What is your project about? In 150 words outline your understanding of your developments following the recent crit.
The work began with research into the women and girls who were kidnapped and forced into sexual slavery (euphemistically called ‘comfort women’) by the Japanese military during World War II. The work itself speaks of this forced invisibility and is a direct response to the research undertaken for my written dissertation.
The central themes of time, collective as well as personal memory, and testimony intertwine to cross over into new themes and questions within socially engaging practice. These new themes highlighted include how history is written and remembered, how women are forgotten in those retellings of history, and how we can engage with new histories with the use of testimony and documented experiences. The work looks at the pain of others and gives voice to their testimony, using the material of clay to bear witness to that testimony.
Titled ‘We must record these things that were forced upon us’, this facilitates bringing the work into the context of the ‘comfort women’ issue as these were the words of Kim Hak-sun, the first Korean woman to testify in 1991of her experience of forced sexual slavery by the Japanese.
What is the most effective medium to convey your ideas within the context of an Art and Design showcase? I.e. Website / Onsite Exhibition or Offsite Activity and associated documentation.
I’ve used unfired clay to cast small ceramic forms that I’d brought back from my trip to South Korea. These small pieces, once bone dry, are partially submerged in water and they gradually dissolve as the water penetrates the layers of unfired clay, causing them to flake off into the water.
The entire process is filmed in the Lens Based Media Studio with three video cameras from different angles, with the footage edited in a dynamic and satisfying way. The resulting film will be displayed against a white wall/screen, 8ft high, filling the space. The work needs to be at a large scale as this ties in with the center of my research around the vastness of the ‘comfort women’ issue.
The piece will be shown during the onsite exhibition in addition to screenings and panel style discussions during the BAAAD Public Programme.
I would like a dark space within IPS – there are a couple of sections within the project space that could remain unlit while not disturbing others’ work. Due to the satisfying aspect of the clay flaking away from the pots in the water, I want the area to be contemplative and quiet. I will be attaching the projector to the opposite wall with the use of a bracket, mounting the projector at a height so it’s as big as the wall is high. A closed off section of IPS would give the work an isolated feel, something which ties into the explored themes of forced invisibility.