Sunday, August 9, 2009
Artist Statement
In the field of art and design, I believe one can achieve highly creative work by casting aside strict conventions and by taking certain risks. For the past 18 years coinciding with my diverse creative experiences across a wide spectrum of drawing, painting, interior design, graphic design and motion design, I have continued to practice and explore possibilities in my career. Major interests in my creative activities are the exploration of dimensional and spatial elements in graphic design, experimentation in design methodologies, and the use of visual communication to facilitate cultural awareness.
I have found that a variety of different creative disciplines are a major source of inspiration for me. In my work, I seek to develop meaningful visual aspects of environments from ordinary and simple graphic forms. My recent work Time, Place, and Global Culture, is an installation piece in combination with 3-dimensional forms, print design, and digital projection. Paper and print were used as basic graphic design material and methodology with a consideration of space. The intent of creating those dimensional design elements is to visually compel the viewer towards a greater awareness, sensitivity and understanding of the changing world. It also serves as an interactive experience, allowing viewers to become immersed in an environment that implies the importance of global trans-cultural awareness. I believe that a 3-dimensional consideration in graphic design can make a space become meaningful and can communicate a design message more successfully.
Deconstructing letterforms, experimenting with 3-D forms, and taking photographs are essential steps in my design process. I have found that documentation of this creative process becomes a very important aspect of my work. It captures spontaneous, intuitive thoughts, and ultimately leads to a finished product. Architect Frank Gehry’s design methods that move from hand-drawn sketches to complex computer modeling have inspired and influenced me tremendously. Though Gehry’s final output may be digital, his design process is never driven simply by technology. By working primarily through hand-crafted experimentation, he can subtly achieve his design intention through ambiguity and abstraction. I believe the use of traditional creative tools and media in the design process often leads to new discoveries and produces unexpected results. It allows a designer to experience a continuous interaction and conversation between the actual and the possible design solutions. This cognitive experience has been essential to mentally visualize my design intentions and resolve design problems. In my design process, the meaning of material, visual experimentation and the development of personal methodology are my main concerns.
In the new global age, people with different values, beliefs, and ideologies are connected like never before. My creative experience has been an investigation of our quickly emerging global culture through personal observations and experiences — in both the United States and China. Because graphic design today inherits a variety of definitions and spans the globe, I believe the profession must become cross-culturally sensitive and socially conscious. Graphic communications can be shaped as an effective platform to present social and cultural issues and awareness. From both an aesthetic and social perspective, my work is often rooted in both personal expression and didactic representation as a way to contribute toward the expanding language of graphic design, while at the same time making a positive impact on our global society.
As the world moves into a vibrant, dynamic and increasingly open society, I feel very fortunate to be able to live, observe, and learn in a different environment from my birth and nationality. For me, being a responsible human being is important, as the creating of art should always be inspired by our life and culture. I believe that what makes a true designer is his/her unique angle, inspiring methodology, and meaningful connections with a community.
I have found that a variety of different creative disciplines are a major source of inspiration for me. In my work, I seek to develop meaningful visual aspects of environments from ordinary and simple graphic forms. My recent work Time, Place, and Global Culture, is an installation piece in combination with 3-dimensional forms, print design, and digital projection. Paper and print were used as basic graphic design material and methodology with a consideration of space. The intent of creating those dimensional design elements is to visually compel the viewer towards a greater awareness, sensitivity and understanding of the changing world. It also serves as an interactive experience, allowing viewers to become immersed in an environment that implies the importance of global trans-cultural awareness. I believe that a 3-dimensional consideration in graphic design can make a space become meaningful and can communicate a design message more successfully.
Deconstructing letterforms, experimenting with 3-D forms, and taking photographs are essential steps in my design process. I have found that documentation of this creative process becomes a very important aspect of my work. It captures spontaneous, intuitive thoughts, and ultimately leads to a finished product. Architect Frank Gehry’s design methods that move from hand-drawn sketches to complex computer modeling have inspired and influenced me tremendously. Though Gehry’s final output may be digital, his design process is never driven simply by technology. By working primarily through hand-crafted experimentation, he can subtly achieve his design intention through ambiguity and abstraction. I believe the use of traditional creative tools and media in the design process often leads to new discoveries and produces unexpected results. It allows a designer to experience a continuous interaction and conversation between the actual and the possible design solutions. This cognitive experience has been essential to mentally visualize my design intentions and resolve design problems. In my design process, the meaning of material, visual experimentation and the development of personal methodology are my main concerns.
In the new global age, people with different values, beliefs, and ideologies are connected like never before. My creative experience has been an investigation of our quickly emerging global culture through personal observations and experiences — in both the United States and China. Because graphic design today inherits a variety of definitions and spans the globe, I believe the profession must become cross-culturally sensitive and socially conscious. Graphic communications can be shaped as an effective platform to present social and cultural issues and awareness. From both an aesthetic and social perspective, my work is often rooted in both personal expression and didactic representation as a way to contribute toward the expanding language of graphic design, while at the same time making a positive impact on our global society.
As the world moves into a vibrant, dynamic and increasingly open society, I feel very fortunate to be able to live, observe, and learn in a different environment from my birth and nationality. For me, being a responsible human being is important, as the creating of art should always be inspired by our life and culture. I believe that what makes a true designer is his/her unique angle, inspiring methodology, and meaningful connections with a community.
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