UNSTABLE SHAPES


RUIWEN YANG


is a multimedia designer based in London and Shanghai. Graphic designer ❥ visual artist ❉ researcher ☞ and explorer always in progress. She explores the relationship between people and objects during post-pandemic era, in the context of technosociety.

ryang010@gold.ac.uk
yangruiwen2021@163.com

https://raonyang-com.superhi.com/
Forced to be lockdowned in your limited cell for nearly 20 months, you are given an exaggerating huge of time to spend with yourself and your “things”. Sitting outdoor to eat, seeing the wind rumpled the napkins off the table and the sun shines on the glass, it finally came to you that you haven’t had such a physical connection with the world for a long time.

This eagerness for connection is introvert, honest and raw.

︎︎︎ Perceive this material*data shaped world. With instinct.




Imagine you’re sitting in a pub with nobody, meanwhile on a Skype call drinking with a couple of friends. You hang up the phone and you suddenly realize you’ve just cheers with a bunch of data signals. A sense of distance come to you than ever felt before.








As the covid-19 epidemic sweeping over the globe, you are forced to be lock in your limited cell for 20 months, hence you are given an exaggerating huge of time to spend with yourself and your “things”. It first starts with a long gaze into your favourite mug by your hand, which you found both familiar and strange.

Subtly, a rejoice of physical touches rises. Sitting outdoor to eat, seeing the wind rumpled the napkins off the table and the sun shines on the glass, it finally came to you that you haven’t had such a physical connection with the world for a long time.

This eagerness for connection is introvert, honest and raw.


You miss that concrete feeling rather than the uneasy jumps on your devices from one window to another. Looking into the shapes of mundane objects and daydreaming the long-losing intimacy with things, you can’t help recall some specific feeling for species of shapes.

And that’s when you realize your long absence of perception.



 

Chapter 1

 / A Long-lost Gaze /



Essential objects to our locked life.  Fluffy, round, geometric, stick, buttons,  and strings.

Sometimes we are too close to these objects that we even don’t notice that we already unconsciously associate their looks with our needs and desires. Gradually, we establish some ineffable intimacy with them within each touch and use. Mechanical movements are mapping our deeper thoughts. This phase helps me to know better about the relationship between people and objects and digging people’s reason to pick up an object.






Chapter 2

/ Monologues /



The intermediate shapes. 

To find associations among each categories, I morph each two objects in one category. As moms and dads, they can breed hundreds of children with their particular gene. These shapes could serve as the prototypes and inspirations of things that we might design, create or produce in the future. By intentionally fuzz up the shape of objects, internal relations between each kind are thus revealed. When we compare people’s needs with the new shapes, we can start to define new function for these future objects.





Objects have identity.

In some moments you even feel that your objects is also responding to your stare. Your desire is the reason why it suddenly appears to have vitality to you. It is not intentionally made that mapping a personality onto an object, but the “live and the loves” of image.

Each of our interaction with object

s is just mapping our perceiving awareness, unconscious response, and all kinds of memories and desires. Thus objects have narratives by themselves, which makes their existence meaningful to people.







Chapter 3

/ Synchronic Perception /



We are facing a misty cave of viewing, thanks to this material*data shaped world.

When you blindfold your eyes, it is still easy for you to distinguish a tennis ball and an orange just by weighing them with hands. That is because you have played tennis and eaten oranges. The experience these objects bring you in your past life experience has already become your cognitive common sense, which is a progressive perception process developed from experience to body and then to instinct. 

However, with the technosociety developing, our world is no longer shaped only by materials. In the future, objects will gradually become non-things with the migration of viewing methods from physical media to digital ones. Another layer is added to the process of viewing—data. Our perception is gradually blinded by the digital doppelgänger of things.





The installation serve as a metaphor for the duality of viewng, consisting of 6 models based on the intermediate shapes I produce in the former step.





And then I project the digital morphing shapes onto them. The models represents what we see with our raw eyes and the digital ones represent the data. Each time of a viewing activity reminds you of a specific object. Digital viewing makes objects lose their subjectivity and meanwhile our imagination degrades. 






Perhaps, future objects are shaped to cater to our feelings, being able to talk, knowing everything about us, just as what we hope them to do.








Chapter 4

/ Ideographic Shapes /



Read with your instinct.


Shapes symbolize meaning. So as characters.
Sometimes, it’s hard to define the border between characters and shapes.
Does it really matter that you finish all the text to get the whole meaning?