http://www.wwjlim.com Wayne Lim Sun, 25 Mar 2012 08:40:52 +0000 http://www.wwjlim.com en http://wwjlim.com/The-Theoretical-Study-On-Photography http://wwjlim.com/following/wwjlim.com/The-Theoretical-Study-On-Photography Sun, 25 Mar 2012 08:40:52 +0000 Wayne Lim 1475307 This essay is written purely based on my personal feelings about photography as a contemporary practice and its common misconception and issues that deals with photography in the current contemporary art world. Every ‘new lead’ will be discussed as a topic in relations to what I have previously felt. Which will also act as a personal development diary, where I could see where I stand from day-to-day situations to problems that trigger me to think about photography and art. Intellectual & Art Criticism In this section, I want to discuss particularly about philosophical questioning in an artist’s work, also the connection between conceptual relevance and decision making in the process of art-making. These 3 factors shows the association between visual art, writing, and thoughts, whether an art piece is genuine or depends on how much theoretical studies have be done to ‘back up’ a sculpture, or an abstract mix media drawing. Art and writing have to coexist, neither will work fully as art if one component does not exist. * Nov 20, 2010 The ‘Is’ and ‘About’ Photography When one uses the ‘is’ word, you are attempting to define photography, which means one have to be sure to define, but in the today’s art world, no one can properly define, therefore I think the word ‘is’ is no longer relevant in my work. Whereas, the ‘about’ suggests, it gives you an idea, it does not conclude to give you an answer because you may not be right at all, on the other hand it gives you room for further understanding, it offers knowledge on a different level, it allows exploration and freedom of expression all together. * June 2010 Almost Not Photography As my study furthers on, it drifts increasingly away from its actual meaning of being photographic images, it becomes highly impossible for me to create any form of images that will successfully consolidate my thoughts because I scrutinize too much, and how can a series of photograph tell what I want to say without being too abstract or complex. I guess the problem here is that, I do not just deal with images (or photography) anymore, it is not about a concept that will be visually translated into photographs. The idea of the work itself is about photography, so now how do I show ‘photography’ in form of photographs? Breaking photography up into pieces is not easy, learning about art is not easy, 2 years in an institution learning about what fine art, or art is, got to be kidding me, everyone left school without getting any answer that is remotely close, but all fucked over with questions about art, damn! We were supposed to learn and know what art is! But I guess not every artist is concern about this, otherwise there wouldn’t be much art being made. * May 2010 Kinds of Art In contemporary art, it is not important to have such labels on different artworks, but it is necessary for me to explain the ‘kinds of art,’ to provide better understand of how and why artists make splashes on their canvas and still manage to pull off high sales records. * April 2010 [Needs to be revised] Judging Photographs I was asked today on how one knows what is a good or a bad photograph. Again, there are three kinds of judging: the aesthetic, the idea and the technical. Aesthetics itself can be complicating, an artwork may look aesthetically appealing, but may not be of one’s liking, that is because this person is judging according to his or her taste or he or she can say, ‘This is a beautiful painting, but its not my style.’ We can only put this judgement to fairness if one is able to knowledgeably differentiate aesthetic and one’s taste. The conceptual idea of an artwork can only be seen as if it the idea is deep or shallow; the profoundness of the idea. Such intellectuality cannot be define totally, but could be address if you provide comparisons and view it in terms on an artist’s progression in cognitive thinking. * April 2010 The Romantics I had a conversation with my fellow studio mate about ‘Romanticism’ in contemporary art. During the conversation he mentioned about the paradoxical nature in human ways, in how people like relating and getting hung up on history, drawing issues at different ends and coming up with ‘perfect’ solutions of how the human race should be living now, and then again, there will also be problems being generated from these ‘perfect’ solution. Allow me to explain and conjoin the relevance of Romanticism, art and photography in the context of contemporary art. With a strong concentration of history and philosophy in this essay, it gives me a special pass to talk about art (on a common ground), in a way whereby there are many questionings involved, and hence the constant discovery of new contextualized abrasion of the past and the present, (again the paradox). I’ve come to a point whereby I’m unable to consistently talk about art and photography because the idea has become so abstract. * April 2010 Post-Painting Being a very taunting terminology itself, I feel a need to justify its name to not create too much of misunderstandings. The concept of photography itself is the rendering of imagination in tangible form. The photographer has to have this vision whereby imagination and visualization together with the visual arts elements like composition and lighting comes into play to enable the photographer to capture excellent images. Photography itself is almost like the resurrected form of painting in the sense that, painting used to be the commonly known medium where you’d expect someone to go forth to a painter and ask for your likeness to be painted and now it is a photographer’s job to capture wedding or family portraits, and if we’re talking ‘now,’ then anyone could be a photographer. The similarity I’m trying to state here is the ‘conventional existence’ of the two disciplines. * March 2010 On Jeff Walls However process-based the work might be, it all ends up a photograph, on a piece of light-sensitive paper, a 2-dimensional plane, (even a piece of paper is technically 3-dimensional). Cinematographer Jeff Walls often made use of actors, movie crew, digitalize postproduction in his works. They have been characterized as one-frame cinematic productions. Large amount of work force have been used, and then again, they only appear as large transparencies mounted on light boxes. I want to step out of the conventional ideas of 2-dimensional imaging (of course, there are many artists who are doing works related to this, but conventional, the mass idea of a photograph). Which come to make me look into the topic of ‘dimensions’. Which way and which method is the best way to portray ‘the real?’ There have been many debates about the truth of photography during the 1930s, and even till now, whether it is documentary photography (which is supposed to document truth), or fashion and advertising photography, but that isn’t my concern now. For a while, I thought I was moving away from photography. I wanted to feel forms, see shapes and tones. Something closer, more intrinsic, like sculpturing, which even more directly involves in shaping and forming your subject. A week or two after (more reading, and more looking), I realized that all I needed was just a whole new way of approaching photography presentation/re-representation. Like I said before on conventional way of presenting a photograph, in context of art photography. I no longer have to be restrained on what is going to be the subject in my photographs, because my subject is photography itself, at its very true sense. Just like how conceptual art is based on ideas rather than the object. * March 2010 Artist-Photographer OR Photographer-Artist: The ART Conceptual This chapter is very similar to how I attempt to define fine art photography in theory in some ways, but I am going to discuss them separately to show how different they are, as one you talk about the implicated idea and one about the operator and the aftermath. Art and its cognition value: if art lacks of intellectual knowledge how ‘art’ could it be then? Quoted from a lecturer, she said every artist is making conceptual art. I have already mentioned that art have to exist in both photography and art photography, so assuming all photographic work has its thick process, (thinking, making, etc) how do we know exactly if one is coming from a truer artistic approach, or even if so, how do we know if one is actually making art. I’m going to make a comparison of John Pfahl’s photograph and Jean Fan’s photograph. Here are some points that we should consider as viewers of the photograph: Both of them are photographers, (not in the context of art yet, since both of them used a camera as a tool). Both are arguably aesthetically pleasing photographs Both are photographs of landscapes John Pfhal’s work has conceptual idea and process as a theoretical support behind his photograph and therefore it automatically becomes a work of art because he only finally uses photograph as it was a suitable medium for him to convey his message on his conceptual idea. Whereas the photograph of the Yosemite National Park has no conceptual backing to the photograph, and it will remain as a form of documentation of Yosemite at that exact date and time it was taken, (if only they were recorded). So my point here is: are you an artist using photography as a medium or a photographer using photography as a form of documentation, or representation. The thing is, either ways an artist can create art that looks representational, that looks like normal snapshots that could be easily done and look like a photo by a photographer. The difference really is the idea behind the photograph, which is also the artistic intention of the artist. Strictly, in the context of artistic notions not just plainly, ‘ideas’. * Feb 2010 Universally Understood-Aesthetics in Photography Easily, we can say that any form or category of photography needs aesthetics, whether by its intrinsic nature or material-look. A photograph being aesthetically beautiful is what makes it hard to be classified. (As artistically beautiful, or just simply ‘photographic beautiful.’) On the other hand, the extensive use of photography in advertisements is to give people an idea of ‘real.’ Fundamentally, we all know what we see on a photograph is real, because it is a physical replica made of ‘that’ moment. Therefore, this ‘thing’ that you are buying is ‘real’ or you should look just as attractive as the model is when you buy that collection of clothes. So we can all say that any photographer in no matter what kind of field one is at, (be it a fashion or architectural photographer or even a landscape photographer) they all have the artistic idea of how an image should be constructed and how it should be represented at the end, if the agenda of the photographer is to sell the subject, a product, a ‘thing’, where this ‘thing’ should be exchanged for money – also the artistic value or the idea supposedly constructed in the image being traded for cash. This ‘artistic idea’ becomes meaningless and logically one should actively abandon the attempt and focus on the primary intention to sell. No doubt that graphical art or photography used in advertisements are usually not considered as a form of high art, or rather, it does not automatically gain its position as art. * Feb 2010 (Fine) Art Photography What sort of quality does a photograph have to carry in-order to become a work of art, or a work that is considered Fine art. One issue that I would like to address is that why photography is very often easily dismissed, more than other art forms like paintings and sculptures. No matter how badly a painting was painted, it will still be considered as art, why? Painting is a form of art that was developed way before, photography on the other hand has always been thought of as a technology, and technology is new. The convenience of photography has helped very much in the business world to give out information, for advertising, therefore art photography gets easily mistaken and dangerously falls into such flaws of photography (as too much of a general idea). Before talking in depth about this, I would like to mention that the ‘Photography’ here that I meant is an act itself, to produce images, we do not know for what purpose. The main difference between Art photography and photography is the primary intention involve during the process of image making. Art is essential even in photography (don’t even mention Fine Art photography), because making an image look aesthetically beautiful is part of photographic practice, where you (as a professional photographer) have to produce pretty-looking pictures to your clients, but that is another matter already, strictly talking about aesthetics and taste. Another way to look at this issue is by monetary terms, a photograph by an artist may ultimately be bought by an art collector, but then again, the primary intention and the work by the artist-pseudo photographer is not to sell. The artist wants to ‘make’ a photograph, just like if he were to paint a painting or sculpt a sculpture by interpreting or representing his or her conceptual idea using photographic medium. Furthermore, the presentation of the photograph or artwork per se is different; not viewable through billboards or television advertisements but through museums and art galleries even if the photograph ends up a ‘product,’ or should say an ‘art product,’ although they do end up as advertisements in magazines. Nevertheless, this photograph shall now be called a piece of art, an artwork that shall be viewed just like an old master’s painting – on an equal position as of any other form of fine art that was developed that may have been based on a conceptual idea. Whether it is a good or bad photograph or art, I do not know until the proper conceptual understanding of the artwork, nonetheless, these photographs shall be called Art. * Jan 2010 Introduction: The Real/Genuineness According to my observation of my work from last semester, which I went into learning and experiencing the historical context and philosophical idea of the fundamentals of photography. I recall, at the very last few moments of the ‘image-making’ process near the end of the term, I come to realize that its really not enough just making an image out of anything/everything/something. I wanted something ‘more real’ than just a mere photograph. During the practice, I was questioning a lot about the very essence of photography. ‘What makes a photograph?’ ‘What is a good photograph,’ etc. Just like how conceptual art questions the function of art during the 1960s. I’m using an almost similar methodology to question the existence of photography, specifically on the usage of the medium. * Jan 2010 http://wwjlim.com/Observance-Test http://wwjlim.com/following/wwjlim.com/Observance-Test Wed, 07 Mar 2012 09:39:36 +0000 Wayne Lim 2954929 Statement in progress.. <img src="http://payload32.cargocollective.com/1/0/27531/2954929/IMG_4444_550.JPG" width="550" height="366" width_o="1024" height_o="683" src_o="http://payload32.cargocollective.com/1/0/27531/2954929/IMG_4444_o.JPG" data-mid="16273006" border="0" align="left"/> <img src="http://payload32.cargocollective.com/1/0/27531/2954929/A Brilliant Source of Light From Afar_550.jpg" width="550" height="388" width_o="1080" height_o="762" src_o="http://payload32.cargocollective.com/1/0/27531/2954929/A Brilliant Source of Light From Afar_o.jpg" data-mid="16273034" border="0" align="left"/><img src="http://payload32.cargocollective.com/1/0/27531/2954929/A Brilliant Source of Light_550.jpg" width="550" height="388" width_o="1080" height_o="762" src_o="http://payload32.cargocollective.com/1/0/27531/2954929/A Brilliant Source of Light_o.jpg" data-mid="16273297" border="0" align="left"/> Silver Gelatin Print 8" x 10" http://wwjlim.com/Post-Painting http://wwjlim.com/following/wwjlim.com/Post-Painting Wed, 25 Jan 2012 16:48:25 +0000 Wayne Lim 361723 Statement in progress.. <img src="http://payload.cargocollective.com/1/0/27531/361723/DSC_3211.JPG" width="670" height="444" width_o="800" height_o="531" src_o="http://payload.cargocollective.com/1/0/27531/361723/DSC_3211_o.JPG" data-mid="1842418" border="0" align="left"/> <img src="http://payload.cargocollective.com/1/0/27531/361723/D1000001_550.JPG" width="550" height="371" width_o="2048" height_o="1383" src_o="http://payload.cargocollective.com/1/0/27531/361723/D1000001_o.JPG" data-mid="5605205" border="0" align="left"/> http://wwjlim.com/Something-About-Seeing http://wwjlim.com/following/wwjlim.com/Something-About-Seeing Wed, 18 Jan 2012 02:02:26 +0000 Wayne Lim 2612933 Something About Seeing is a series of work challenging the notion of sight by 'providing' information to the viewer, urging the viewer to question the process and the substance of the 'receivable', by intention or deception through seeing. The work shows how our visual perception can be altered in order to raise questions on the conceptual structure of the visual representation. <img src="http://payload15.cargocollective.com/1/0/27531/2612933/bintan28810036_550.JPG" width="550" height="364" width_o="1545" height_o="1024" src_o="http://payload15.cargocollective.com/1/0/27531/2612933/bintan28810036_o.JPG" data-mid="13342756" border="0" align="left"/><img src="http://payload15.cargocollective.com/1/0/27531/2612933/chiangmai24930001_550.JPG" width="550" height="364" width_o="1545" height_o="1024" src_o="http://payload15.cargocollective.com/1/0/27531/2612933/chiangmai24930001_o.JPG" data-mid="13342757" border="0" align="left"/><img src="http://payload15.cargocollective.com/1/0/27531/2612933/D1000023_550.JPG" width="550" height="364" width_o="1852" height_o="1228" src_o="http://payload15.cargocollective.com/1/0/27531/2612933/D1000023_o.JPG" data-mid="13342759" border="0" align="left"/><img src="http://payload15.cargocollective.com/1/0/27531/2612933/F1000004_550.JPG" width="550" height="368" width_o="1840" height_o="1232" src_o="http://payload15.cargocollective.com/1/0/27531/2612933/F1000004_o.JPG" data-mid="13342764" border="0" align="left"/><img src="http://payload15.cargocollective.com/1/0/27531/2612933/kl28110005_550.JPG" width="550" height="364" width_o="1545" height_o="1024" src_o="http://payload15.cargocollective.com/1/0/27531/2612933/kl28110005_o.JPG" data-mid="13342768" border="0" align="left"/><img src="http://payload15.cargocollective.com/1/0/27531/2612933/kl28110007_550.JPG" width="550" height="364" width_o="1545" height_o="1024" src_o="http://payload15.cargocollective.com/1/0/27531/2612933/kl28110007_o.JPG" data-mid="13342771" border="0" align="left"/> Vinyl sandwich in plexiglass 23.4" x 16.5" http://wwjlim.com/The-Same-Sea-I-See http://wwjlim.com/following/wwjlim.com/The-Same-Sea-I-See Sat, 02 Oct 2010 06:32:46 +0000 Wayne Lim 673659 they are altogether free. <img src="http://payload.cargocollective.com/1/0/27531/673659/25190001.JPG" width="670" height="1010" width_o="1024" height_o="1545" src_o="http://payload.cargocollective.com/1/0/27531/673659/25190001_o.JPG" data-mid="3152114" border="0" align="left"/> <img src="http://payload.cargocollective.com/1/0/27531/673659/25190004.JPG" width="670" height="1010" width_o="1024" height_o="1545" src_o="http://payload.cargocollective.com/1/0/27531/673659/25190004_o.JPG" data-mid="3152116" border="0" align="left"/> <img src="http://payload.cargocollective.com/1/0/27531/673659/25190005.JPG" width="670" height="1010" width_o="1024" height_o="1545" src_o="http://payload.cargocollective.com/1/0/27531/673659/25190005_o.JPG" data-mid="3152118" border="0" align="left"/> <img src="http://payload.cargocollective.com/1/0/27531/673659/25190007.JPG" width="670" height="1010" width_o="1024" height_o="1545" src_o="http://payload.cargocollective.com/1/0/27531/673659/25190007_o.JPG" data-mid="3152121" border="0" align="left"/> <img src="http://payload.cargocollective.com/1/0/27531/673659/25190013.JPG" width="670" height="1010" width_o="1024" height_o="1545" src_o="http://payload.cargocollective.com/1/0/27531/673659/25190013_o.JPG" data-mid="3152132" border="0" align="left"/> <img src="http://payload.cargocollective.com/1/0/27531/673659/25190015.JPG" width="670" height="1010" width_o="1024" height_o="1545" src_o="http://payload.cargocollective.com/1/0/27531/673659/25190015_o.JPG" data-mid="3152140" border="0" align="left"/> <img src="http://payload.cargocollective.com/1/0/27531/673659/25190016.JPG" width="670" height="1010" width_o="1024" height_o="1545" src_o="http://payload.cargocollective.com/1/0/27531/673659/25190016_o.JPG" data-mid="3152141" border="0" align="left"/> <img src="http://payload.cargocollective.com/1/0/27531/673659/25190021.JPG" width="670" height="1010" width_o="1024" height_o="1545" src_o="http://payload.cargocollective.com/1/0/27531/673659/25190021_o.JPG" data-mid="3152145" border="0" align="left"/> <img src="http://payload.cargocollective.com/1/0/27531/673659/25190023.JPG" width="670" height="1010" width_o="1024" height_o="1545" src_o="http://payload.cargocollective.com/1/0/27531/673659/25190023_o.JPG" data-mid="3152147" border="0" align="left"/> <img src="http://payload.cargocollective.com/1/0/27531/673659/25190024.JPG" width="670" height="1010" width_o="1024" height_o="1545" src_o="http://payload.cargocollective.com/1/0/27531/673659/25190024_o.JPG" data-mid="3152148" border="0" align="left"/> <img src="http://payload.cargocollective.com/1/0/27531/673659/25190028.JPG" width="670" height="1010" width_o="1024" height_o="1545" src_o="http://payload.cargocollective.com/1/0/27531/673659/25190028_o.JPG" data-mid="3152149" border="0" align="left"/> <img src="http://payload.cargocollective.com/1/0/27531/673659/25190030.JPG" width="670" height="1010" width_o="1024" height_o="1545" src_o="http://payload.cargocollective.com/1/0/27531/673659/25190030_o.JPG" data-mid="3152151" border="0" align="left"/> http://wwjlim.com/Homebound-Travelogue-Series http://wwjlim.com/following/wwjlim.com/Homebound-Travelogue-Series Mon, 22 Mar 2010 10:21:24 +0000 Wayne Lim 322241 Homebound is an ongoing travelogue series based on the idea of displacement, however finding home in an unfamiliar place, environment and surrounding; feeling fully eased with all foreign cultures, customs and languages. Contradicting the whole itinerary of flying out of the legal residence. ▲Manila & Vigan, Philippines - July 09' <img src="http://payload.cargocollective.com/1/0/27531/322241/16780022_550.JPG" width="550" height="364" width_o="1545" height_o="1024" src_o="http://payload.cargocollective.com/1/0/27531/322241/16780022_o.JPG" data-mid="13389575" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/27531/322241/16780014_550.JPG" width="550" height="364" width_o="1545" height_o="1024" src_o="http://payload.cargocollective.com/1/0/27531/322241/16780014_o.JPG" data-mid="13389426" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/27531/322241/16780025_550.JPG" width="550" height="364" width_o="1545" height_o="1024" src_o="http://payload.cargocollective.com/1/0/27531/322241/16780025_o.JPG" data-mid="13389429" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/27531/322241/16800010_550.JPG" width="550" height="364" width_o="1545" height_o="1024" src_o="http://payload.cargocollective.com/1/0/27531/322241/16800010_o.JPG" data-mid="13389440" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/27531/322241/16780030_550.JPG" width="550" height="364" width_o="1545" height_o="1024" src_o="http://payload.cargocollective.com/1/0/27531/322241/16780030_o.JPG" data-mid="13389435" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/27531/322241/16790015_550.JPG" width="550" height="364" width_o="1545" height_o="1024" src_o="http://payload.cargocollective.com/1/0/27531/322241/16790015_o.JPG" data-mid="13389437" border="0" align="left"/> ▲Bangkok & Chiang Mai, Thailand. Don Sao, Laos - August 10' <img src="http://payload.cargocollective.com/1/0/27531/322241/24950007_550.JPG" width="550" height="364" width_o="1545" height_o="1024" src_o="http://payload.cargocollective.com/1/0/27531/322241/24950007_o.JPG" data-mid="13389783" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/27531/322241/24950030_550.JPG" width="550" height="364" width_o="1545" height_o="1024" src_o="http://payload.cargocollective.com/1/0/27531/322241/24950030_o.JPG" data-mid="13389787" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/27531/322241/24930019_550.JPG" width="550" height="364" width_o="1545" height_o="1024" src_o="http://payload.cargocollective.com/1/0/27531/322241/24930019_o.JPG" data-mid="13389711" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/27531/322241/24930026_550.JPG" width="550" height="364" width_o="1545" height_o="1024" src_o="http://payload.cargocollective.com/1/0/27531/322241/24930026_o.JPG" data-mid="13389739" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/27531/322241/24940008_550.JPG" width="550" height="364" width_o="1545" height_o="1024" src_o="http://payload.cargocollective.com/1/0/27531/322241/24940008_o.JPG" data-mid="13389757" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/27531/322241/24940015_550.JPG" width="550" height="364" width_o="1545" height_o="1024" src_o="http://payload.cargocollective.com/1/0/27531/322241/24940015_o.JPG" data-mid="13389761" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/27531/322241/24940029_550.JPG" width="550" height="364" width_o="1545" height_o="1024" src_o="http://payload.cargocollective.com/1/0/27531/322241/24940029_o.JPG" data-mid="13389768" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/27531/322241/24940031_550.JPG" width="550" height="364" width_o="1545" height_o="1024" src_o="http://payload.cargocollective.com/1/0/27531/322241/24940031_o.JPG" data-mid="13389776" border="0" align="left"/> ▲Phuket, Thailand, September 10' <img src="http://payload.cargocollective.com/1/0/27531/322241/25190004_550.JPG" width="550" height="364" width_o="1545" height_o="1024" src_o="http://payload.cargocollective.com/1/0/27531/322241/25190004_o.JPG" data-mid="13390556" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/27531/322241/25190007_550.JPG" width="550" height="364" width_o="1545" height_o="1024" src_o="http://payload.cargocollective.com/1/0/27531/322241/25190007_o.JPG" data-mid="13390581" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/27531/322241/25190013_550.JPG" width="550" height="364" width_o="1545" height_o="1024" src_o="http://payload.cargocollective.com/1/0/27531/322241/25190013_o.JPG" data-mid="13390593" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/27531/322241/25190024_550.JPG" width="550" height="364" width_o="1545" height_o="1024" src_o="http://payload.cargocollective.com/1/0/27531/322241/25190024_o.JPG" data-mid="13390601" border="0" align="left"/> ▲Kuala Lumpur, Malaysia - May 11' <img src="http://payload.cargocollective.com/1/0/27531/322241/28120020_550.JPG" width="550" height="364" width_o="1545" height_o="1024" src_o="http://payload.cargocollective.com/1/0/27531/322241/28120020_o.JPG" data-mid="6852346" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/27531/322241/28120021_550.JPG" width="550" height="364" width_o="1545" height_o="1024" src_o="http://payload.cargocollective.com/1/0/27531/322241/28120021_o.JPG" data-mid="6852362" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/27531/322241/28120022_550.JPG" width="550" height="364" width_o="1545" height_o="1024" src_o="http://payload.cargocollective.com/1/0/27531/322241/28120022_o.JPG" data-mid="6852432" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/27531/322241/28120024_550.JPG" width="550" height="364" width_o="1545" height_o="1024" src_o="http://payload.cargocollective.com/1/0/27531/322241/28120024_o.JPG" data-mid="6852436" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/27531/322241/28120027_550.JPG" width="550" height="364" width_o="1545" height_o="1024" src_o="http://payload.cargocollective.com/1/0/27531/322241/28120027_o.JPG" data-mid="6852442" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/27531/322241/28120029_550.JPG" width="550" height="364" width_o="1545" height_o="1024" src_o="http://payload.cargocollective.com/1/0/27531/322241/28120029_o.JPG" data-mid="6852458" border="0" align="left"/> ▲Bintan, Indonesia - June 11' <img src="http://payload.cargocollective.com/1/0/27531/322241/28810024_550.JPG" width="550" height="364" width_o="1545" height_o="1024" src_o="http://payload.cargocollective.com/1/0/27531/322241/28810024_o.JPG" data-mid="13388913" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/27531/322241/28810030_550.JPG" width="550" height="364" width_o="1545" height_o="1024" src_o="http://payload.cargocollective.com/1/0/27531/322241/28810030_o.JPG" data-mid="13388926" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/27531/322241/28810032_550.JPG" width="550" height="364" width_o="1545" height_o="1024" src_o="http://payload.cargocollective.com/1/0/27531/322241/28810032_o.JPG" data-mid="13388932" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/27531/322241/28810035_550.JPG" width="550" height="364" width_o="1545" height_o="1024" src_o="http://payload.cargocollective.com/1/0/27531/322241/28810035_o.JPG" data-mid="13388937" border="0" align="left"/> ▲Ho Chi Minh, Vietnam - August 11' <img src="http://payload.cargocollective.com/1/0/27531/322241/32910009_550.JPG" width="550" height="364" width_o="1545" height_o="1024" src_o="http://payload.cargocollective.com/1/0/27531/322241/32910009_o.JPG" data-mid="13389051" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/27531/322241/32910017_550.JPG" width="550" height="364" width_o="1545" height_o="1024" src_o="http://payload.cargocollective.com/1/0/27531/322241/32910017_o.JPG" data-mid="13389054" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/27531/322241/32910035_550.JPG" width="550" height="364" width_o="1545" height_o="1024" src_o="http://payload.cargocollective.com/1/0/27531/322241/32910035_o.JPG" data-mid="13389056" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/27531/322241/32910037_550.JPG" width="550" height="364" width_o="1545" height_o="1024" src_o="http://payload.cargocollective.com/1/0/27531/322241/32910037_o.JPG" data-mid="13389061" border="0" align="left"/> ▲Hong Kong, China - December 11' <img src="http://payload.cargocollective.com/1/0/27531/322241/Hong Kong Family Trip-12_550.JPG" width="550" height="364" width_o="1545" height_o="1024" src_o="http://payload.cargocollective.com/1/0/27531/322241/Hong Kong Family Trip-12_o.JPG" data-mid="13389163" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/27531/322241/Hong Kong Family Trip-14_550.JPG" width="550" height="364" width_o="1545" height_o="1024" src_o="http://payload.cargocollective.com/1/0/27531/322241/Hong Kong Family Trip-14_o.JPG" data-mid="13389166" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/27531/322241/Hong Kong Family Trip-21_550.JPG" width="550" height="364" width_o="1545" height_o="1024" src_o="http://payload.cargocollective.com/1/0/27531/322241/Hong Kong Family Trip-21_o.JPG" data-mid="13389173" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/27531/322241/Hong Kong Family Trip-100_550.JPG" width="550" height="364" width_o="1545" height_o="1024" src_o="http://payload.cargocollective.com/1/0/27531/322241/Hong Kong Family Trip-100_o.JPG" data-mid="13389176" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/27531/322241/Hong Kong Family Trip-101_550.JPG" width="550" height="364" width_o="1545" height_o="1024" src_o="http://payload.cargocollective.com/1/0/27531/322241/Hong Kong Family Trip-101_o.JPG" data-mid="13389181" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/27531/322241/Hong Kong Family Trip-103_550.JPG" width="550" height="364" width_o="1545" height_o="1024" src_o="http://payload.cargocollective.com/1/0/27531/322241/Hong Kong Family Trip-103_o.JPG" data-mid="13389184" border="0" align="left"/> 3" by 2" Inkjet on tracing paper http://wwjlim.com/Landscapes http://wwjlim.com/following/wwjlim.com/Landscapes Mon, 22 Mar 2010 05:32:03 +0000 Wayne Lim 322054 In this body of work, I seek to explore the relationship between how landscapes as a timeless entity are being manipulated in urban civilization. These landscapes are being shifted constantly from their natural habitation to an intentionally designed site through human interventions. <img src="http://payload.cargocollective.com/1/0/27531/322054/9.JPG" width="670" height="670" width_o="1630" height_o="1630" src_o="http://payload.cargocollective.com/1/0/27531/322054/9_o.JPG" data-mid="1401625" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/27531/322054/2.JPG" width="670" height="670" width_o="1630" height_o="1630" src_o="http://payload.cargocollective.com/1/0/27531/322054/2_o.JPG" data-mid="1403499" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/27531/322054/3.JPG" width="670" height="670" width_o="1630" height_o="1630" src_o="http://payload.cargocollective.com/1/0/27531/322054/3_o.JPG" data-mid="1403511" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/27531/322054/4.JPG" width="670" height="670" width_o="1630" height_o="1630" src_o="http://payload.cargocollective.com/1/0/27531/322054/4_o.JPG" data-mid="1403528" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/27531/322054/5.JPG" width="670" height="670" width_o="1630" height_o="1630" src_o="http://payload.cargocollective.com/1/0/27531/322054/5_o.JPG" data-mid="1403534" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/27531/322054/6.JPG" width="670" height="670" width_o="1630" height_o="1630" src_o="http://payload.cargocollective.com/1/0/27531/322054/6_o.JPG" data-mid="1403539" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/27531/322054/7.JPG" width="670" height="670" width_o="1630" height_o="1630" src_o="http://payload.cargocollective.com/1/0/27531/322054/7_o.JPG" data-mid="1403556" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/27531/322054/8.JPG" width="670" height="670" width_o="1630" height_o="1630" src_o="http://payload.cargocollective.com/1/0/27531/322054/8_o.JPG" data-mid="1403566" border="0" align="left"/> 8" x 8" Silver Gelatin Print