics is my dominant love, which I regard as my vocation. This ceaseless passion was enhanced recently, after the pieces ‘mentally and physically ugliness’. I began to investigate texture, forms, techniques and material, combining my sculpturing skills with ceramic clay makes my work become more standout, especially when majority who only creates painting. It is truly a boon for me to employ my experiences to change others’ lives, even in the seemingly insignificant manner. Concerning my indifferent nature to things, a direct result of my parents’ frequent absence in my childhood, I initiated multiple characteristic to protect myself. I wanted to express how I switching attitude and behaves depends on the environment, I started to create art works under the theme identity. I began to explore my self characteristic based from my believe and my wisdom combining. Trying to present the concept of being undefined. Starting from one of my animation projects, I keep extend my key feature applying and transforming 2D to 3D enhance my personal style. Testing Constructing design element within my art creating fashion and jewellery functional art meanwhile developing new skills and broader my vision within other professional field. Investigate relationship between industry and the art value.

  • BCIS SS Visual Art -2020

    CITY - EVAN LIU (IB-SL)

    17 Apr 2020 – 16 Jun 2020

    The world today is undergoing drastic changes. Modernism led by Le Corbusier dramatically changed how cities were designed. However, this is not entirely positive. In the process of urbanization, more and more people have come to urban life. Tremendous pressure and strain were placed on a system with limited resources. It is admitted that a high standard of material comfort is achieved in the modernist city, but devoid of the quality of the city: the spirit of cities is lost. My creation aims to use different media to interpret our contemporary urban environment from different perspectives. The intention behind it is to express my critical thinking about modernist cities through art. Through my visualizations and exhibitions, the audience was able to rethink the connection between contemporary people and cities. My experience of traveling in the city provided inspiration for this exhibition. My exhibition includes the diversity of the city, over construction and the loss of urban spirit, different aspects of the same city, the subversion of realism, the history of a city, and the impact of the time dimension on the urban landscape. I have sought inspirations from many architects and artists, especially Guy Debord, who is the founder of Situationist International. He believes that urban space is not just a collection of buildings, but an atmosphere, a situation. Architecture directly affects the existence of people who live in that space, and this impact is far beyond ordinary imagination. Therefore, people's impressions and feelings about the city as subjective individuals became the core of the exhibition and connected all my works. What I want is to create an atmosphere that reflects the nature of contemporary cities through my artworks. The exhibition is set on the roof-deck of the building. The scale of my works is generally small, which allows a more intimate observation. They are arranged dispersed in an open and transparent space, which forms a visual contrast with the exquisite and condensed works, and thus highlights the characteristics of each work. More importantly, when the audience moves between different works, they can directly see the skyscrapers in the Beijing CBD area. This will further stimulate their reflection on urbanization and deepen their understanding of my work. In terms of space arrangement, I’ve placed the sculpture "Staples" in the center of the site, because it needs to be viewed from different perspectives, while other works are placed around it.

  • BCIS SS Visual Art -2020

    THE GIRLS-AMILY ZHAO (IDEATE)

    17 Apr 2020 – 16 Jun 2020

    #postmodernism #gender-equality #women-liberation #her #surrealism #sight&sound #images #teenage #cultures #girls #undefinable

  • BCIS SS Visual Art -2020

    Experience - Cecilia Zhang (IB-SL)

    17 Apr 2020 – 16 Jun 2020

    My exhibition revolves around the theme of ‘experience’, which aims to express emotions by connecting art with biological evolution and different emotional experiences. Regarding the concept of experience, each individual piece draws upon a distinct experience using a variety of different medias. I hope, through those artworks, to gain empathetical feelings from my audiences and enables them to sense the charm of art. The main focus of my exhibition is about joy and sorrow, exploring wealth, and the richness of life wealth. Thus, I came to my decision of the overarching theme, ’experience’. My exhibition consists of four artworks serves as representations of the cycle of human, animal, plant and nature, a sculpture and a video clip. To diversify my exhibition format, I’ve explored the different forms of lens based, 2D and 3D. Meanwhile providing the audience with a rich experiences from different dimensions. My favorite of all is a canvas painting, ‘Samsara’. I was intrigued by the fact that no one can ever depict the feeling of death, yet it is still regarded as a human experience. M work was inspired by the artist NS Harsha, I used the round canvas to represent the circle of life, red meaning life, blue meaning death. I want a minimalistic background for my exhibition space to draw full emphasis on my artworks. I wish the walls to be painted with pure white and decorated with some line paintings of my own using black pigments.The size of the space is moderate, preferably three or two walls (semi-enclosed structure). As the audience enters the space, they will see that the piece, “

  • BCIS SS Visual Art -2020

    Reality and Fiction-Amanda Dong (IB-HL)

    20 Apr 2020 – 16 Jun 2020

    The theme of the exhibition is called “Reality and Fiction.” I generated this theme not only from my interest in Surrealism artworks after visiting Dali’s exhibition in Beijing but also from a philosophical query that I have been pondering— “is everything we see real?” Therefore, I wanted to create a body of work that challenges this question using the styles and techniques of the Surrealists. My series of works invite the audience into different settings, asking them to weigh the difference between fact and fantasy. Through my works, what I intend to convey is that we probably cannot trust our perceptions all the time, given that there is still something “real” beyond our ability to sense. The way of exhibiting the artwork contributes to the meanings I would like to convey. The usage of a dark grey wallpaper creates a sense of ambiguity and unsure. Also, the white color of the instructions and descriptions of the artwork can reduce their sense of existence, therefore making works themselves stand out. n the group of works, there is a real-life portray of the natural landscape, some narrative depiction of a journey in a peculiar world, and also diptychs and triptychs of mysterious environment and imaginary characters. My artworks are organized into three groups according to their contents. The exhibition begins with “true reality,” and later turns to the “fiction” and, eventually, the merging of both. In that way, the viewers can spontaneously link the works to the theme. Besides, the radial arrangement of work mimics the shape of the “Big Bang,” implying that imagination might come from reality. At the same it, it conveys a sense of harmony and coherency from the juxtaposition. The body of work demonstrates the usage of a variety of materials, ranging from different media for paintings to those for sculptures. For paintings, the range of media includes traditional materials, including acrylic, watercolor, and oil, and digital tool (Photoshop). The two installations, on the other hand, contain materials I collected from daily life (plastic and straw) as well as other classic materials for sculpture (plaster). This shows my ability to wield across different forms of art. Despite different media, the styles of the works are coherent, as most of them share vivid and contrasting color schemes. I carefully establish the connections between my artworks and the viewers in my exhibition. For my installation work, “Delivering,” I want to achieve so by hanging the casted hands up using fishing lines, creating the sense that the hands are floating in the air. The air conditioning in the room also helps the hands to turn around slowly. The fingers are pointing at different directions in the room, suggesting that any people could be a part of the work. Because the motif of the work is about the trickiness of the Internet, the revolving fingers also imply that “people are being deceived.” Finally, the lengths of the finishing lines were carefully measured so that the sculpture hands could be displayed at about the same height at the audiences’ head. When they are viewing my artwork closely, they are standing amid the white plaster hands, which reinforces my theme. I also make sure that all the artworks are not displayed too high so that the audiences cannot see the details of them. These methods create a direct communication between the audience and the artworks because the physical distance between them is shortened as much as possible. Through setting the exhibition, I expect the audience to shift their mindsets between reality and fiction. I want to let them feel that, sometimes, there is no boundary between those two elements. Some real sceneries can be so gorgeous or grand that we may doubt whether we are viewing the reality, and some fake imageries may be a trick that we do not even notice. After visiting the exhibition space, the audience can realize that not all realities are unfortunate and cruel, and not all fictions are wise or useful. It is those between real and unreal--the ambiguity-- that attracts us the most.

  • BCIS SS Visual Art -2020

    The Relationship Between Technology and People- Bryson Berry (IB-SL)

    20 Apr 2020 – 16 Jun 2020

    The theme that I followed throughout my art-making process evolved over this course. Initially, it was just technology. It later changed to the human connection to technology. Now it is the relationship between technology and people. I came to this final theme because I realized that the dynamic between people and technology has not only evolved in the artistic world but also continues to evolve in everyday life. I wanted to show how people were related to technology in a literal sense, through physical connections. However, I also intended to show our connection through a metaphorical sense, questioning how it has been used and how it continues to transform our lives. My exhibition contains works that have a personal connection to me and my life, as well as works generally aimed at humanity. Mechanical Heart was a digital work inspired by my grandfather’s heart surgery and subsequent heart replacement. My piece CD-Drive In Theater takes a far less personal approach, instead opting to question the general direction of the world’s growth with technology. Various artists inspired my works, including Jason Mecier who was my guide for helping me create “junk art” or Leon Reid IV and Nicolas Gentry who allowed me to further develop my expressive subject matter. Although I used various mediums to create my works, my primary medium was digital. Digital mediums, either through Photoshop or Illustrator, allowed me the most flexibility and freedom to experiment with unrealistic ideas or those that were surreal or fictional in nature. I did vary the mediums by creating physical works of art. The physical pieces required mediums that would allow a more literal message to be directly supported by the media used. All the pieces together challenge the viewer to question the role of technology in their lives and in the lives of all humans. I intended to display all the work in a manner that would allow any one of the pieces to be viewed at any time. I wanted the viewer to be surrounded by the works to give them the feeling of being in a single body. It was meant to be seen as all connected rather than one piece at a time.

    latest works

    • Mia Benade

      Patensie Espresso Photo series 5, 2020
      8 x 10 inch (h x w)
      printed photography
    • Mia Benade

      Patensie Espresso Photo series 4, 2020
      8 x 10 inch (h x w)
      printed photography
    • Mia Benade 

      Patensie Espresso Photo series 3, 2020
      8 x 10 inch (h x w)
      printed photography
    • Mia Benade

      Patensie Espresso Photo series 2, 2020
      10 x 8 inch (h x w)
      printed photography
    • Mia Benade 

      Patensie Espresso Photo series 1, 2020
      10 x 8 inch (h x w)
      printed photography
    • Ariel Xie

      Self Portrait in the Style of Bacon
      38 x 72 cm (h x w)
    • Mia Benade

      Untitled, 2020
    • Ariel Xie

      Untitled, 2020
    • Ariel Xie

      Self Portrait in the Style of Bacon, 2019
      38 x 70 cm (h x w)
      Oil on canvas
    • Wendy Wang

      Gesture Drawings, 2020
      40 x 50 cm (h x w)
      Pencil on paper
    • Katie Lin

      Gesture Drawing(Hands and Feet), 2020
      31 x 39 cm (h x w)
      pen on paper
    • Wendy Wang

      Untitled, 2020
      70 x 50 cm (h x w)
      Digital
    • Wendy Wang

      Night In Beijing, 2019
      70 x 100 cm (h x w)
      Oil on canvas
    • Wendy Wang

      Self portrait, 2019
      39 x 53 cm (h x w)
      charcoal on paper
    • Ariel Xie

      1 hour Modified Gesture, 2020
      14 x 10 inch (h x w)
    • Katie Lin

      Self portrait 2, 2020
      14 x 24 inch (h x w)
      Ink and oil pastel on paper
    • Klay Yang

      Chuck Close Inspired Portrait, 2019
      30 x 24 inch (h x w)
      2D Acrylic on Canvas
    • Klay Yang

      Self Portrait, 2019
      16 x 14 inch (h x w)
      Pencil
    • Unity In Strength
      25 x 100 cm (h x w)
    • Unity In Strength
      25 x 100 cm (h x w)
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