Times Zero

Sarah Sze, Ripple (Times Zero) (2020). Oil paint, acrylic paint, acrylic polymers, ink, aluminum, archival paper, oil stick, pencil, graphite, string, push pin, diabond and wood. 289.6 x 362 x 9.5 cm. © Sarah Sze. Courtesy Gagosian. Photo: Rob McKeever.
Sarah Sze, Blind Spot (Times Zero) (2020). Oil, acrylic polymers, ink, aluminium, diabond, and wood. 262.3 x 327.7 cm. © Sarah Sze. Courtesy Gagosian. Photo: Rob McKeever.

I came across Sarah Sze while browsing youtube channel GAGOSIAN, she is a contemporary American installation artist that uses mix-medium, collages, found objects and painting. What intrigues me so much is that Sze uses material to represent the digital texture / experience that her paintings look like glitch art. In contrast of Post-internet art that use digital as medium and platform. Her makings engage a sense of a general collective conscience in a fluid reality and virtual space.

Her dynamic practice that addresses the precarious nature of materiality and grapples with matters of entropy and temporality, leading us to decode these vast information and question the complexity of memorialising a human life in virtual space.

In the talk below, she talks about crossing-thinking materials, in ways of breaking boundaries of painting, sculptures, and all other media like photography, printmaking and video. I suddenly have ideas such as processing my inspirations, and subject matter in computers, printing them out and overlapping these fragments and blurring them to a sense of uncertainty and mass information that reflect a glance of presence.

That idea of the impossible, or the potential of those things that can only be imagined and not achieved, is what you want to do as an artist. It’s a dimension of time that you want to be thrown into, and it’s the potential of an artwork: to put you into that world of imagination. In the midst of this crisis, I think the idea of re-imagination is especially relevant.

PARIS, 14 MAY 2020



Abstract Browsing

Abstract Browsing 17 03 02 (Google Image), 2017, Jacquard weaving
79 × 57 in / 200.7 × 144.8 cm

Abstract Browsing 17 03 02 (Google Image), 2017, Jacquard weaving
79 × 57 in / 200.7 × 144.8 cm
Times Square Midnight Moment, New York

Rafaël Rozendaal, Dutch-Brazilian, b.1980, works primarily with websites / NET ART (internet art), producing animated abstract patterns and interactive images that explore the screen as pictorial space. His brightly colored graphics often shift or pulsate with light, while in other images he explores simple movement and gesture, as in paper toilet .com (2006), in which visitors to the site can unravel a roll of toilet paper in virtual space, or jello time .com (2007), where visitors can poke a quivering mass of jello. Rozendaal broke ground when he began to sell his net artworks; in exchange for the purchase of one of Rozendaal’s domain names, a collector’s name appears in the title bar of the work, and the site remains public and accessible to viewers worldwide.

2017, Anti Social is Rafaël Rozendaal’s third solo exhibition with POSTMASTER GALLERY. ‘Abstract Browsing,’ a Chrome extension designed by the artist transform web to vibrant, geometric patterns, devoid of information, simultaneously reveal unusual, unhuman compositions and the scaffolding of the web. Surfing the web is fast and fluid. Weaving is antithetically slow and process-based—what the artist describes as “mechanical painting.” Rozendaal selected weaving as the medium for these works because of the relationship between computer programming and the loom, thus, the loom could be considered the first computer.

“…Art is a place for reflection and contemplation. Quiet, calm, staring. Trying to observe without too many thoughts. We are used to viewing art that way, but the internet is a different place. The internet is fast paced, jumping from link to link, from impression to impression. Websites are ubique (ubiquitous) objects, they can exist in many places simultaneously.

Rafaël Rozendaal


+ as a graphic designer i’m quite familiar with making website, graphics, icons… that is how i came across this artist by researching into the Post-Internet art / digital technology. i’m so inspired by him, not only his fantastic use of colour with his mundane yet fun art, but his nihilistic attitude of making these accessible for everyone…




Soft / Pastel / Power

Louise Zhang ‘Soft Horror’ 2017. Installation view, 2017 NSW Visual Arts Emerging Fellowship, Artspace, Sydney. Photo Credit: Zan Wimberley.

The love for pastel / dreamy colour is always in my beginning and primitive love for colour, the child-like, nostalgia scheme of cartoon colours, and the psychedelic illusional fantastic world.

The world that is almost made up with candies and rainbow, peaceful; fun; and forever harmless. By the time we grow up, we experience, heard stories, read news and quickly realised that this world has ugly places that is dark, evil and cynical.

“Louise is interested in the dynamics between the attractive and repulsive. By exploring how themes of perceived innocence such as prettiness and cuteness can be contrasted with notions of the perverse and monstrous, Zhang explores the intersection of fear, anxiety and a sense of otherness in the construction of identity. “

The name reminds me lots on this song i used to like, by artist ‘Soft Powers’ and imagining pink bubbles and radio time of just chill and enjoying sunrise and crystal sky. A summer with beach and soda. — I crave for colours, and expressive moods that changes with the lights and hues.