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Let Me Be

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Unit

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‘The Department Of Lost’ is a fictional organisation which provides lost & found services, collects stories, and provides information to its members and contributors. This publication is a collection of items from ‘The Department Of Lost’ that forms a non-linear narrative around the everyday phenomena of losing things. The items are curated to allow members to engage with content submitted by contributors and form a better understanding of the social psychology behind losing objects. From advice on how not to lose things to a collection of stories about losing things, the D.O.L has you covered.

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This piece was created as a response to the International Society of Typographic Designers (ISTD) publication theme, ‘Lost’. It has since won an Australian Graphic Design Association (AGDA) Distinction Award in 2019.

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Content Warning: Injury, Mental Illness, Death

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‘The compulsion to repeat’ was a term Freud used to describe traumatic reenactments. These reenactments are an unconscious attempt to have control over a painful situation, one that could eventually be resolved or managed. To help understand the narratives of various family members who took part in the Vietnam War, I have produced a series of photographs that juxtaposed the idea of analgesia with the re-exposure to stress and pain, providing a similar relief for war veterans. The story consists of a man’s hallucinations: he has a vague sense of emptiness, welcoming the swing of his friend’s arm. It’s familiar territory. Battered and bruised, the man remains overtaken by futility, resulting in his own demise.

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To Whom It May Concern is a series of postcards aimed at documenting the time spent in isolation, centred around mundane observations that come from the most unassuming places. The format of a postcard is traditionally intended to let loved ones know where you are and how you’ve been. In that context, this is my way of letting the world know where I am, that I’m still here and will be back soon enough, as we all will.

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Model: Tahmyna Rad | @tradtradd

Photographer: Mara Marsa | @maramarsa

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Despite being designed as activewear, Tangerine became an exploration of intimacy and the body. For me, the body is inextricably linked to feelings of euphoria. Dressing induces an intense emotional response as you accept your body for its own form and shape. Tight-fitting clothes cling, buttons burst at the seams, and your figure takes ownership of the garment. 

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There’s always a dialogue between oneself and the clothes one wears. How do you want to express your body? What features do you want to highlight? What shapes do you want to create in order to manifest euphoria? Many designers endeavour to answer this question. Where some, such as Comme des Garcon, use geometrics to distort the body into obtuse symmetries, Tangerine rather encourages a kind of naturalness. 

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The design process was sporadic. It wasn’t until quite late in that the sublimation print developed, and quite serendipitously. ‘Sublimation’ is a printing process where the design is painted onto transfer paper with a disperse dye. Once the dye dries completely, a heat press can be applied to create multiple prints onto any synthetic fabrication. The tangerine colouration elates the collection, evoking a dream-like aesthetic.

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Materialising the garments became an expression of the female body, the intimate process of dressing, and the euphoria a designer can engender.

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Model: Katherine Zhang | @katherinezhangles

Fashion designer: Chelsea Oaten | @fq.13_

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Dopamine (n); neurochemical released in the brain also known as the ‘happy chemical’, associated with the brain’s pleasure and reward system.

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Initiates movement, emotion, motivation, thinking and is the root for drug addiction.

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Residents awoke to a blood red sky over parts of southeast Australia on December 31.

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While devastating bushfires expanded over 7.3 million hectares of land, the Australian government has been dubious and regressive in their overall response. The series ‘Cellophane’ focuses on the inevitable ecological damage and consequences we must face now and in the near future. Regardless of the time, one has to question if they’re looking at the world through red cellophane or not.

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As part of their Spooky Pageant Tour, CLEWS played at The Oxford Art Factory on 2 November 2019. Joined by special guests Eagle Eye Jones and The Vitriots, sister duo CLEWS wowed a packed audience with their soaring vocal and guitar harmonies.

CLEWS

Eagle Eye Jones

The Vitriots

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‘There’ 2018 

Cher Du 

“Memory is identity. I have believed this since… oh, since I can remember. You are what you have done; what you have done is in your memory; what you remember defines who you are; when you forget your life, you cease to be, even before death.”

This is a quite a concise view of memory from Nothing to Be Frightened Of by the novelist Julian Barnes. If memory is identity, then  you are what you have done at a specific location, what you have done at the location is in your memory, what you remember at the location defines who you are. There aims to explore the relationship between memory, identity, and location. 

The place where I grew up is the starting point of my values. Chinese artist Sun Xun says your hometown is your origin or both you and various parameters of your life. When you measure the world with your parameters, you have many tangible details. What I have done in that tiny region of the world has allowed me to recognise and define myself; the memory of that place will leave an imprint on my heart and follow me wherever I go. 

There is a series of photographs that depict the geographical location of my childhood, examining the relationship between memory, identity, and location. Taking photographs of a map constructed from rice, the body of work was manipulated by selecting different parts of this map and then overlaying it to develop individual small photographs. Using the parameters of my childhood memory, it aims to embody the identity of me as an individual, framed by the tiny world where I grew up, and the world I have travelled.  

‘Gazing at me?’ 2018, Glitch art photography work 

Cher Du 

Conceptually, Gazing at me? transforms sexual objects into data and manipulates this. By transforming the original images of women into distorted and horrible figures, my work aims to respond to the male gaze from the perspective of a feminist thinker. The theory of the male gaze was first introduced by Laura Mulvey in Visual Pleasure and Narrative Cinema. The male gaze can be understood as the act of depicting women and the world from a masculine heterosexual perspective that presents and represents women as sexual objects for the pleasure of the male viewer. Mulvey (1975) states that, “pleasure in looking has been split between active/male and passive/female.” The male is the viewer, while the female is often the sexual object to be looked at. 

Technically, I applied the misalignment glitch method from Michael Betancourt’s Glitch art in theory and practice. The process involved changing the image file to bmp and importing the raw data of the image to Audacity. This changed the image data into a sound file which I was able to manipulate. Finally, I exported the file back into an image. The process combined my intention as a creator, and the device’s potential possibilities. 

Cher Du (1998, born in China), a female photographer, started her photography practices in 2017 at UTS. She applies professional photography knowledge gained from university to different conceptual and commercial photographic practices. In the realm of conceptual art photography, her work conveys her personal perception of memory, identity, and the female experience by utilising digital manipulation. She began her commercial photography practice in August 2018. Throughout her works, the female experience remains the main subject, the photographs vividly showing the story behind the subjects. Since 2018, she has completed internships at LUMI FACULTY Creative Vision Institution and Nan Hai media video editing department. With these experiences, she plans to continue her photographic practice, combining both conceptual art and commercial photography.

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Being a history enthusiast/rail buff/film nerd/monochrome fan, and so many tags yet to be discovered, Chuanxu “Richard” Wang utilises his experience in photography/videography amounting in creativity of all sorts and beyond. By condensing various installations into a continuous body of work or exhibition, he reflects on our generation of humanity with a sense of rationality and nostalgia. He believes no one has the privilege to be judgmental, as we will not be able to sum up this era with its true nature because we are still in it.

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