JIAYI ZHU
Teaching and Learning Events
1. Archive project lead by Chrystel Lebas and Max Dovey
The archive course allowed me to systematically learn how to collect and utilize materials. Previously, I relied primarily on website searches and paper books when gathering information. However, through this course I learned how to use archival resources more effectively to assist projects. Our group conducted an archival collection based on the theme of "home", which was very helpful for my project.
During my practice, I learned how to find and interpret archival documents and understand their historical context and cultural significance. This not only enriched my research materials, but also improved my analysis and induction skills. In addition, through cooperation with classmates, I also learned many new research methods and techniques. Together we explored different types of archival materials including photographs, letters, diaries and documents. Each source provides a unique perspective on our subject, helping us to more fully understand the concept and connotation of "home."
2. Group crit with Chrystel Lebas and Dafna Talmor
Chrystel and Dafna provided me with more detailed advice and helped organize the project details. In the performance part, I considered various aspects such as venue selection, choice of clothing, body language performance methods, and positioning. They also offered many constructive suggestions for further development of the project. For example, performing in front of a crowd gave the project more room for experimentation and growth, prompting me to think about how this project could evolve into a long-term endeavor.
Additionally, they provided me with numerous artistic references, such as Elizabeth Hibbard's "Soma's Silver Eye," the exhibition "Trish Morrissey: Front," and Melanie Manchot's "For A Moment Between Strangers." They also offered stronger formal suggestions regarding the exhibition format, such as showing the hugging process directly in front of the audience. This visual impact could provoke more thought among the viewers.
3. Cyanotype workshops with Hayde Sacerdote
Cyanotype technology is the most critical part of this project. In this workshop, I learned how to use cyanotype technology to create images, and tried to combine cyanotype with fabrics. In this workshop, I did a lot of experiments on fabrics, about the effects of different ratios of cyanotype liquid on fabrics, as well as the different effects of double exposure, multiple rinse exposures, dry and wet conditions on fabrics, etc.
There are also many problems encountered when making cyanotype clothing, such as how to distribute the cyanotype liquid evenly on the fabric, and the fabric will harden after drying and lose the shape and drape of the garment. However, the biggest problem with fabrics is how to store the finished skirt. I found that no matter how I store it away from light after making it, the skirt will turn gray-blue after a few days without exposure, which will affect the subsequent exposure to sunlight. The current approach is to have the dress made and photographed on the same day. But this is a test of time management and weather. So I'm trying to figure out why it can't be saved for long periods of time and find a better way to save it.
4. Exhibition set up process
While setting up the exhibition, I put a lot of thought into how to arrange the works. This process made me realize the importance of the display format in conveying the theme. For example, I considered whether to hang the dresses separately or to overlap them. Ultimately, I chose to overlap one shoulder strap of each dress on the same nail because this arrangement more effectively communicates the key message of intimacy.
Additionally, regarding the positioning of the dresses, I pondered whether a height difference was necessary to represent the mother-daughter relationship. This led me to further consider whether the length or style of the dresses could distinguish the roles of mother and daughter, thereby making it clearer for the audience to understand the work’s meaning. For instance, the mother’s dress could be designed longer and more traditional, while the daughter’s dress could be shorter and more modern, symbolizing generational differences and role distinctions.
During the curation process, I also gathered a lot of feedback and suggestions from friends and viewers, which helped me identify details that I might have otherwise overlooked.
