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My spaces (2020-2021)

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My spaces (2020-2021)

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Content MY SPACES (2020-2021) by Yiran Tian A Thesis Presented to the FACULTY OF THE USC SCHOOL OF ART AND DESIGN UNIVERSITY OF SOUTHERN CALIFORNIA In Partial Fulfillment of the Requirements of the Degree MASTER OF FINE ARTS (DESIGN) May 2022 Copyright 2022 Yiran Tian ii DEDICATION This thesis is dedicated to my 7-year-old sister, Yiman Wu. For the past year, she was always my comfort and inner peace whenever I felt upset, irritated, or lost. She is my forever sweetheart who inspires me to be a better sister, daughter, designer, and person in this world. iii ACKNOWLEDGEMENTS I would like to offer my sincerest thanks to my committee members Ewa Wojciak, Brian O ’Conne l l and April Greiman for their guidance, critique, encouragement, kind words shared, and effort into making this thesis possible. Especially under the circumstances of COVID-19, I am more than grateful for their patience and the time devoted to me and my work. This greatly enhanced my learning experience, and I will forever be thankful to them. iv TABLE OF CONTENTS DEDICATION…………….………………….………………….………………….…………..ii ACKNOWLEDGEMENTS..……….………………….………………….…………………….iii LIST OF FIGURES…………….………………….………………….…………………….........v ABSTRACT.….………….………….………….………….………….………….………….….vi INTRODUCTION...………….………….………….………….………….………….….............1 Chapter 1: Open Space <Color?Or Space?> ………….………….………….………….…….... Physical space under COVID-19 research.…….……….………….………….…….........3 What is open space?……….………….………….………….………….………….…......5 Artists and physical space research………….….……….………….……….…………....6 Where am I in open space?….…….………….………….………….………….………..11 Design response: Finding my place in open space ………….………….…………….....12 Chapter 2: Inner(psychological) Space <Quarantin-a>…….………….………….…………....18 Inner space under COVID-19 Research…….………….………….………….………....18 What is inner space?……….………….………….………….………….……………….20 Artists and inner space research……….…..….………….………….………….…….....21 Where am I in inner space?….…….………….………….………….………….……….26 Design response: Finding my place in inner space….…………………….…………….33 Chapter 3: Imaginary Space <Space in Me>.….………….………….…………........................31 Imaginary space under COVID-19 research.….………….………….………….............31 What is imaginary space?……….………….………….………….………….................32 Artists and imaginary space research………….……….………….………….……........33 Where am I in imaginary space?….…….……………….………….………….………..36 Design response: Finding my place in imaginary space….…………………….……….37 Conclusion……….………….………….………….………….……………………………........44 BIBLIOGRAPHY.....………….………….………….………….……………….........................46 v LIST OF FIGURES Figure 1. Take Care of Yourself (2007) by Sophie Calle ………………………………………....6 Figure 2. Suite Vientiane (1979) by Sophie Calle…………………………………………............7 Figure 3. I AM ALONE, Like Clouds & Other, by Francesco Correggi, exhibited in 2020…........9 Figure 4. Color? Or Space? in work progress (2020) by Yiran Tian…………………………...10 Figure 9-12. <Color? Or Space?> 2020 by Yiran Tian ………………………………….....14-17 Figure 13. Frida Kahlo’s diary (published in 1995) …………………………………………….21 Figure 14. Take Care of Yourself (2007) by Sophie Calle..…………………………………......23 Figure 14. L ’H ôt e l , Chambre 47 (The Hotel, Room 47) (1981) by Sophie Calle……………....25 Figure 15. Quarantin-a Diary (2020) by Yiran Tian…………………………………………...27 Figure 16-18. Quarantin-a (2020) by Yiran Tian…………………………………...………28-29 Figure 19. The Two Fridas (1939) by Frida Kahlo …………………………………………….34 Figure 20. A Quiet Place (2020) by Silviya Georgieva -Sellvida………………………………38 Figure 21-29. Space in Me (2021) by Yiran Tian……………………………………………39-43 vi ABSTRACT The spaces I have lived in over the last few years have impacted my perceptions about the future, my life and time. I document and examine the different spaces in which I have lived and re-examine and re-define them through my artistic perspective. I push myself to explore the boundaries between these spaces and transform them into visual outcomes. This examination of my design process and how it has been affected by spaces (personal, environmental, and imaginary) is the basis of my thesis. Space is often thought to be a continuous area or expanse that is unrestricted, available, or unoccupied. Living space is an adequate amount of space within a property for a person or people to reside within. When COVID-19 spurred a worldwide pandemic in 2020, how people reside within a living space changed immensely for many people. For me, this change started with a trip to Texas away from the city and its crowds, and it continued with social isolation in my apartment in Los Angeles. Later as I flew back and forth between Los Angeles and China, I was quarantined further in a small hotel space for fourteen days each time upon my arrival. After staying with my family for a year, I returned to the United States. This thesis addresses a question about how living space influenced by the COVID-19 pandemic change my physical, psychological, and imaginary space. Through extensive research and questioning, I designed three artworks that reflect my experiences from 2020 to 2021: <Color?Or Space?>, <Quarantin-a,> and <Space in Me>. 1 INTRODUCTION This thesis has been constructed and finished under the influence of the worldwide COVID-19 pandemic. The ongoing challenges presented by these circumstances considerably altered my projects’ directions. Moreover, they have changed my agenda for life, study and cultivating a creative mindset. Space can have multiple definitions. It can be a fixed area that we can see and touch, or it can be the vast and boundless nature in which we all live. It can also be the infinite imagination in our minds without any figuration or shape. Everyone lives in a different space, whether it is a country, city or even in our own family constructs. We all have our personal spaces; whether they are shown as diaries, paintings or just a few words we might share with ourselves. As a designer, I am dedicated to examining those different spaces relating to my personal experience with examinations and explanations in visual forms. I am especially engrossed in transferring three-dimensional spaces into two-dimensional and abstract platforms in a minimalist way because I find this to be an essential and poetic way of expressing my cognitions about the different environments that I live in. During the two years, both the spaces I have lived in and the ideas and emotions that the spaces create have changed my development as a designer. This important process affects my everyday life and my perceptions of life and the world. As a result, I have documented and interpreted each space through my own lens of personal design. I continue asking myself questions such as: • What is this space? • Where am I in this space? • What is my design response to this space? This thesis defines and re-defines the spaces I referred to earlier - open, inner, and imaginary - that I have experienced over the past two years. My research of artists Frida Kahlo, 2 Sophie Calle, Francesco Correggia and young contemporary artists such as Silviya Georgieva - Sellvida, enhanced my understanding of how space impacted their artworks. This study along with my own experience led me to create book designs, visual journaling, and digital drawings based on my own interpretations and experiences within space. 3 Chapter 1: Open Space <Color? Or Space?> Physical space under COVID-19 research As the COVID-19 pandemic began, each country and state had additional requirements and restrictions for the pandemic. For example, China reacted to the emergence of COVID-19 by implementing several quarantines and border lockdowns within the country. Travel was banned between cities. This was meant to act as a measure to counter high infection rates caused by gathering and social activities. When I was in the U.S. and my family was in China (February 2020), my mother told me they were barred from going out of their homes or apartment buildings unless for medical purposes. Food and other living essentials were delivered to each neighborhood by community services. A further move by the government was to design a national reporting system that gave daily updates on the infections, statistics on the areas affected and methods to regulate further spread. In the U.S, similar but different measures were implemented to limit the spread of COVID-19. The first email regarding COVID-19 sent from the University of Southern California was on February 13, 2020. The email included travel restrictions and suggested plans for 2020 spring break. On March 6th, the school sent out an email to advise against all international travel during spring break. On March 9th, USC Roski School of Arts and Design, where I was a student, announced classes before spring break, and probably after, would be taught remotely through Zoom and Blackboard. The U.S. government strongly suggested not to go out for anything but crucial needs and living essentials. Several curfews were implemented in California and other states during this period. China had different COVID regulations and restrictions than the United States. Each country dealt with the pandemic with its own point of view on how the virus should be controlled. Because of this my family’s experience was very different than my 4 own. In the U.S, I was able to execute my exploration of open space and nature during COVID- 19. Choosing to embark on a trip during the COVID-19 pandemic is a bold decision. Before the pandemic, travel could have many purposes and components, including good food and various excursions. My trip with three friends to Texas in 2020 was different. Enjoying open space was the only purpose and the biggest enjoyment. When I decided to go to Texas with three friends in Spring Break 2022, the number of confirmed COVID-19 diagnoses in California had risen dramatically. With the lack of masks and supplies at the time, going out made me nervous because of the large population of Los Angeles and the risk of infection if not properly protected. At that time, I just stayed at home and didn't go out for more than an hour to purchase food, and I only used my electronic devices at home to “see” friends and attend classes. The changes in lifestyle and my living space were sudden. When this trip was planned, we had to do more research because of the outbreak. When we found out that there were almost no cases of infection in New Mexico and Texas, Marfa along the way, we decided to take this trip to escape the city and crowds, forget about COVID and spend time under the big sky, on the plains, and in nature. The desire for open space has never been stronger and documenting the scenery along the way has become an essential task. With insurance of our safety, exploring open space was a unique perspective to document my change of lifestyle and my perceptions of my changing living environment under the circumstances of COVID-19. 5 What is open space? “ T hus , the spiraled being who, from outside, appears to be a well-invested center, will never reach its center. The being of man is an unsettled being which all expression unsettles. In the reign of the imagination, an expression is hardly proposed, before being needs another expression, before it must be the being of another e x pr e s s i on. ” (Gaston Bahelard The Poetics of Space (La Poétique de l Espace)1958 p.214) Because of the COVID-19 pandemic, the lives and freedoms of people worldwide have been affected by restrictions meant to regulate the spread or acquisition of infection. Of course, I am no exception. Over the past two years, the environment in which I live has constantly been changing. This journey started with free living in the United States when the pandemic began to a journey towards nature and open space as the pandemic took hold. I began to understand the appeal of space far away from the city and all the bustle and noise. However, that time was short-lived. Experiencing the drastic reduction of living space and less contact with the outside world and people led me to consider the differences between unbound nature and the restricted urban living environments. With this in mind, I developed a project to define and design “open spaces.” Color? Or Space? takes the form of landscape photographs, archives, and my reflections. This work is heavily influenced by my thinking about other artists who face similar situations. 6 Artists and physical space research I researched how artists and designers document open space. For example, Sophie Calle, a French writer, photographer, installation, and conceptual artist often depicts human vulnerability. Through her works she examines identity, privacy, and intimacy through visual documentation and photographic techniques. 1 Calle favors producing artworks in open space, transferring them into photographs and graphic works. In one of her most famous pieces, she photographs an anonymous subject in open space. In Suite Vientiane (1979), Calle photographs an anonymous subject in open space. The discreetly snapped photograph of the subject is meticulously documented in a surveillance log. 1 Sean O’Hagan, “Strangers, Secrets and Desire: The Surreal World of Sophie Calle,” The Guardian (Guardian News and Media, March 4, 2017) Figure 1. Take Care of Yourself (2007) by Sophie Calle 7 Like a private investigator recording the words and deeds of individuals Calle encounters throughout her day, she jots down her perceptions and imaginings of the individual to make sense of them. Her photographs and words serve as an “impartial” textual and graphical record of the presence of “subjects,” building a person with no center but only appearance. Calle’s Suite Vientiane (1979) pursues a random man she names “Henri B.” As a result, the photographs she took along the way formed a collection of “pictorial” recordings in public space. Regarded as modern art, Calle’s works can be categorized as “surveillance art” in photography which Figure 2. Suite Vientiane (1979) by Sophie Calle 8 emphasizes the importance of current artists’ original solutions and simple objectives above completed pieces. Calle’s photos inspire me for their use of repetition to present a chosen subject. One of the unique phenomena of using a series to present a body of work is that space is presented immediately. That is, the viewer can connect more deeply with the subject as they take precedence within the images. Here the author’s intentions and ideas can be conveyed more readily as the space depicted leaves a faint impression rather than a deliberate contextualization of the environment shown. This neat, undecorated, and formal arrangement is precisely what I employ throughout my project, specifically to heighten viewer’s experience of sequencing view. A visual artist who uses color and text to present space and express allegory is Francesco Correggi, an Italian who is a member of the Poesia Visiva movement in contemporary Italian painting 2 . He mainly uses mixed color and text to compose visual poetry. When I first saw his painting series, I was fascinated by his manipulation of color and space. In his works, he uses various colors to interlock with each other and blend to present a whole filled with brush strokes. Then he adds a word or phrase to enrich its content into a philosophical poem. His works are primarily a mix of text, landscape, color, image, figure, and space to form a complete visual feast. In every piece, the structure, color, and spatial relationships are merged into a defined 2 I Am Alone.” I Am Alone | Painting | Sotheby's. Accessed September 27, 2021. 9 space, while the words he chooses to reflect our humanity make a solid and tender work. In I Am Alone, Like Clouds & Other, Correggi uses white, blue, yellow, and a little bit of pink melt and intertwined together to perform the colors of the sky and the earth. It creates a spatial relationship between those color forms. "The sky is 'opening up' to the earth," says the art critic, Giovanni Iovane. I can't tell where the line between the sky and the earth is in this work, but I think it is the artist's purpose to create this atmosphere and let the viewers figure out the relationship, especially with its title “Like Clouds & Other.” There is enough room left for imagination and interpretation by the audience. And with "I'M ALONE" in all capital letters on top of the painting, the work becomes more philosophical and metaphorical with the artist’s message. Looking at my own work, I am inspired by how Calle and Correggi exploit space in philosophical thinking that makes their work go beyond traditional art. During my documentation of the journey in open space, I found one vital difference between the city Figure 3. I AM ALONE, Like Clouds & Other, by Francesco Correggi, exhibited in 2020 10 landscape and nature landscape: color. The city is filled with concrete buildings, the sky and sunsets are almost the same each day. However, in open space, I found that there were so many colors that we can't see when we are trapped in buildings, not only did the sky have different blues, pinks, purples, and yellows but also the plains and the earth had various greys and greens. As a result, I used color and text to form a spacial relationship between the realistic landscapes and my vision of colors. The development of this process can be seen in my early sketches. Figure 4. Color? Or Space? in work progress (2020 by Yiran Tian 11 Where am I in open space? Sophie Calle uses black and white, or a sepia tone in most of her photography to capture and documents the exposure of a series of movements. I find it successfully maintains the realness of the pictures and incorporates the artist’s innocence, romance and sincerity when producing them. In Color?Or Space?, I prefer to be an observer and a recorder because different from inner space and imaginary space, physical space is actually tangible and visible to people. In my photographs, I use composition and structure (cropping) to render the actual scenery such that it is of a specific time and space. During my creative process, I raise questions and think about how to deliver outcomes in a way that coexists with the overall pandemic situation and reflects my personal story at the same time. My role as a designer in this project lies in its structural thinking of using visual language to maintain the realness of the photographs and tell my personal story metaphorically at the same time. The purpose of this project lies in recording this period of history from a personal perspective. I choose to make a booklet as an extensive form of art and documentation to compare and contrast how open space appeal to me during this journey. 12 Design response: Finding my place in open space The idea of entering into a broader space as nature and recording it based on my impressions is the intention of my work Color? Or Space? (2020) which is bound as a booklet. At the end of the series of photographs and manipulated imagery lies a textual explanation of the work explaining how it came about. This particular selection of landscape photographs was taken on trip through New Mexico, Arizona, and Texas. Additionally, I included archived photographs from a previous series of landscape photos. This series of landscapes was included since it shared thematic elements of space. For the images in Color? Or Space?, I start the process by using Adobe Photoshop to remove topographical subjects such as mountains, trees, and bodies of water within the frame. Instead of including these elements within the landscapes I focus on the color palettes of the chosen spaces. The reasoning for this is that my journey the most significant insights and impressions that I experienced were the vividness of the natural colors across the open landscapes of the Southwest, which are all but devoid in urban settings. As a result, color is the only element which I preserve in these photographs, this alludes to space rather than contextualizes it, not unlike Calle’s work which seeks to capture the essence of the subject. By blending the color smoothly, a unique color gradient is created for each image which extends and intertwines space to become borderless, forming gradients which once again hint at the subject of space rather than define it. Although the mountains and rivers I encountered are massive, and the plains just as vast, in my eyes, the color became the focal point during this journey in the exploration of open space. After editing the photographs, I found commonality between them to examine the visual dialogue between the pieces. This resulted in the booklet for Color? Or Space? in which on one 13 of the pages shows the original photograph with specific indications of time and location information, while the other side had the corresponding color palette of that space as a color field. In a way, this allows viewers not only to draw comparisons and connections between the images, but also demystifies the excesses of information contained within the original photographs; the gradient palettes subsequently become the driver of how space is conveyed and perceived. I structure the booklet by taking the audiences to view a journey descriptively that I have experienced. Also, I design the booklet in square format to center the subjects and make both sides equal weight so that the audiences have a clearer comparison. The color gradients I present in Color? Or Space? hint towards the confinement of urban environments compared to the vast expanses of nature. In order to expand my project to represent the lifestyle changes that have occurred during the coronavirus pandemic, I began taking more photos, and experimenting with mirrors. I became engrossed by the way the mirrors expanded space, albeit an illusion. I became engrossed by the way which they expanded space, albeit an illusion. While experiencing the lockdowns at home and looking out into the world through windows, it occurred to me that space was physically restricted. Not only due to the imposition of the health measures but that our perception of space is often framed. Space as such, was restricted, and the colors of my surroundings were limited which drove me to explore methods to express in such confinement. Each time I looked at myself in the mirror, I was imagining myself as a color palette, and remembering the open space. Mirror becomes my 14 designated filter and reflection to express contained space in my booklet that allow people ultimately to visually compare them with my chosen large spaces. 15 16 17 Figure 9-12. <Color? Or Space?> (2020) by Yiran Tian 18 Chapter 2: Inner Space <Quarantin-a> Inner space under COVID-19 research According to D'Alessandro, Daniela, Marco Gola, and Capolongo Stefano from Acta Bio Medica, living space is among the things that have been significantly affected as they have changed, taking a completely new track. COVID-19 has changed the way people carry out their work and study, their communications, and, most importantly, how they live their day-to-day lives. 3 Due to the implementation of lockdown help in the spread of COVID-19, D'Alessandro, Daniela, Gola, and Stefano note that many provisions are now needed to enhance their sustainability in carrying out one s activities from home, for instance, there is a necessity in ascertaining use of the suitable materials to control the ground's albedo. Quarantine is necessary because, with the current state, the amount of time to stay indoors is a lot since the government is trying to reduce the crowds in the outside area. With this, the adaptability of the internet has been adopted to fit in the situation and current environment. D'Alessandro, Daniela, Gola, and Stefano illustrate this with platforms like teleworking and e-learning which now define living spaces as almost everything is done remotely — working from home is now made more manageable, especially with the teleworking platform. Also, education through e-learning has helped students to complete schoolwork instead of waiting for the end of the pandemic. Institutions emulated this platform that facilitates efficient e-learning 4 . I have experienced this firsthand as I went back to China in June 2020 and took classes through Zoom and online meetings for a whole year. The COVID-19 has put us in this situation that now everything can be done online which is quite 3 D'Alessandro, Daniela, Marco Gola, and Capolongo Stefano. 2020. "COVID-19 and living space challenges. Well-being and public health recommendations for a healthy, safe, and sustainable housing." Acta Bio Medica 61. 4 Mofijur, M., Rizwanul I.M. Fattah, and T.M.I. Mahlia. 2020. "Impact of COVID-19 on the social, economic, environmental and energy domains: Lessons learnt from a global pandemic." PMC Free article. 19 different from the pre-COVID-19 times, thus has changed our living habits and work and study spaces. Students, too, are facing a mind space change that is a result of COVID-19. This virus had a significant effect on people’s mental health and how they conduct themselves. As the highly contagious disease is rampant and dreadful, the anxiety itself is drawing the mind from its original place where the students are in the expertise of the course, especially their academics. According to the analysis conducted, most students have been somewhat affected by the change of delivery of their studies, rendering them into stress or even depression in different levels 5 . Given the prevailing circumstances, this is because of the anxiety, pressure on the technology to carry out the online classes, and even thoughts on future employment. According to the research, with the high number of cases in the U.S and their continued increase, especially the mortality rate is worrying, and this alone can trigger the mind-space due to fear and worry. Compared with the world before COVID-19, it is, therefore, too much to take and decide for the students’ future, thus influencing change in the mind space of students who can only pursue their schoolwork at home nowadays. As an international student, I have been significantly affected and felt unsure of my future because of the insecurity brought by online meetings and classes. The unpredictability of the pandemic also has caused visa problems and issues with my ability to stay in the United States to complete my schoolwork. The feelings of uncertainty and fear would often appear during the night when I was lying on the bed, especially during my quarantine days when my living space was more restricted. 5 Browning, MHEM, Lincoln R. Larson, Iryna. Sharaievska, Alessandro. Rigolon, Olivia McAnirlin, and Lauren et al. Mullenbach. 2021. "Psychological impacts from COVID-19 among university students: Risks factors across seven states in the United States." PLoS ONE. 20 What is inner(psychological) space? When the pandemic was severe, people's living space became smaller and smaller. In such situation, a shift in physical space can change one's inner psychological space. For example, when I was living in Los Angeles in June 2020, my life was limited to an 800 square feet apartment. The sudden change in lifestyle and living space led to more time at home to dwell and think and spend time by myself. The reduced social activities and solitude did not bring me any creative inspiration at that moment. When I was confined to a physical space, my mind began to limit itself slowly, and I became more confused and uncertain. When the time came for me to depart back to China, China's policy at the time was that I had to be in personal quarantine in a hotel room for fourteen days before I could return home for further observation. After learning this news, I thought of it as an opportunity to push my limits and to feel what solitude and confinement in a smaller space bring to my mind. As a result, I created visual diary and use digital painting in this project to further document and create. It focuses on the quarantine experience and how my emotions and feelings change during that time and in that space. 21 Artists and inner space research Whenever I seek inspiration to produce works of art in confined situations, I am immediately reminded of Frida Kahlo whose life was irreparably changed after a bus accident in her youth which left her to endure a lifetime of pain and a reality of altered space. Born in 1907, Kahlo, as an artist remained relatively unknown until the late 1970s until forty years after her death when her work was rediscovered by art historians from the facsimile of her artistic diary. As one of her most renowned works the journal consisted of scrambling of lines, shapes and texts that presented her state of mind as she created her journal while bedridden from her accident. Despite living in an even more confined space, Kahlo freely expresses herself in her journal entries and drawings. That said, I find that textual and illustrative expression are the most effective and straightforward ways to create visual representations about ephemeral thoughts and emotions which are shapeless and colorless in my mind. Figure 13. Frida Kahlo’s diary (published in 1995) 22 Sophie Calle similarly utilizes visual journaling in her practice, her approach to journalism expands perceptions of space unlike Kahlo’s which largely remains insular. Initially, I came across Calle’s work Take Care of Yourself (2007) as I mentioned in chapter one. Standing before a wall, Calle projects a separation letter from her ex onto herself. Calle’s half-open eyes appear weary only to be reflected by the drably colored gown she wears. The work is linked to the artist’s most intimate emotional memories through the presentation of her personal effects, impressing the psychological significance of this work. Her innovative manner of capturing permission and sublimating her pain through artistic expression left a great impression on me. To complete this work, Calle asked 107 women, with varying professions and skills, to respond to the letter, commencing with its closing sentence “take care of yourself.” Calle then used the gathered interactive media responses which included everything from a clairvoyant’s insight to passages from a children’s fairytale as the basis for her installation. 6 The reactions to the letter included comprehensive evaluations of the memo that picked apart every last term, part-of-speech, and possible meaning. One of the most striking of which was by a woman named Brenda who submitted a triptych featuring parrot reading what seems to be a miniature letter, and a short film of the same bird repeating that haunting last line “take care 6 Ceci Moss, “Take Care of Yourself (2007) – Sophie Calle,” Rhizome, July 2, 2009, https://rhizome.org/editorial/2009/jul/02/take-care-of-yourself-2007-sophie-calle/. 23 of yourself,” reiterating viewers’ sentiments to comprehend such distancing words in the context which they were written. 7 This methodology of translation, reinterpretation and journaling gives the viewer guidance and a glimpse of the creative process, as well as all its contents. This particular inclusion in Take Care of Yourself, emphasizes space in a wholly different manner by expanding it through dialogue, both literally and visually. What is more, “this ongoing oscillation between self-withdrawal and self-exposure is of course intimately bound up with a series of essential questions about photographs” 8 and their ability to convey space differently by including one incredibly crucial variable perception. 7 Sophie Calle, “Take Care of Yourself. Parrot, Brenda,” Perrotin, 2021, https://www.perrotin.com/artists/Sophie_Calle/1/take-care-of-yourself-parrot-brenda/13084. 8 Johnnie Gratton, “Review of Sophie Calle’s True Stories: More of the Same?” Paragraph 26, no. 3 (2003): 112. http://www.jstor.org/stable/43263874. Figure 14. Sophie Call, Take Care of Yourself (2007) 24 In Calle’s L’Hôtel, Chambre 47 (The Hotel, Room 47) (1981), she documents her role as a temporary chambermaid at a hotel in Venice for a period of three weeks. While working at the hotel, she took photos of her findings in room 47 and in turn, responds to her guest’s space by examining their belongings, photographing the objects and writing about her findings. On Monday, February 16, 1981, I was hired as a temporary chambermaid for three weeks in a Venetian hotel. I was assigned twelve bedrooms on the fourth floor. In the course of my cleaning duties, I examined the personal belongings of the hotel guests and observed through details lives which remained unknown to me. On Friday, March 6, the job came to an end. (Quoted in Calle, pp.140-1) What can be gathered from Calle’s entries is that she enters this space which precariously lies between private and shared realms. This interjection into the temporary abode of her hotel guest is interesting in that it defies commonly held social conventions regarding consent. Within the context of hotels, this convention is ultimately upended. Nevertheless, Calle’s active snooping and surveillance of her subject’s private quarters still push the boundaries of what is and what is not acceptable in this space. Additionally, what makes this particular work of surveillance art conveys to viewers is that the reality of space—or any space for that matter—is dependent on the lived experience within it. This is not to say that different people cannot share similar experiences and/or derive a general reaction to a space but that spaces are in the eye of the beholder. Calle’s self-inclusion in her works as a part of performance, complicates the idea of space which is twofold. First, perception which is dependent on individual experiences, confounds space. That is, the truths which are derived from these individual experiences change the very nature of that space. That said, spaces still can evoke similar thoughts, ideas, and emotions about 25 them across individuals. Second, Calle’s approach which often includes surveillance challenges idea of privacy. This is apparent in both Take Care of Yourself & L ’H ôt e l , Chambre 47. In the former, Calle exposes what is a rather intimate moment of hurt and from that creates a space in which others can participate. The latter, however, treads a fine line between what is acceptable and what can only be described as an invasion of private space. By displaying these contents publicly her emotions and perspectives go on display for all resulting in an expansion of how space can be viewed. Take Care of Yourself particularly is an essential reference for my own creative response by designing a visual journal. Figure 14. L ’H ôt e l , Chambre 47 (The Hotel, Room 47) (1981) by Sophie Calle 26 Where am I in inner space? On June 9th, I stepped on the flight with protective measures flying from Los Angeles, the U.S, to Xiamen, China. What I was aware of and prepared for was not only a fourteen-day- quarantine, but also taking this experience as an inspiration and a rare opportunity for self- thinking, meditation, and possible enjoyment or suffering through isolation. The feelings of excitement and anxiety for enduring this special circumstance were mixed following me on the plane back home. The result was that the hotel rooms are very shabby and outdated, so there was stronger contrast with my previous living environment. And the rules were strict; we were not allowed to step a foot out of our designated hotel room. My room was 608. When people go to a new environment, the psychological and physical flux will have different reactions to the changes. But such changes may be difficult to perceive and visualize because no one records and compares them. I raise questions such as: How do we record and compare such abstract things as the human psyche? How do we visualize them? In such special and unprecedented situation of fourteen days in one room, I was curious about how my mind and body would change during these fourteen days. It would a big shame if I let the time pass without recording it. In this study of the change of my inner space in a confined environment influenced by COVID-19, I am a documenter and visual designer to monitor myself in the fourteen days in a room and use visual journaling as my method to preserve the authenticity and creativity of this project. 27 Figure 15. Quarantin-a Diary (2020) by Yiran Tian 28 Design response: Finding my place in inner space When I was on the plane, I started a journal to record my thoughts and feelings. Starting on June 9, the first day of my two-week-quarantine, I wrote thoughts of each day before going to bed and made drawings to document what was on my mind. Based on these diaries, it was clear that my mood changed dramatically after the first week. In addition, my habits instead of that room changed over time as I became used to the physical space. A continuous action devoted to this project was to photograph my beddings after getting up every day. Each day, the look and Figure 16-18. Quarantin-a (2020) by Yiran Tian 29 shape of my bedding varied. In that small room, nothing else changed every day because of the 30 limited activities I could have, except for my bed. I spent time primarily in bed, and I believe that what was on my mind would be reflected by the position of my body when I was sleeping and dreaming. I regard my bed as the canvas and my body as the pen. In this way, I was painting different shapes and images with my body (pen) on the bed (canvas) this then made reflections on my mind. I turned those photographs into black-and-white because I wanted to reduce the noise from the colors of other un-related objects in the photos. With the contrast between black and white, the bedding shapes become more evident and distinctive. I then cropped all the photographs into squares to match the bed’s size and to look more unified. Furthermore, I use digital tools to trace the shapes of my beddings out of those photographs. In this way, I transfer the physical objects into abstract shapes, which allows me to show my inner space within this fourteen-day-quarantine visually. So, my journal is called Quarantin-a, after my name: Tina. Thus, I become one with the quarantine experience. In a space that remains the same for fourteen days, I choose to filter out the unimportant information and keep only the most essential thing in that time and space, which is my bed. The bed is the only object that I physically and mentally interact with daily, so I choose to record it coherently, transforming it from a 3D space to a 2D platform. Implementing this project was heavily influenced by my research into artists: Kahlo and Calle, because I appreciate Calle's repetitive and consistent recording method, which preserves the authenticity and comprehensiveness of the event, and I also love how Kahlo expresses herself through her paintings. I develop this project to visually document and transform how my inner space and physical body changes according to the environment so that my presence and the room become a whole. Also, I keep my minimalist style in creating shapes and colors to reduce the noise and preserve the simplicity of my experience. 31 Chapter 3: Imaginary space <Space in Me> Imaginary space under COVID-19 research According to the Dezeen magazine, during the lockdowns when people were still confined within their houses, an imaginary space could offer some escape time from the usual boredom and provide enjoyment. 9 Also, this situation evokes memories and thoughts of a nice view that helps people forget boredom since it provides distraction. Thus, the lockdown has contributed significantly to this mental state since lockdown provisions lead to feelings like loneliness that may lead to boredom. It may also cause bored individuals to opt to create imaginary spaces to entertain and explore new ways of enjoyment. According to authors Quinones and Adams, even children have been involved in this where they established multiple social instances by trying to bring together sophisticated imaginary, actual situations, and virtual worlds to create something in imaginary space 10 . According to my parents, my sister's screen time on electronics during lockdowns was extremely high because her math, English, and drawing classes all went online. Electronics provide space for people to learn things in a virtual world. With this, people, especially kids are now comfortable with lockdown situations as this provides a platform for them to create and imagine new things that facilitate their enjoyment at that moment. Therefore, with this set of escape from the constraint that comes with lockdown, imaginary space has played a significant role in bringing back sanity amongst people tied down to leading sad, boring, and long days during COVID-19 lockdowns. 9 Levy, Natasha. 2020. "Casa plenaire is an imaginary holiday home for lockdown escapism." dezeen. 10 Quinones, G., and M.. Adams. 1-18. "Children's virtual worlds and friendships during the Covid-19 pandemic visual technologies as a panacea for social isolation ." Video Journal of Education and Pedagogy; 5(1) 2021. 32 What is imaginary space? From the summer of 2020 until the summer of 2021, I lived at home with my family in China while attending virtual classes in the evenings. Although this experience is the most dramatic occurrence withing my personal life as an adult I decided to make the most of it. With ample time, I took it upon myself to accompany and help educate my 7-year-old sister. Meanwhile, I was still focusing on pursuing my master's degree at USC. This mingling and conflict of lifestyles and purposes gave rise to the basis of my thesis and motivation to create artefacts to explicitly define my independence, document my mental space, and transmit my perceptions. Looking at the world around me, I could not help but feel so small and insignificant in this massive world. Surely, there must have been some space where I did not feel as such. Trying to make decisions for my own life and adapting to the unexpected and inescapable proved to be quite the challenge. However, even the smallest occurrences have a tremendous impact on the universe and create a chain of events which can alter its course immeasurably. As I had more time to think to myself about more profound life matters, I honed my worldview and ideologies as well as ability to communicate them effectively. What I had discovered was that my perceptions differed significantly from when my parents had educated me just as my sister was educated by them today. In the process of re-examining my personal identity which was influenced by the constantly changing nature of the environment around me, I created an imaginary space for myself to think through my own stories and experiences; dig into my personality and construct an entirely new and different self-image. Inspired by Frida Kahlo s method of drawing self- portraits in struggling and challenging moments in life, I decide to use self-portraiture to reflect on my own identity. 33 Artists and imaginary space research Out of the 143 pieces that Frida Kahlo created in her entire lifetime, 55 of them are self- portraits. The strong personal statement and harrowing life experience makes it difficult for people to not be drawn by her creative stories and interested in her journey of becoming one of the greatest female artists in Mexican history. Her posthumously published diary The Diary of Frida Kahlo: An Intimate Self-Portrait, published in 2005, provides a close view of her thoughts and processes of her paintings and portraits. Symbols and colors are boldly used, and the impact is powerful. The name "an intimate self-portrait" is not only an accurate description of her diary but also possibly of all art journaling in general, which documents one's life and thoughts freely, spontaneously, and visually. Her portraits straightforwardly convey the suffering of Frida's body and mind built on her tragic childhood and physical trauma that she had experienced; the theme of the work never shies away from "life" and "death." Her journal was mixed with texts and images in colors and was where she confided her deepest emotions, experiences, and feelings 11 . Her paintings oscillate between realism and surrealism. Some people say that Frida Kahlo's works are surreal, but she, herself once said, "I never paint dreams or nightmares. I paint my own reality.” 12 She uses graphical space by drawing pictures diminishing towards the background, insinuating her critical health condition. Kahlo expresses a lot about her imaginary space when she reveals her experiences and emotions so truly and openly in her works. One of the most iconic self-portraits Kahlo creates is The Two Fridas. It was created in 1939. The painting is now 11 “A Peek at Frida Kahlo's Diary - Museo Dolores Olmedo - Google Arts & Culture.” Google. Google. Accessed September 27, 2021. 12 Kahlo, Frida. “A Quote by Frida Kahlo.” Goodreads. Goodreads. Accessed January 18, 2022. https://www.goodreads.com/quotes/419211-i-don-t-paint-dreams-or-nightmares-i-paint-my-own. 34 in the Mexican Museum of Modern Art. 13 In this painting, Kahlo paints two of her looking the same in different outfits, holding hands together. But their hearts are outside of their bodies, covered in blood while still connecting with one another through vessels. The perpetual painting of herself with a vague beard and thick, lined eyebrows is one of Frida Kahlo's distinctive styles. This was a deliberate artistic endeavor; Kahlo simply intensified her own facial features throughout her life in self-portraits. Then her fervor for self-portraits goes beyond the obvious features to some details of the heart. If we look closely, we will find two easily overlooked details hidden in the picture: on the left side of the picture, Frida has cut the blood vessel connecting to her heart with a pair of scissors by hand. On the right, Frida's hand is clutching a portrait of her husband Diego Rivera, who is also connected by a blood vessel. Figure 19. The Two Fridas(1939) by Frida Kahlo 35 It is very thought-provoking and mind-blowing to see how Kahlo paints in details to visualize and enrich her imaginary self. The juxtaposition of self-portraiture and anatomy provides strong sensibility through her communication about her personal experience. Out of more than 200 self-portraits Frida produces, she also draws herself in all kinds of forms such as in different hairstyles, in different apparel, in different genders, and in different spaces. I admire Frida. As a female artist, she knows how to express herself most fully and freely. She uses colors boldly and she never only aims for the pretty looks in her artworks because she seeks for the true self with infinite possibilities 14 . 14 Work Campbell, Craig, and Dorothy Kass. 2018. "Powerful Narratives and Compelling Explanations: Educational Historians and Museums at Work." History of Education Review 47 (2): 114-118. doi: 10.1108/her-10-2018-065. 36 Where am I in imaginary space? “For the artist, self-portraiture(self-portrait) can be a powerful act of self- reflection 15 .” In becoming to the focus of my project, I reveal and express elements of my own identity in a personal way. I have total ownership of gesture, form, light, color, or which body parts to include or exclude. What the viewer sees is what I, as the designer, sees within myself, a statement of my own identity and visibility. Artist Alannah Farrell says of this, "It is a shift in power from being defined to defining oneself, and a reclaiming of identity 16 .” Continuing the idea of visual journaling, I think looking at a self-portrait is like reading a diary. It has its own unique conception of how to dissect oneself and how to record the artist’s current state. Do I want to depict myself beautifully, or do I want to be completely honest? Do I want to be as realistic as possible, or do I want abstraction and imagination? These are the questions I ask to myself during the process of designing and creating my self-portraits. As a result, the answers are abstract expression, realism, and alter ego. 15 Editorial, Alannah Farrell. (2021, June 8). 8 LGBTQIA+ artists on self-portraiture and expressions of pride. Artsy. Retrieved September 28, 2021 16 Editorial, Alannah Farrell. (2021, June 8). 8 LGBTQIA+ artists on self-portraiture and expressions of pride. Artsy. Retrieved September 28, 2021 37 Design response: Finding my place in imaginary space The re-examination of self-identity started from the unexpected time spent with my family members. At the age of 25, I realize that I had not lived with my family for seven years. Living together under the same rooftop again requires us to get to know each other better in a comparably more intense and intimate way. I have always been very close to my family; however, I realize the years of seeking education and the time I spent in foreign countries has made them unfamiliar with how I have changed. Regarding to questions about education, gender/sexuality, work, society and identity, my parents and I had varying degrees of disagreements. During this process, my flaws were undoubtedly exposed in front of the people closest to me. From there, I began to look at my experiences over the past few years and examine how I had come all the way to become who I am today. Six months before I returned to the U.S., I turned to let go of many of my doubts and try to understand and tolerate some of my parents’ thoughts from the bottom of my heart. And this transformation from inside is something I didn’t foresee. At this moment, I feel like re-defining and expressing myself is a genuine move to summarize and examine myself in a year from 2020 to 2021. Creating self-portraits feels like a release of the parts of my imperfections: rebellious, selfish, self-deprecating, and upfront with uncomfortable truths. I must admit that I am flawed in many ways. It is the most common thing to see an artist creates his/her self-portrait since they often use art as the most effective method to show themselves. I am coming to believe that everyone should create a self-portrait. It's a shift in power from being defined to defining myself and a reinterpretation of identity 17 . It shouldn't be the society or anybody else that define us. We, as individuals, should depict and define ourselves. 17 Editorial, A. (2021, June 8). 8 LGBTQIA+ artists on self-portraiture and expressions of pride. Artsy. Retrieved September 28, 2021 38 During my working process, I found a visual artist named Silviya Georgieva -Sellvida, who produced a collage art A Quiet Place during COVID-19 lockdown in London. Her inspiration comes out of the surrounding around her at that time and she sees this work as a reflection 18 . Because it was impossible for people to go out during lockdowns, Silviya’s child took a photo while she was standing by the window, looking outside. She was inspired to draw from that photo as a visual artist and a mom. She uses paper to cut out the shapes of herself and the interior of the room such as plant and window, then collages them together. The space of her room is successfully constructed with the imperfect edges. And the color palettes are interesting because she mostly uses muted colors like beige, grey, dark brown and black. It represents her state of mind and emotions during that time distinctively, even though there were no facial expressions shown in this artwork. I am inspired by how just rough shapes with colors, used Figure 20. A Quiet Place (2020) by Silviya Georgieva -Sellvida 39 properly and thoughtfully, can construct a space that communicates the creator’s mind space showing her imagination. When I was looking for materials to start with, I thought of the graphics I created in Quarantin-a because they are representative of myself already. So, I used them as a starting point and then extend them to my imaginary self-portraits. Instead of drawing details about my face such as nose, eyes, and mouth. In the first step, I use one abstract figure from my bed shapes as one piece of my self-portrait depending on what I think the figure looks like on a face when I see it. For example, when I see a shape with a lot of angles, it makes me think it looks like my mouth, which is always talking, so I put it on where my mouth should be, and I start to stretch and draw other parts on my face to complete the subject. I use lines to represent my eyes, making them look listless and hapless because in many times, I feel I don’t really want to talk that much, but I must. And when I see another shape, I think it looks like a pair of sunglasses I dream of, so I use it as my sunglasses lens and start to build other facial structures. Whenever I create each self-portrait, I create it to reflect on a different version of myself depending on how the shape makes me feel. The abstractions representing myself become pieces in “me (self-portraits)” that construct a series of self-explanatory self-portraits, named Space in 40 Me. In addition, for the color palettes, I desire more vivid and contrasting color combinations to express some of the conflicts, passion, and openness to myself and form the aesthetics for my work. 41 42 43 Figure 21-29. Space in Me (2021) by Yiran Tian 44 Conclusion I believe the year from 2020 to 2021 has had a huge impact and change not only for myself but for the whole world, and as I realized that such a change was happening, I wanted to document and preserve it in my visual language. At the age of 25, being in a foreign country and feeling the impact of all aspects of life, society, family, and study on my body and mind is invaluable, and I don't think I will have such time and opportunity to create for my personal story in the future of my life. Experiencing the COVID-19 pandemic is not a pleasant experience, and there can be countless ways to record and remember this time and space. In my understanding, the responsibility of a designer is to take what is not tangible and express it in a visual way so that people can see and understand it. During this year-long creation process, I read through the materials to see how past artists expressed themselves and storytelling visually, and I also doubted whether the viewers could read the intention from my designs. In the end, I decided to follow my heart to travel, to write, to draw and to express, which is the meaning of figuring out how and why one’s internal changes based on the external environment. This thesis addresses a specific question about how different physical spaces influenced by the world-changing pandemic bring shifts and changes to my inner psychological and imaginary mind space. Through extensive research and questioning I designed three artworks that reflect my experiences during COVID-19: <Color?Or Space?>, <Quarantin-a,> and <Space in Me>. In my projects, I focus on observing and recording what kind of sparks I will rub with different spaces. If I live each day without thinking and looking back, then I may never know who and how I used to be. When COVID happened, I felt that my life had to slow down because the world slowed down; I felt panic and confusion, which is also my original intention of writing this thesis. When our living environment changes dramatically, panic and 45 confusion also deserve to be recorded as a memoir and revelation of life, because we only live once. Till today, COVID-19 still exists in the world we live in. I am not sure what the world will be like in the future. But I believe new definitions and examinations are necessary for my future life and design career to pursue the answers to the questions I constantly raise in my life and present the answers as creative outcomes. 46 BIBLIOGRAPHY A quiet place collage. Saatchi Art. (n.d.). Retrieved September 27, 2021, from https://www.saatchiart.com/art/Collage-A-quiet-place/210569/7561221/view. A Peek at Frida Kahlo's Diary - Museo Dolores Olmedo - Google Arts & Cul t ur e .” Google. Google. Accessed September 27, 2021. https://artsandculture.google.com/exhibit/a-peek- at-frida-kahlo-s-diary-museo-dolores-olmedo/sAKymDksayhmJA?hl=en. Browning, MHEM, Lincoln R. Larson, Iryna. Sharaievska, Alessandro. Rigolon, Olivia McAnirlin, and Lauren et al. Mullenbach. 2021. "Psychological impacts from COVID-19 among university students: Risks factors across seven states in the United States." PLoS ONE. https://journals.plos.org/plosone/article?id=10.1371/journal.pone.0245327 Calle, Sophie. 1981. The Hotel, Room 47. Accessed September 16, 2021. https://www.tate.org.uk/art/artworks/calle-the-hotel-room-47-p78300. D'Alessandro, Daniela, Marco Gola, and Capolongo Stefano. 2020. "COVID-19 and living space challenges. Well-being and public health recommendations for a healthy, safe, and sustainable housing." Acta Bio Medica 61. https://www.ncbi.nlm.nih.gov/pmc/articles/PMC8023091/ Kahlo, Frida. “A Quote by Frida Kahlo.” Goodreads. Goodreads. Accessed January 18, 2022. https://www.goodreads.com/quotes/419211-i-don-t-paint-dreams-or-nightmares-i-paint- my-own. I Am Alone.” I Am Alone | Painting | Sotheby's. Accessed September 27, 2021. https://www.sothebys.com/en/buy/_i-am-alone- 1620?cmp=bynw_FIN_gg_sea_ord___en__com__pdp_gshop_shp___11770331714&gcl id=CjwKCAjw7rWKBhAtEiwAJ3CWLOHcKSI3LQOEk0F3bt7YGRyixFuqL4udKPox qqUW9_mrPBHcVd4rDhoCC2wQAvD_BwE. Jiménez, Dr. Maya. Frida Kahlo, Introduction (Article).” Khan Academy. Khan Academy. Accessed September 27, 2021. https://www.khanacademy.org/humanities/art-1010/latin- america-modernism/surrealism-latin-america/a/frida-kahlo-introduction. Levy, Natasha. 2020. "Casa plenaire is an imaginary holiday home for lockdown escapism." dezeen. Mofijur, M., Rizwanul I.M. Fattah, and T.M.I. Mahlia. 2020. "Impact of COVID-19 on the social, economic, environmental and energy domains: Lessons learnt from a global pandemic." PMC Free article. https://www.sciencedirect.com/science/article/abs/pii/S2352550920313567 O'Hagan, Sean. Strangers, Secrets and Desire: The Surreal World of Sophie Calle.” The Guardian. Guardian News and Media, March 4, 2017. 47 https://www.theguardian.com/artanddesign/2017/mar/04/strangers-secrets-and-desire- the-surreal-world-of-sophie-calle. Work Campbell, Craig, and Dorothy Kass. 2018. "Powerful Narratives and Compelling Explanations: Educational Historians and Museums at Work." History of Education Review 47 (2): 114-118. doi: 10.1108/her-10-2018-065.

Abstract (if available)

Abstract The spaces I have lived in over the last few years have impacted my perceptions about the future, my life, and time. I document and examine the different spaces in which I have lived and re-examine and re-define them through my artistic perspective. I push myself to explore the boundaries between these spaces and transform them into visual outcomes. This examination of my design process and how it has been affected by spaces (personal, environmental, and imaginary) is the basis of my thesis. ❧ Space is often thought to be a continuous area or expanse that is unrestricted, available, or unoccupied. Living space is an adequate amount of space within a property for a person or people to reside within. When COVID-19 spurred a worldwide pandemic in 2020, how people reside within a living space changed immensely for many people. For me, this change started with a trip to Texas away from the city and its crowds, and it continued with social isolation in my apartment in Los Angeles. Later as I flew back and forth between Los Angeles and China, I was quarantined further in a small hotel space for fourteen days each time upon my arrival. After staying with my family for a year, I returned to the United States. ❧ This thesis addresses a question about how living space influenced by the COVID-19 pandemic change my physical, psychological, and imaginary space. Through extensive research and questioning, I designed three artworks that reflect my experiences from 2020 to 2021: <Color? Or Space?>, <Quarantin-a,> and <Space in Me>.

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Asset Metadata

Creator Tian, Yiran (author)

Core Title My spaces (2020-2021)

School Roski School of Art and Design

Degree Master of Fine Arts

Degree Program Design

Degree Conferral Date 2022-05

Publication Date 02/28/2022

Defense Date 02/28/2022

Publisher University of Southern California (original), University of Southern California. Libraries (digital)

Tag COVID-19,OAI-PMH Harvest,personal story,space,visual diary

Format application/pdf (imt)

Language English

Contributor Electronically uploaded by the author (provenance)

Advisor Wojciak, Ewa (committee chair), Greiman, April (committee member), O'Connell, Brian (committee member)

Creator Email tinattyr@gmail.com,yirantia@usc.edu

Permanent Link (DOI) https://doi.org/10.25549/usctheses-oUC110765130

Unique identifier UC110765130

Legacy Identifier etd-TianYiran-10406

Document Type Thesis

Format application/pdf (imt)

Rights Tian, Yiran

Type texts

Source 20220301-usctheses-batch-914 (batch), University of Southern California (contributing entity), University of Southern California Dissertations and Theses (collection)

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Repository Name University of Southern California Digital Library

Repository Location USC Digital Library, University of Southern California, University Park Campus MC 2810, 3434 South Grand Avenue, 2nd Floor, Los Angeles, California 90089-2810, USA

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