TODAY publication

Writing on The Dragon, The Purple Forbidden Enclosure by Dane Mitchell at Old Kallang Airport

It's heartening to be acknowledged, especially when seldom are there chances for public recognition like these. My first, and perhaps would be my last, published art review.

I find my reviews still quite immature and lacking deeper understanding towards certain social norms and issues. There is a much much more room for improvement, and i'm glad, because life's a learning journey. Opinions and ideas come with experience and are constantly changing.

The publication came as a surprise and was totally unexpected. I'm particularly glad, that my article was edited to become succinct, resulting in better expressions of my ideas and thoughts :) Also, it was delightful to be one of the first articles published.



The link for my article would be as follow:
http://www.todayonline.com/Arts/EDC110329-0000016/Did-you-feel-that?

This was my article before the edit:
(Pardon me for my language errors and faulty expressions)

One stumbles upon the loud neon-orange label next to the wall text shouting “THE WORK YOU ARE ABOUT TO VIEW IS OF A SPIRITUAL NATURE AND MAY BE UNCOMFORTABLE FOR SOME VIEWERS”, giving the viewers a quick idea of the concept behind the piece. Looking forward, a signboard too screams at the viewers, “ENERGY HAS BEEN CHANNELLED. FOR BETTER RESULTS SPRAY FOREHEAD”. While, beneath it are two transparent spray bottles filled with water and a gold or silver patterned paper in each of it. The Dragon, The Purple Forbidden Enclosure by Dane Mitchell certainly captures the attention of passers-by.

This particularly intriguing work by Mitchell, deals with the sensitive topic of the invisibles- spirits and energies. In the exhibition room, one first sees an angular structure constructed with metal tubes, resembling constellations. An interestingly shaped blown glass sculpture is also placed on top of two thin wooden planks. Looking further, the red thread tied to these metallic tubes, a black rough stone and 108 neatly arranged three-quarters filled translucent plastic bottles is hardly unnoticeable.

Mitchell makes use of a cleverly arranged set-up comprising large empty spaces and a conjoining linear system of metal tubing. Not only are the few main objects given emphasis, it also connects the exhibit from one side to another, giving the viewers a guided walkthrough around it. The metal tubing also fragments larger spaces, forcing viewers to only be able to walk through certain spaces and thus giving one the illusion that the room is full, despite the minimal objects and things present.

Red threads are often commonly associated with birth and death- things different yet seemingly alike. Mitchell’s work allows one to reconsider things from a different perspective, and in this case, with its dominant use of red thread, it seeks to engage the exploration of relationships. An example would be Mitchell’s play on the concept of energies. The visible exhibition set-up being compared against the invisible energies channeled. Despite the two being completely separate things, it is of no denial that they both help in addressing the same concept. Likewise, there is also an interlinked relationship between the movement of energies- arrival and departure. Two completely different extreme points, yet both speak of the same way of continuity in a cycle. In other aspects, relationships are also explored via the actions of viewers (approaching and withdrawal); the form of objects (fluidity versus rigidity); the materials of the objects (organic versus inorganic); and even in the use of spaces (emptiness versus fullness).

A room specially set up, with collaboration from different fields- Mitchell, glass blowers, spiritual mediums- undoubtedly helps create a sensual experience for the onlooker. Be it unsettling, uneasiness or simply being neutral. However so, it still leads one to wonder if such feelings felt within the exhibition room was due to having prior knowledge that there is a spiritual concept behind the work, one’s own imagination, having a true experience of moving energies which Mitchell speaks of, or purely coincidental.