Categories
Exhibition

The Mixed Media Art of Rebirth

Desirability

The Mixed Media Art of Rebirth

Mr. Ekachai Somboon

Introduction

The forest is the most valuable and useful asset to our man rind. We have been dependent upon it direct by the essential need for life.

The forest indirectly helps to prevent a nature disaster. The forest effect is also related to the social economy as well. We need to share the responsibility to save the forest from all sorts of calamities. I was thus inspired to create the mixed media art of rebirth.

Conclusion

The viewer should understand how human beings have destroyed the trees in nature. By leaving such a tragic end to nature when there is a calamity. Representing the reflection of the result of who nature once appeared by re-creating the parts of the trees as a dreamlike existence of the trees that spring to life from the dead ones.

Objectives Aims or Purposes

To reflect on the truth on the destruction of the forest, to express the sorrowful, and the same time the felling of hope fulness to wards the revival of life and the trees, my endeavor as an artist, is the process of bringing back to life the normal condition of nature. To focus on everyone contributing their responsibilities and awareness to protect, save, love the trees by replacing the ones which have been destroyed.

Come now, when the tree is not there remaining and leaving traces of the emptiness let us see which reflects our awareness and deep, we still have hope that someday there will be more beautiful trees to come back in the future.

Process or Methods

1. Study the cause and consequence regarding destruction of the forest.
2. Research on the actual situation in the forest.
3. Sketch ideas.
4. Create the work.
5. Assembly the work into installation.

Techniques and materials

1. Draw a sketch of a tree on the computer.
2. Stenciled laser cut acrylic sheet, mirror.
3. Make a wooden structure for assembly and installation of works.
4. Put the pieces of twigs and leaves and arrange them to create reflections in the mirror acrylic sheet.

Size or Mins.

Mix media 1.20 x 2.40 M.



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Categories
Exhibition

Sailing

Desirability

Sailing

Mr. Anupong Suttalak

Introduction

The Slum communities along the canal is the other side of the city another part of city life and another corner of development that makes people who have no alternative group must be defined as poor urban by the canal. It is looks like in our memory house conditions along the canal will be a very memorable image not only congestion and environmental conditions crowded along the canal and unhappy environment. Each house has deteriorated, unlike the degradation of the environment along the canal. Especially with the exceptionally high houses in the canal until many times. We can’t imagine that there shouldn’t be a place of living for our people. If possible, moving to a stable place and having a more organized allocation would be more appropriate comparable to the life of a canal community with Life of water hyacinth that the grooves floating with the tides seem worthless, but meaning is a symbol of the relationship between people, canals and cities.

While the city grew steadily. There are many department stores. There are housing projects spread throughout the suburbs. There are many condominiums in the city center. But the existence of communities along the canal It is another true face of prosperity in the capital that cannot be denied. Based on the above information that relates to my real life that sees the changing lifestyle of slum communities along the Rangsit canal of Pathumthani Province for more than 20 years. Regarded as the marginal community of Bangkok in the past. The reign of King Rama 5 had dug this canal for transportation, water and agriculture making the way of life, people, canals and cities connected to each other for a long time until the prosperity of the road and the expansion of the city causing the relationship of the ways of life along the canal to change Residential houses along the canal were demolished moved to live a condo style Turn your back to the river that has been living together. The wall was built to prevent flooding for the city people. The river along the canal has changed into a dumping of urban sewage. For this reason, I want to reflect on the changes in the ways of life along the canal community. By presenting in visual arts and mixed media techniques.

Conclusion

This work is an expression of the idea from inspiration that has seen the changing conditions of urban society that affect the way of life of communities along the canals. the house that used to face There is a wooden bridge used as a water port to connect with the water in the canal, so it must face the road instead. Traveling by water by boat is not used. Go for a car trip instead. Community along the canal will be seen as a surplus of urban development. Therefore, it was demolished and led to the creation of row houses in the form of organizing a new way for the community.

In the creation of this work, the remains of old wooden boats are still used primarily in the creation because there are traces of the past. oldness over time combined with the creation of new techniques by welding steel frames and steel plates to symbolize the changes that have occurred in the community’s way of life along the canal. It also uses video media to depict movements similar to rowing boats along the canal looking at the past and the changes that have occurred. This work has created a space of perception. To encourage the creation of a balance between the prosperity of urban society and the way of life of communities along the canals.

Objectives Aims or Purposes

To create a visual art media reflections on the way of the canal lifestyle affected by the growth of urban society.

Process or Methods

1. Research & find out about canal lifestyle along with current changes and conditions.
2. Create a draft to reflect the inspiration and idea leading to art and design work creativity.
3. Find the materials needed to be used,.
4. Recording and editing video.

Techniques and materials

1. Mix media
2. Steel welding
3. Decayed wooden boat

Size or Mins.

Mixed media 400 cm. x 250 cm.






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Categories
Exhibition

PREFAB Glamping Villa International Ideas Competition Lombok 2020

Desirability

PREFAB Glamping Villa International Ideas Competition Lombok 2020

Mr. Waris Sinsuebpol

Introduction

Competition Brief In 2021, Indonesia will host the prestigious motorcycle race Moto GP for the first time.

This world-class motor racing event will be held on a new circuit in the Mandalika Special Economic Zone on the island of Lombok in West Nusa Tenggara, Indonesia.

Currently, Lombok lacks enough places for tourists to stay.

Over 60,000 more hotel rooms are estimated by the government to be needed for this event.

However, community members can build prefab 2 glamping areas around remote villages using locally available materials.

Prefab Glamping Villa is an open-ideas competition to prepare pleasant temporary living areas for the tourists who will watch moto GP racing.

The Prefab glamping villas must be easy to build and dismantle and use as much local material as possible.

The villas will be built one to two hours away from the circuit. Each villa should be 30–60 m2 and able to be easily arranged in groups of 10–15 villas to become one composition with public spaces around it.

Conclusion

The project went into a ZOOM life session hosted by bpa.

institute inviting Takeru Shoji, Riri Jacob, & Budi Pradono to Judge & Select the best 30 finalist of PREFAB GLAMPING VILLAINTERNATIONAL ARCHITECTURE COMPETITION 2020 from hundreds of works all across the world on Thursday, August 27, 2020 in Jakarta.

Objectives Aims or Purposes

A motor racing is one of niche activities which has their own fans.

A desirability to make them travel across the world to join the event is incredible.

To provide the accommodation for those who have passion for motor racing, the behaviors and needs of those people were delicately studied through.

From my research, the target audience mostly are young, professional, socialized, and could be adventurous.

However, during the competition, there was a situation of COVID19 kicked in therefore another thing to be considered is the social distancing.

Not only in that perspective, the criteria of this project are also mentioning about prefabricated, which is easy and quick to assemble, portable, and easy to move and transport but still comfortable.

And that is why they are a GLAMPING not a CAMPING.

Therefore, the key words of the project are as follows.

Prefab, easy to assemble, movable, able to be easily arranged in groups of 10–15 villas to become one composition with public spaces around it but with social distancing.

Process or Methods

After the design brief being analyzed, first to be considered is the location.

Regarding the concept of the project that need to be in a group of villas, this will need some strategy to deal with the issue of social distancing.

The hypothesis of this is “whether socialized space is made in a social distancing angle”.

According to Edward T. Hall (1966), he described the interpersonal distances of humans (the relative distances between people) in four distinct zones: (1) intimate space, (2) personal space, (3) social space, and (4) public space. It could be described that people tend to have their own personal distance themselves even though socialization needed. Therefore, though we need some public space between those glamping units, it does not mean that they need to physically stay next or close to each other, but they’d rather stay connected visually.

Consequently, the in-between space is the key role. It needs to be a linkage for those units without making people feel that they’ve lost their privacy.

As one of the advantages of this project is the nature in Indonesia, so the nature was the answer to this task.

The location was then considered to be on high area but with a flat terrain and integrating with some trees and plants so we can make use of them as a screen or buffer between each unit.

So, the area nearby Lembah Duan Duan hill, which Is in the North of the island about 2 hours from the Circuit, were selected.

The design of the unit has been considered along with how to layout the units together for a village.

To try to make them in harmony with the nature, the decision was to make it feel like they are not in a grid or pattern BUT they are still in an accurate system in the layout.

The idea of the layout in rows and columns of circular shapes was deliberated, as its condition when they are next to each other, they will implicitly have some distance in between which could apply to the recent situation of a safety public space.

The shapes in circular module could also be adjusted in variation of a half, quarter, or a slice solid mass depending on the radius so that means a flexibility to install.

As the result, the concept of the UMBRELLA, which is recognized as one of Indonesia’s cultural heritage, was studied and used in terms of structure of the glamping.

The assembly of the units will start with to unfold the core, then splay the arms out and fold back and put them in the core and lock with its rings while other ends are to stick in the ground to make it stable.

Once all the structures are put in place, the translucent recycled plastic sheet will complete the process (see attached diagrams).

This case, folded units of a whole set of a village will be fit in a truck in one transport (6-8 units) which all of those could comply with the project’s criteria.

Techniques and materials

Architecture

Size or Mins.




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Categories
Exhibition

New Life of Old Objects Around Me

Desirability

New Life of Old Objects Around Me

Mrs. Achara Narklada

Introduction

Objects that are damaged or not in use are the garbage that is waiting to be dumped.

However, if we as the owner look at them with our hearts, we will find both good and bad memories inside them. Once our hearts accept the unchangeable facts of the object’s existence, and such objects start to recall our happiness, make us smile when looking at them, or remind us not to repeat the same mistakes, our hearts are willing to make the objects more valuable and beautiful through re-creation.

It is the attitude towards life as well – not to leave problems and learn nothing.

We shall learn to accept the flaws and futility.

Then, transform them into another dimension of beauty while preserving our memories.

Conclusion

The old objects are often thrown away like garbage after they are used or expired.

However, if we know how to recreate them into an aesthetic artwork, we will be able to generate another dimension of beauty, retain the memories, give points of thought and become more environmentally friendly.

Objectives Aims or Purposes

1. To allow the individual to reminisce and review his or her life through objects that have been used or left over from work.
2. To create a new form of the art piece which provides a new feeling through the combination of the object owner’s knowledge and experiences.
3. To create arts work that put value on self-awareness, sparks an idea, and creates a positive impact on oneself and society.
4. To reduce waste by transforming unused objects into artworks, which does not only increases the value to the unused object but also reduces the burden to our planet.

Process or Methods

1. Select items that have been used or left over from work.
2. Make a balanced fit without modifying the parts of the used items.
3. Do not add any new materials to the created works.

Techniques and materials

1. Ready-made objects.
2. Natural overlapping.

Size or Mins.

Conceptual Art 0.60 X 1.20 X 0.45 m.






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Categories
Exhibition

Botanical Superstition

Desirability

Botanical Superstition

Ms. Tonkao Nitasganjananon

Introduction

From the folklore or fantasy, regions represent places unknown to the characters, and situations of liminality and transformation.

The forest can feature as a place of threatening danger, or one of refuge, or a chance at adventure.

Places of mystery and enchantment, there are mythical creatures that live in the forests like Gods of the tree or Dryad, Dragons, Dwarfs, Elves, Fairies, Giants, Gnomes, Goblins, Trolls, Unicorns, and other mythical creatures.

A belief in spiritual being, fate or magic, perceived supernatural influence, or fear of that which is unknown.

Conclusion

As living creatures, I believe things are all connected in both physical and spiritual ways with those superstitions.

Many things that we can not see does not mean it’s not there.

Sometimes, it is unable to describe, unreasonable, or irrational about something unknown. It is mysterious and imaginary.

Objectives Aims or Purposes

Botanical Superstition is the visual experiments represent how we connect to the thing surround us.

It is one of the Unclear Relationship series showcasing the relationship among us and other living creatures of a nature spirit and a belief in magic which perceived supernatural influence, or fear of that which is unknown especially spiritual beings.

It presents the mythical creatures disguise themselves in plants and flowers through the visual communication design; the unexpectedly forming creatures. Sometimes, it does not show what we see things through our bear.

Process or Methods

During this time of pandemic COVID19, one of the things to help maintain my spirit and keep me alive is plantation and Botanic.

Through the process, with different plantation species, there are many forms of visual that I can found many types of creatures disguising in the elements of line and shape.

I create the visual art of elements of plants and flowers from the pictures I took by simply applying the mirror effect to them.

Unexpectedly, the pieces of elements with symmetrical balance forming the visual that looks like spiritual living a creature.

Additionally, apply image animation to enhance the mood of living creature and ambient sound of botanic.

Techniques and materials

Video

Size or Mins.

2.04 minutes







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Categories
Exhibition

Foreground/Background

Desirability

Foreground/Background

Mr. David Schafer

Introduction

The project requirements were deceptively simple, mitigate an undesirable view but don’t block the light.

An architectural screen was proposed which would be placed in front of an expanse of windows and draw attention to itself (foreground) while minimizing the importance of the obstruction (background).

A modular system was developed which would allow for offsite fabrication and quick installation as well as accommodate fine tuning to actual site conditions. Teak wood was chosen for the main structure to bring both warmth and aesthetic softness as well as strength and durability.

Steel bracket were designed to eliminate glued or flush joints in the woodwork that could crack or misalign during the extreme heating and cooling cycles of high-rise spaces.

Within the teak matrix a series of feature elements were conceived in order to both obscure the view as well as selectively frame it. Aluminum was chosen as it was a material that could be “worked” in multiple ways and result in multiple forms and finishes, allowing for both a diversity as well as a commonality.

Aluminum was hand hammered from a sheet into a dome form, CNC punched to form a convergent moire pattern, and sand cast into a tapered oculus form.

Conclusion

As we aimed to push the boundaries by encouraging designers to integrate more colors, building new color pallettes, and finding the balance of colors in their works without any rules.

We also believe that everything starts with opportunities, which can lead to endless possibilities, in this case the color relationships.

The main abstruction graphics on the book, was intentionally create a neutral design concept to make this a piece of art.

Many expect the paper catalog to be as boring as it has always been, but we want to find balance between a commercial contexts and our interpretation contents to allow the audience to be able to interpret on their own understanding.

Hopefully, “Chance and Relationship” color paper book can inspire designers to see the freedom of choosing colors. Designers can break free from the same old mindset and start creating their own narratives by themselves.

Objectives Aims or Purposes

To mitigate an undesirable view.

Process or Methods

The screen was developed through both digital drawing and modeling methods as well as a through hands-on workshop based experimentation.

Techniques and materials

The screen was fabricated using solid teak with traditional woodworking methods of production scale routering, planning, 3drilling and sanding. The metal feature elements were made from aluminum using three different form/forming techniques; hand hammered dome surface.

Size or Mins.

Architecture Screen installation size 2.40 x 8.20m.

Samples and process to be submitted for exhibition 1.00 x 2.00 m.






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Categories
Exhibition

CHANCE AND RELATIONSHIP

Desirability

CHANCE AND RELATIONSHIP

Mr. Teeranop Wangsilapakun

Introduction

“Why are we so afraid to use color? As a designer, sometimes we are so concern about matching things to create harmony and color coherence in our works. But don’t we suppose to be the ones braving enough to inspire the world by showing endless possibility in color combinations.”

By adopting the “Law of Chance” of Jean Arp, we created the “Chance and Relationship” book to show the possibility of color combinations from Pop’Set color paper collection of Antalis (Thailand). We want to encourage designers to bravely pair two or more Pop’Set color papers, so they can create their own design narratives as well.

The book is also featured special binding technique that all the pages are connected to show a continuation of artworks for both sides and it stretches out 2.6 meters when untuck the front and back covers from each other.

And there’s also a paper sculpture that comes inside the book, so the user can form their own table top paper sculpture.

Conclusion

As we aimed to push the boundaries by encouraging designers to integrate more colors, building new color pallettes, and finding the balance of colors in their works without any rules. We also believe that everything starts with opportunities, which can lead to endless possibilities, in this case the color relationships.

The main abstruction graphics on the book, was intentionally create a neutral design concept to make this a piece of art. Many expect the paper catalog to be as boring as it has always been, but we want to find balance between a commercial contexts and our interpretation contents to allow the audience to be able to interpret on their own understanding.

Hopefully, “Chance and Relationship” color paper book can inspire designers to see the freedom of choosing colors. Designers can break free from the same old mindset and start creating their own narratives by themselves.

Objectives Aims or Purposes

Pop’Set is one of the products by Arjowiggins, a leading French paper manufacturer that produces fine and custom-made papers since 1770, and it is distributed by An talis across five continents.

Pop’Set papers are smooth color papers consists of a timeless palette of various colors, from pastels and greys to saturated shades.

In Thailand, from a palette of 34 colors, Antalis selected 11 Pop’Set colors to distribute in the Thai market; which are Ivory, Fawn, Apricot, Sky Blue, Aqua, Spring Green, Citrus Yellow, Ultra Red, Grey and Extra Black. A catalog was needed to showcase the papers’ quality and printing abilities as well as an invitation to use Pop’Set color papers.

For Thai print culture, colored papers were not widely used for offset printing, partly because of the fear of the paper’s ability to take ink. For Thai design culture, the concern is more about matching things to create harmony and color coherence in design works. Thus, designers sometimes use only popular colors, such as red or yellow throughout the design. But don’t they suppose to be the ones brave enough to inspire the world by showing endless possibilities in color combinations? Many designers need little couragement to use more colored papers in their designs. So we aimed to push the boundaries by encouraging designers to integrate more colors, building new color palettes, and finding the balance of colors in their works without any rules. We believed that everything starts with opportunities, which are endless for color relationships.

By adopting the “Law of Chance” by Jean Arp, we created the “Chance and Relationship” book to show the possibilities of color combinations from Pop’Set color paper collection by Antalis (Thailand).

We want to encourage designers to bravely pair two or more Pop’Set color papers, so they can create their own design narratives.

Process or Methods

On the front side, abstract shapes gradually transform into geometric shapes at the end of the piece.

Once you flip the catalog to the back side, the design continues from geometric shapes and transforms into abstract shapes instead.

It forms an infinity loop design, just like our creativity that has no endings.

After investigating the possibilities of binding, we innovated a brand new way of binding notebooks.

We created the technique to bind many pages of accordion books by using its own front and back covers.

Our binding process is so simple by bringing the ends of the front cover and the back cover together and tuck them into each other.

Moreover, accordion books allow us to use both front and back papers in the most efficient way.

The ink colors used in this catalog were specially mixed to match the shades of Pop’Set
color papers.

The ink colors were randomly used across the book pages, which also were randomly ordered to put next to each paper color, supporting the concept that there are no rules of building new sets of colors and finding the balance of colors.

This also causes the surprise effect, since it is quite hard to tell whether the color is the specially mixed ink or the actual color of Pop’Set paper themselves.

On each page, we added special printing techniques to enhance Pop’Set color papers and showcase all possible techniques that the paper hold and as well as giving the audience the ideas of what they can do.

The gradual transformation of abstract shapes into geometric forms in the book reflects our ambition to bring out the aesthetics of color combinations without any distractions.
Lastly, there’s also one hidden surprise of this book. It’s more like a reward, a mobile sculpture can be created out of the back cover and all the pages of the book.

There are different shapes of punched out pieces that user can combine with the paper sculpture that can be cut out of the back cover and the black wire that comes with the book, this will turn into the abstruct table top sculpture.

Techniques and materials

12 Pantones colors printed on white ink base(4 times) on 240 grams and 320 grams Pop’Set papers. With additional special techniques of die-cutting and folds, foil-stamping, lamination, and embossing.

The book also features special book-binding technique that connects all the pages to show a continuation of artworks from both sides and it extends out to 2.6 meters when the front and back covers are untucked from each other.

There is also a paper sculpture inside the book that lets thuser build their own customized table top paper sculpture.

Size or Mins.

Graphic Design 16 cm X 21 cm (Folded)






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Categories
Exhibition

Let’s get back to these days

Desirability

Let’s get back to these days

Dr. Perline Siek, Hwee Ling

Introduction

Good old time in Singapore, where my place of birth, my memory is always with the Municipal building with two clock faces, black and white colonial’s bungalow, traditional wooden house, historical shophouses which always with a ‘towkay’ (shop owner) wearing a white singlet standing in front of his grocery store, eyeing on kids running into his store, and next to it, there is an Indian newsstand with newspapers and magazines.

You will see chicken running around, paper kites up in the sky, street dog, cat, goats living at their own pace.

Kids are either asked to stay home but the mind and eye are always eyeing on outside of the house, and will grab every opportunity to run out to play.

There is always a neighbor’s aunty wearing the traditional Nyonya Kebaya dress, call in on your mother with her homemade cake, or asking you to go to their house to play with their children. And, next door uncles are always at the jetty doing fishing.

Conclusion

We have experienced a new normal lifestyle due to Covid-19. As I believe each and every one of us is reluctant to let go of our old normal life; my goal is to whet the appetite and arouse curiosity to those who loved to have personal visit to the art gallery, to experiences an alternative way to support all the traditional artists in the world at this period of time.

And at the same time, we can patch back our sweet memory and share with others.

Objectives Aims or Purposes

Different types of historical houses formed the outlook of today’s Southeast Asia.

Yet the local conditions and customs which bring us happiness, relax and inspiration formed who I am today.

This Acrylic painting on canvas was painted with 360-degree panorama which invites you to have a glance at the precious moments.

Today in this pandemic period, we still need good neighbors, townships to helping one another, no different from the good old days, just that the presentation might be a little improvement.

Process or Methods

1. The creative art piece is applied acrylic paints as the medium, manually painted on a 24 x12 inches canvas board with a pre-plan arrangement on all the components before painting, which ease the post-production step when converting to 360-degree.
2. Digitalized the painting to 360-degree panorama and add in background music by inviting two Music students (Chong Jiunn Yann & Nicole Mah Ying Yee) from Sunway University’s Contemporary Music (Audio Technology) to compose the background music for this creative work. 3. Put up to YouTube as a temporary platform to present this 360-degree view and created
a QR code for the audience to view.

Techniques and materials

1. Manual Acrylic paints on Canvas board.
2. Composed background music starts with a harp, followed by gamelan as melody.

Size or Mins.

Painting 24 inch x 12 inch canvas board
60 seconds video clip


Music composed by: Chong Jiunn Yann & Nicole Mah Ying Yee


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Categories
Exhibition

La Fleur Series 2

Desirability

La Fleur Series 2

Mrs. Lalita Seemontara

Introduction

As a Textile Design lecturer, I had the opportunity to be an assistant in the textile workshop on felting of Mrs. Geri Forkner (an American textile artist), and that was my starting point.

Felting is a well-known technique in Western countries that uses wool as a material for arts & crafts.

Crafts enthusiasts are starting to use this technique in Thailand, but it is not yet popular. The wool material is not produced in this country and must be imported, and thus is quite expensive.

The felting techniques come in a variety of forms, both 2-D and 3-D, depending on the method. It was something that interested me and I wanted to experiment with it in my art works.

The inspiration for my work comes mostly from impressions gathered from my travels. This time, I visited the United States during the springtime when colorful flowers were in bloom, and that gave form to the creation of this work.

Conclusion

These three artworks were created by experimenting with wet felting and needle felting techniques on wool.

Designers can explore the challenges of creating patterns on paper and transferring those patterns to real materials.

Sometimes it is impossible to control the outcome of the artwork as designed, due to variations caused by water temperature and production time.

The results were satisfactory to the designer and of good quality.

Objectives Aims or Purposes

Artist’s interpretation of he Five Aggregates, The Trinity of Existence (Anicc-Dukkha-Anatta), Duty of Being Human in a form of V.

Process or Methods

1. Draft the artwork.
2. Create a pattern.
3. Make wet felting techniques from the pattern.
4. Create separate parts of the handbag and other details, such as petals.
5. Use needle-felting techniques to apply a decorative pattern to the petals.
6. Finish ‘pollen’ details with embroidery techniques.

Techniques and materials

Wet felting needle felting and embroidery with wool
Material Wool, Silk Chiffon and Beads

Size or Mins.

Textile Design No.1 42×47 cm. No.2 32×20 cm. No.3 16×23 cm.






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Exhibition

The Five Aggregates, The Trinity of Existence (Anicca-Dukkha-Anatta), Duty of Being

Desirability

The Five Aggregates, The Trinity of Existence (Anicca-Dukkha-Anatta), Duty of Being

Professor Wattana Jutavipard

Introduction

Though all human lives must face death, the path to such inevitable composes of The Five Aggregates, The Trinity of Existence (Anicca-Dukkha-Anatta), and the Duty as a human.

Conclusion

A Video Art depicting the life of Professor Wattana Jutavipard through decades long photographs displaying the concept of The Five Aggregates, The Trinity of Existence (Anicca-Dukkha-Anatta), Duty of Being Human.

Objectives Aims or Purposes

Artist’s interpretation of he Five Aggregates, The Trinity of Existence (Anicc-Dukkha-Anatta), Duty of Being Human in a form of V.

Process or Methods

Collage of Video Art

Techniques and materials

Multimedia Collage of Video Art

Size or Mins.

3 Mins.



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