Washi Art + Design at the Ivy Tech John Waldron Arts Center

IMG_3932_edited
Washi Art + Design at the Ivy Tech John Waldron Arts Center, Bloomington, Indiana

Washi Art and Design, an international paper art exhibition, is the first group exhibition I curated and organized. The show runs from August 26th to September 21, 2017, at the Ivy Tech John Waldron Arts Center in Bloomington, Indiana. The participating artists are Yuri Kawai (Japan), Sachiko Kinoshita (Japan), Amanda Ross (U.S.), Rowland Ricketts (U.S.), Koji Shibazaki (Japan), Jenny Stopher (U.S.), Mikao Suzuki (Japan), Ruigan Zhou (China), and myself.

The Exhibition is focused on the theme of Washi and other paper art. Washi paper is made from the long inner fibers of three plants: Kozo (mulberry tree), Mitsumata, and Gampi. Due to these raw materials and the traditional craft techniques, Washi papermaking has no adverse environmental impact. The paper is very durable and can last as long as a few hundred years.  In Japan, Washi has played a significant role in the lifestyle and culture of the Japanese people. In addition to its more common uses in stationary and in the fine arts, Washi is used in many different cultural activities such as in religious and ceremonial events. Its fabric-like quality makes it suitable for applications in fashion, interior lighting, and interior furnishing. Though there is a long history of Washi papermaking in Japan, today only a few Washi papermakers are continuing their papermaking traditions, and Professor Koji Shibazaki’s Washi research lab at Aichi University of Arts is one of them.

A Surihaku (gold foil painting) workshop was conducted by artist Mikako Suzuki at the Waldron Arts Center. For more information about the workshop, please visit here.

The exhibition and workshop are supported in part by a workshop grant from Indiana University’s College Arts & Humanities Institute.

IMG_3936
Washi paper light by Professor Koji Shibazaki of Aichi University of Arts
21192246_1455984854454579_6029491524037477466_n
Jiangmei Wu explaining to Professor Katy Borner about the intricate Kirikane art by Japanese artist Mikako Suzuki as Professor Hamid Ekbia watched on
21151623_1421479477906162_5594394311792202528_n
Japanese textile artist Sachiko Kinoshita’s Swing Circle is made of yarn and Kozo paper fiber

Folding Helical Triangle Tessellations into Light Art

Citation:

Wu, J. (2018). Folding Helical Triangle Tessellations into Light Art, Journal of Mathematics and Arts, Volume 12, Issue 1, pp. 19-33.

Link to full paper in PDF

Abstract:

This article concerns the artistic and perceptual quality of translucent light transmitted by an origami-inspired paper surface when a light source is placed behind it. It describes my geometric strategies in origami design to create light art through the luminous effect of gradations of light. I first present historical background and related work on origami-inspired paper light art and origami tessellation designs. Case studies follow, focusing on geometric strategies for helical triangle tessellations, considering specific design requirements for creating functional folded light art.

Method for Folding Flat, Non-rigid Materials to Create Rigid, Three-dimensional Structure

Citation:

Wu. J. (October 31, 2017). Method for Folding Flat, Non-rigid Materials to Create Rigid, Three-dimensional Structures. Patent No: US 9,803,826 B2. Washington DC: The United States Patent and Trademark Office

Published_Patent in PDF

Priority Claim: The present application claims priority to U.S. Provisional Patent App. No. 61/893,519, filed Oct. 21, 2013, the entire disclosure of which is hereby expressly incorporated herein by reference.

Field: The present disclosure relates generally to creating rigid three-dimensional structures by folding flat, non-rigid materials. More particularly, the present disclosure relates to a method of folding a non-rigid material with a score or crease pattern into a three-dimensional structure for covering a light source.

Body, Form, Material and Surface Making of Ruga Interior Skin

Citation:

Wu, J. (2017). Body, Form, Material and Surface Making of Ruga Interior Skin, Interiors: Design/Architecture/Culture, Volume 8, Issue 3, pp. 73-87. 2017

Link to full paper in PDF

Abstract

In design history, the concept of ‘skin’ has been used to refer to the outermost tissue that encloses a physical body. So, if the concept of ‘skin’ can be understood as a generator of ideas for interiors that lie in between the flexible spaces around the body and the rigid spaces within the building, what new form and context can an interior skin take in adding to the contemporary interiority? Borrowing from the metaphor of ‘skin’ in fashion, interior design and architecture, Ruga Interior Skin (RIS) explores the ambiguous and conceptual realm connecting the act of wearing, inhabiting and its relationship between body, form, material, and surface-making of a novel interior semi-structural wall and partition. ‘Ruga’ is the Latin word for making wrinkles, creases, pleats, and folds. RIS is inspired by the use of wrinkling and folding to create flexible frameless topological forms that can be suspended in a way that is similar to a piece of cloth or textile. Both flexible and rigid, RIS draws the connection between the body and the interior surface, placing the dichotomy of permanent vs. ephemeral, solid vs. light, and material vs. digital at the center of the concept.

Ruga Swan at Clay Center for Arts and Sciences, Charleston, VA
Ruga Swan at Clay Center for Arts and Sciences, Charleston, VA

Light Harvest at CODA Paper Art 2017

appeldoorn
CODA Museum, Apeldoorn, Netherlands

This summer I was invited to participate in an international paper art biennial at CODA museum in Apeldoorn, the Netherlands. I exhibited Light Harvest, a large interactive installation art that is inspired by the intriguing protein structure of Light-harvesting Complexes (LHC). LHC contains pigments that absorb light and transfer the solar energy to chemical energy.

Three large crates,  about 37.5″ D x 22.5″ H x 73″ L, and one small crate, about 28.5″ D x 19″ L x 33.5″ H, were shipped from Bloomington, Indiana, to Apeldoorn, Netherlands, in early May.  My team and I arrived in Apeldoorn in late May. We rented a small Airbnb house near the museum for four days and were able to walk to the museum to work every day. It was an enjoyable experience. On the first day, the museum staff helped us set up the ceiling canopy in the exhibition space. On the second and the third day, we worked on the paper structure installation and the technical setup. On the fourth day, we worked on the projection mapping.

IMG_2824_sml

After we arrived in Apeldoorn, Kyle Overton and I decided that we would try a new way of coding in Processing to produce a different interactive experience than the previous installation at the Grunwald Gallery. As a result, Kyle spent most of the four days writing 1500 lines of the codes! The Processing outputs a smooth gradation of cool blue and green hues, to be projection-mapped onto the folded Light Harvest protein structure.  The green and blue gradation of light, projected from three projectors, mimics the deep water in which certain photosynthetic algae with a particular class of phycobilin pigments live. Each pigment, contained within LHC, has a unique absorption spectrum, allowing it to absorb certain wavelengths of light. These particular algae, appearing to be red, can carry out photosynthesis in deep water where the wavelengths of blue-green lights are most abundant by absorbing blue-green and reflecting red! When viewers enter the exhibition floor and interact with each chain of Light Harvest, the chain will turn into red-orange color. The interaction means to let the viewers know that photosynthesis is in action!

IMG_2839_sml
Entering the Light Harvest exhibition area, CODA Museum, Apeldoorn, Netherland
IMG_2868_sml
Installation showing one of the protein chains changing from cool blue-green to warm red-orange, CODA Museum, Apeldoorn, Netherlands

I would like to say thank you the CODA Museum staff, particularly Roosmarij Deenik and Helma Peters for helping to turn this project into a reality.

Project Credits:

Jiangmei Wu (with Kyle Overton and Susanne Ressl)

Production team: Steven Dixon, Siqiao Gao, Dexter Wu

Applying Helical Triangle Tessellations in Folded Light Art (Bridges Conference Paper)

Citation:

Wu, J. (2017). Applying Helical Triangle Tessellation in Folded Light Art. In D. Swart, C Séquin. & K. Fenyvesi (Eds.), Proceedings of Bridges 2017: Mathematical Connections in Art, Music, and Science (pp. 383-386), Phoenix, Arizona: Tessellation Publishing

Abstract:

This article describes how I created a collection of lamps made of folded sheets of material using helical triangle tessellations, which are also called Nojima patterns. I started by working with a periodic helical triangle pattern to fold a piece of light art that is shaped in a hexagonal column. I continued by modifying the periodic pattern into a semi-periodic design by adding variations so that the tessellation could be folded into a light art that is shaped in a twisted column. I further developed tessellations that consisted of self-similar helical triangles by using a geometric construction method. These self-similar helical triangles form algorithmic spirals. I folded the tessellation design into a work of light art that is shaped in a conical hexagonal form.

External Links:

http://archive.bridgesmathart.org/2017/bridges2017-383.html

Link to PDF

 

Kaleidoscope 5 at Culver City, California

Ruga Lumina at 3labs, Culver City, California

I was invited to participate at Kaleidoscope 5 in 3Labs in Culver City, California, in May of 2017. The exhibition featured seven engaging installations from nine artists:  Alex Beim, Ben Jones, Kate Parsons and Ben Vance, Ara Peterson and Jim Drain, James Turrell, Akiko Yamashita, and myself. I installed the Ruga Lumina and the Anemoi Light Art.

About seven hundred or more guests attended the Kaleidoscope 5. According to the event organizer, the groups of artists’ “transcendent efforts harness the complex properties of light, skillfully manipulate real and virtual space, and utilize experimental forms of materiality to produce intriguing atmospheres that provoke unique physical and emotional responses.”

Artist Akiko Yamashita posts in front of Into the Light and Folded Light Art (Stefanie Keenan / Getty Images for Harper Sloane Productions)
Honorees Alexandra and Sean Parker post in front of Ruga Lumina and Folded Light Art. (Stefanie Keenan / Getty Images for Harper Sloane Productions)

Ruga Lumina at Detroit Center for Design + Technology, Detroit, Michigan

IMG_2202_edited_03_lighter
Ruga Lumina, 2017, Coroplast, Video Projection, Digital Sensor, Detroit Center for Design + Technology, Detroit, Michigan. Photography by Kyle Overton

Ruga Lumina, an ongoing design research project, is part of my solo show, Jiangmei Wu: Folding into Rhythm and Algorithm, that was on display From January 10, 2017, to February 10, 2017, at Detroit Center for Design + Technology in Detroit, Michigan. There was a closing on February 10, 2017. As part of the solo exhibition, I spoke at School of Architecture and Planning at Lawrence Technological University in Southfield, Michigan on January 12, 2017, at 4:00 pm.

In Ruga Lumina, the latest iteration of  Ruga Interior Skin, interactive digital projection techniques are used to actively engage body-space relationship. As the viewers move in the space, their movements are captured by the Kinect Sensors and the information is translated into color changing information in the digital projections to be projected onto the translucent interior skin that is fabricated from 4 mm Coroplast sheets. A scaffolding that was made of cardboard and wooden rods was used to frame the somewhat flexible topology of the interior skin to facilitate the positioning and connecting of over seventy individual panels. Since the folding mechanism in each of the Coroplast panel is a flexible hinge joint, the edges of the interior skin are reinforced with fixed braces to give rigidity to this otherwise flexible topology.  Both flexible and rigid,  the interactive interior skin draws the connection between the body and the interior space, placing the dichotomy of permanent vs. ephemeral, solid vs. light, and materiality vs. digital fabrication at the center of the concept.

Acknowledgment: This project is supported by New Frontier of Creativity and Scholarship and Center of Arts and Humanities Institute Fellowship, Indiana University. The artist will also like to credit Kyle Overton for his work on interaction technology.

la4a6550_edited_sml
Ruga Lumina 2017, Detroit Center for Design + Technolgy. Photography by Kyle Overton
LA4A6564
Ruga Lumina, 2017, Detroit Center for Design + Technology. Photography by Kyle Overton
LA4A6601_lighter
Ruga Lumina, 2017, Detroit Center for Design + Technology. Photography by Kyle Overton
Ruga Lumina, 2017, Detroit Center for Design and Technology. Photography by ManziYang

Video of Ruga Lumina deconstruction made of still photography. Photography by Joseph Caputo

Paper Folding Workshop at College of Architecture and Design, Lawrence Technological University

dsc0655_cropped1

Folding a piece of paper can be simple and doesn’t require any sophisticated tools. I often tell the students who participate my workshop that paper folding can do a lot more than computer CAD modeling. Since paper folding is unstable and flexible, manipulation of the paper surface to achieve depth and volume is dynamic. The fold stores kinetic energy, which allows the folded form to contract and unfurl. It can then be balanced, connected, hinged, suspended, pulled and popped up to alternate states of disequilibrium and equilibrium. Paper folding is unforgiving and honest. A folded form embeds the memory of a series of actions of scoring, creasing, twisting, wrapping, pressing, bending and folding. Unfolding folded paper reveals a patterned map of creating and generating. Paper folding is generative and evolving. It is difficult to describe an abstract folded form through its visual characteristics. Paper folding is improvisational and unpredictable. A simple fold has many possibilities and can generate many visual results, and it can only be discovered by folding.

About twenty students from the College of Architecture and Design at Lawrence Technological University participated the workshop. The workshop was conducted in the gallery The students are from Interior Design, Architecture and other programs.

I often begin my process using a step-by-step procedure, or algorithm, first by hand only. I demonstrated this technique to the students.  They started by folding smaller pieces of square paper into simple designs, and they then repeated the same steps for a multiple of times to create repetitions of these simple designs. And finally, they worked on connecting the folded pieces to create a larger form. The students learned that small seeds can be compounded and aggregated to create something that is a lot of complex than the original simple design.