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Lost in


wai wai pang year three Semester1 assessment Compliation

Y2 Year Two

As second year drew to an end, I began to reflect on the work that I had made over the past year. It wasn’t that I didn’t like the work anymore, but I found myself increasingly frustrated at what I was producing. I finished the year querying what it was that I found lacking.

I did n o t m a k e w o r k t h a t summer


Personal w o r k

Y o u r work is so colourful & H a p p y

W h i c d o e s n ' r e a l l y s e e l i k e y o

h t m u

Colour Colour Colour Colour Colour Colour comes so easily to me. It permeates the culture that I am from so effortlessly; from food, to ornaments, buildings, and furniture. I am always struck by the gatherings of colour that come together through a seemingly unintended curation process. A sign of happiness, celebration, and the richness of life. A means of ornamenting everyday mundane things to make them more attractive. But colour can also be decepting; it’s to

Y3 Year Three Semester One Five Projects


V i s u a l synopsis I had some trouble narrowing my field of interest for my dissertation. I began with an intent to investigate the reasons for why children draw, as I wanted to understand and explain why drawing is an important element of development. However, I found that many of the studies that focused upon children and drawing often lead to an over analysis of the elements found within the drawings themselves. Instead I wanted to address the rather

more urgent matter of the importance of visual literacy and visual realisation. In light of the EBacc plans, I felt that the subject of perception and the visual as secondary to academically superior subjects would be an interesting and relevant current issue to write about.

“ Visual literacy is the ‘reading’ of imagery beyond the solely sensory act of vision. It is the ability to gain understanding of how visual vocabulary is constructed and being able then, to translate this understanding into intelligent visual messages. The most prominent aspect of the modern multimedial age is the dominance of visual media; from books, to adverts, movies, television, art, internet, phones, and games; all provide their audience with an endless stream of pictorial stimulation, yet there is still very little that we understand of how to ‘read’ this visual world. Rather, “much of visual communication has been left to intuition and happenstance” (Dondis A. Dondis, 10). Without any further acknowledgement of, and education in visual literacy, we run the risk of being passive consumers of more and more visual material, without the means to decipher and make sense of this data.”






I have never considered myself to have grown up in an environment where artistic endeavours were particularly prominent. Instead it was the opportunities for creative thought in my childhood that have since spurred my interest in art, because more than anything, I think art is the ability to see possibilities where others can’t. My favourite games were the ones where we had to improvise, where amusement and fun were found from the most meaningless and unexpected objects and situations. A secret language, where the rules and boundaries are privy to only those in the know. I tried to portray some of this in my video, showing play in an offbeat manner, where the meaning of play is not to play in the way that others dictate, but what we make of it ourselves, and what we consider to be fun. Although I think there are points where the video succeeds, there are also parts where it falls short as they interact more typically with the playground.


1. To occupy oneself in amusement, sport, or other recreation: children playing with toys. 2. To take part in a game

Francis Alys / Children’s Games

Fischli & Weiss / Rat & Bear


R o ta t i o n project

Happiness & Sadness In FULL Colour

Lost in Colour  

Wai Wai Pang