Method of Display

The workshop Method of Display made me reconsider exhibition-making not as a technical afterthought but as part of the artwork’s language. It suggested that display is a kind of choreography—every height, angle, or surface changes how a viewer reads and feels the work. This idea stayed with me, especially because my practice often deals with the act of looking itself: who watches, from where, and how that position shapes emotion and control.

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The session proposed that display equals experience design. Whether the audience sits, bends down, or stands back already defines the kind of intimacy or distance that forms between them and the work. I began to think of installation as a way of directing that bodily encounter—how a viewer’s posture, hesitation, or curiosity could become part of the piece.

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In my recent works, I’ve been drawn to unstable viewing positions: crouching, leaning, turning one’s head slightly off-balance. These gestures create a subtle sense of vulnerability, mirroring the psychological tension in my imagery. The workshop’s emphasis on reading through touch and proximity made me realise that material and spatial rhythm could also function as narrative tools.

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What interested me most was the notion that display can perform contradiction—it can invite and withhold at the same time. Transparent covers, half-visible layers, or partial access to text all echo my ongoing exploration of control and exposure. The idea that form determines not just what is seen but how it is seen aligns with my broader interest in perception and concealment.

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Ultimately, the workshop reminded me that the exhibition space is not neutral; it’s an extension of the work’s psychology. Designing how people move, pause, and reach becomes a quiet way of writing—the body of the viewer completing the unfinished sentence of the piece.