Virtual Degree Show 2021 Accessible Version

Accessible Page
Content

  1. Virtual Degree Show 2021
  2. Installation Views
  3. Artwork Views & Texts
  4. Accessibility Statement
  5. Imprint

1. Virtual Degree Show 2021
Floor X

Featuring: Valerio Angiolillo, Chin Yuqin, Choi King Tung Sabrina, Leonardo Dal Colle, Daniela Granados Solis, Yijae Kim, Hugh Leung, Yang Shen, Lara Souza e Silva, Xiyuan Wang and Donghyun Yoon.

Virtual build by: Morgan Jones.
Exhibition coordination by: Tara Benjamin-Morgan

Reflecting to the past year’s hybridised circumstances, Goldsmiths is pleased to launch a new digital addition to the BA Fine Art and BA Fine Art & History of Art Degree Show 2021. Featuring the work of eleven students spread across the globe, who have completed their Goldsmiths degrees remotely, the show-within-a-show elevates the Ben Pimlott Building one extra story, adding an unspecified Xth floor.

Through close collaboration with the participating students, Exhibition Hub team members have helped translate analogue artworks into digital assets and, using 3D modelling software, have created a replica floor from the campus’s eccentric building. Throughout this custom modelled space visitors will find digitised oil paintings, recreations of mixed media sculptures, film, and illustration.

Visitors can reach Floor X by either scanning a QR code on the Degree Show map; visiting the URL below on desktop devices; or by heading to the Ben Pimlott Building ground floor seminar room where a video tour will screen throughout the duration of the show. Navigating the virtual show on phone or desktop, users can jump between a sequence of locations and select artwork hotspots to find out more.

Please note Floor X cannot be reached by conventional spatial means.

Installation Views

Installation views of Virtual Degree Show 2021 Floor X featuring from left to right:


Donghyun Yoon, Yang Shen, Valerio Angiolillo & Choi King Tung Sabrina


Choi King Tung Sabrina, Xiyuan Wang, Donghyun Yoon & Yang Shen


Valerio Angiolillo & Choi King Tung Sabrina


Yang Shen


Lara Souza e Silva


Hugh Leung


Xiyuan Wang & Hugh Leung


Yijae Kim


Daniela Granados Solis


Chin Yuqin (Casey)


Leonardo Dal Colle

Artwork Views & Texts

Donghyun Yoon ‘Sympathy’ (2021) Wood, detachable-cushions, sponge, cotton, 110 x 80 x170 cm

A wooden wardrobe, which sits in a bed of leaves in the virtual show replica, and is surrounded by forest in the documentation photographs which accompany it. There are cushions inside the wardrobe, as if to suggest that it should be an intimate, solitary place to sit and relax with a book.

Valerio Angiolillo ‘Hard Hoof’ (2021) Oil on canvas, 20 x 20 cm

A small, square painting with a horizon line two fifths of the way up from the bottom of the canvas. The ground is a dark khaki-brown tone, and the sky is a greenish ochre. An animal, possibly a horse, is depicted mid-fall in the centre of the canvas and is the unequivocal focal point of the painting. Whilst its form is well articulated, the painting has been given an overall haziness which transports the scene away from reality.

Valerio Angiolillo ‘Granary Unit’ (2021) Mixed media on canvas, 150 x 100 cm

A large painting in portrait orientation, the horizon line sits roughly a quarter of the way up the painting; the ground is a pale yellowish-green and the sky is ochre. There is a hazy impression of in the background, and in front of these stands a tall granary unit: a tall, trapezoidal structure painted in reddish tones over a base of ochre, allowing it to almost sink into the background as if camouflaged.

Valerio Angiolillo ‘The Bull’ (2020) Mixed media on canvas, 170 x 120 cm

A large pairing in portrait orientation, the centre is occupied by a bull with large horns, standing and facing outwards towards the viewer. The bull is painted in a deep indigo, as is the sun-dappled background within which he is set. The sunlit spots are painting in a pale yellow and these spots seem to glow. The bull is stationary and seems calm; almost contemplative.

Choi King Tung Sabrina ‘Wild Horizons’ (2021) Acrylic and ink on canvas

Presented in a landscape orientation of a 2:3 ration, the whole surface of the canvas is covered with the faces of brightly and diversely coloured cartoon-like characters based on animals such as gorillas, bears, flamingos and rabbits. The faces are all different sizes and have different expressions ranging from apprehensive to gleeful.

Choi King Tung Sabrina ‘It’s Crazy Out There, Innit?’ (2021) Acrylic, white ink and gold pigment on canvas

Roughly twice as wide as it is tall, the whole surface of the canvas is covered with brightly coloured round faces, crowded together so tightly that their bodies cannot be seen. Each face is a single, bold colour, and tonal values give a strong sense of dimensionality and exaggerated facial features. The face colours are entirely unnatural and include red, green, lime, lilac, maroon, yellow, turquoise and orange. Many of the faces are expelling a brown gooey substance from their mouths, noses or their eyes, and a sense of contamination and disgust is felt. The facial expressions are highly varied and caricature-like, giving the piece a sense of chaos and madness.

Yang Shen ‘A Castaway’ (2021) Video, 7m 26s

A 7 minute long video. An old computer is shown in the first scene, appearing in the distance and slowly coming towards the viewer. On the screen is an image of a watery substance, moving like waves and covering the whole screen. The film cuts to black, except for two cut-out holes at the top of the screen, showing a pair of eyes behind them. They look around at a leisurely pace, and shortly a plate of fruit and flowers fades in, just below the eyes. Though it arrives in full colour, it slowly shifts to a strong red overtone

Lara Souza e Silva ‘Like Branches’ (2021) Video, 8m 22s

Ambiguous in nature, the film opens on a blank screen and the sound of a women breathing heavily, creating a sense of uncertainty. From which we cut to the see and then an interior scene in which an elderly Brazilian women discusses family photos with her granddaughter, whom we assume to be the artist. The film frequently cuts between shots, from: trees blowing the in wind, a cat pacing through an empty interior, a fire burning by a motorway, or a car driving in the darkness along a country lane. The effect is a dreamlike communication between generations.

Xiyuan Wang ‘Moonlight’ (2021) Net art

Moonlight is a large white banner which is held by posts at either end. On the banner is the text Dancing in the Moonlight, typed along a wavy path reminiscent of Microsoft Word Art. The text is distorted or disrupted by something which suggests file corruption, with pixellated stripes of magenta and dead pixels mottling the image. The banner links to the artist’s website which is the work itself – the banner acts as a portal.

Hugh Leung ‘Choices’ (2021) Mixed media, 50 x 34.5 x 8cm each

Hugh Leung’s Choices are a set of two cabinets mounted to the wall close to each other. In each, there are two dividers which create three columns in which products can be stacked. In the first cabinet on the left, fresh fruit is stacked until the cabinet is nearly full. The first section contains glossy red apples, the second contains small yellow mangos and the third contains red grapes. The other cabinet on the right contains 12 juiceboxes with the brand name ‘Vita Juice’, neatly stacked in sets of four. The first juicebox stack is apple flavour, the second is mango flavour and the third is grape flavour.

Hugh Leung ‘You Have Made It’ (2021) Mixed media, 59 x 30 x 30 cm

Hugh Leung’s You Have Made It is a handmade trophy-like sculpture coated entirely in a golden sheen, as if made from precious metal. The base of the sculpture is two humanoid figures, who are standing and lifting a box on which another humanoid figure sits, hunched over under the weight of an academic cap, atop which a large golden dollar sign is fixed.

Hugh Leung ‘Water Dispenser’ (2021) Mixed media, 70 x 34 x 34 cm

Hugh Leung’s Water Dispenser is a medium sized water dispenser unit with three options for different types of water, all attached to a single, large water bottle, making clear that there is only one type of water, whichever option is selected. The options are: Irish Mountain Water, an undisclosed or blank middle option, or Bali Artesian Water.

Hugh Leung, ‘Bear’ (2021) Mixed media, 16.5 x 14 x 14 cm

Hugh Leung’s Bear is a small sculpture of a bear which is close in scale to what a young child might have. It’s proportions resemble the typical soft toy, where the head is the same size as the torso, the ears are big and round, and the limbs are small. The bear sits upright with a neutral expression. It is made from a smooth material, almost plastic-like, rather than fur, and looks as if it would be stiff to the touch. It is painted in a uniform brown tone, again, typical of a soft toy of that type.

Yijae Kim ‘Function’ (2021) Unwanted objects, resin, wood, 170 x 85 x 18 cm

Presented as a bespoke piece of furniture, this sculptural work embeds a set of unwanted china cups and saucers into two cast resin shelves, supported by a custom wooden stand. The upper shelf catches the cups half in and half out of the resin, whilst the sauces below are entirely submerged. Each cup and saucer features fine floral and decorative details. The dark rich tones of the wood contrast with the semi translucent resin and the crisp white surface and colours of the china.

Daniela Granados Solis ‘Service’ (2021) Video, 1h 27m 44s

Almost an hour and a half long, this duel screen video presents two screen recordings of different Microsoft Word documents. On the left-hand screen, the artist writes a set of four statements, the first and third being “I am blessed and I am grateful always.” Then the second right-hand screen starts and the phrase is written on repeat with the artist quietly repeating the words to themselves. The pattern of actions repeat, with the text on the right-hand side being deleted and new statements being added to the left-hand side, which in turn are repeated like a mantra on the right. The process repeats until a total of thirty-six statements have been written. The work is mediative and vulnerable.

Leonardo Dal Colle ‘To preserve apostolical consumption’ (2021) Mixed media

Created using digital image production techniques, the three portrait works are loosely coloured and contain a depth of obscured imagery. Each has a general colour tone, the first blue, the second brown, and the third green, however, slowly they reveal a hidden complexity, fragments of natural and man-made forms. The overall affect is similar to a heavily worked etching, conveying the complexity and labour behind them.

Leonardo Dal Colle ‘To preserve apostolical consumption’ (2021) Mixed media

Presented on a round side table, the work comprises two small sculptural objects coated in a waxy algae derived substance. The first of the sculptures incorporates an upright knitting needle skewered through a small spherical form. Whilst the second is made from a small recycled shipping box. Compared with the table’s solid dark wood they appear fragile as if they could melt or collapse.

Leonardo Dal Colle ‘Alligator seizure’ (2021) Mixed media

Comprising a sculptural arrangement presented on a plinth and a corresponding decorated canvas, the work uses a mixture of unusual medias, including a sample of alligator skin from Florida, cellophane, aluminium foil, 24k gold lead and thin branches. Roughly divided into top and bottom portions, the wall based element is covered in an uneven surface of aluminium on top of which the alligator skin drapes and folds, creating a waxy upper half. The plinth is square and includes an arrangement of the branches with parts coated in the gold leaf, a damaged envelop is placed in one corner, sealed with a sticker showing an American landscape.

Chin Yuqin (Casey) ‘As the Ant Crawls’ (2021) Video, 7m 49s

Running just under 8 minutes long, in this video the artist lays cards from a custom illustrated deck onto a caramel coloured carpet. At times new layers of film are added, creating scene-within-scenes, showing the shuffling and rearrangement of the cards. Occasionally we cut to a scene where all the cards are lain out on top of a painted sheet, here the artist’s hands pick, turn and move the cards. Throughout the film a calm voiceover reads a fragmented text, sounding oddly distant.

Chin Yuqin (Casey) ‘Untitled’ (2021) 42 double-sided hand illustrated cards (350gsm stock), 74 x 12.5 cm each

Chin Yuqin’s Untitled work is a deck of cards which are hand illustrated. Each contains a different scene alluding to a dream-like space with different characters as if one is taking a surreal journey through an alternate land. There are small verbal exchanges or prompts written on many of the cards.

Accessibility Statement

Using this website

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Imprint

ExhibitionsHub.Art is produced and curated by the Exhibitions Hub in the Department of Art at Goldsmiths College.

The website and virtual space were built by Morgan Jones of the Exhibitions Hub.

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