about wassily kandinsky

notes Wassily Kandinsky (2013). Point and line to plane. Mansfield Centre Martino Publ.

· vastness, make-believe, synthetic, superfluity (unnecessary large amount of)

· dimension of open-space in contrast to colour value, form extension, line direction (rate/ speed) and intensity of point

· innermost powerful essence of rhythmic tension

· invisible and spiritual in intuitively expression, underlying & apparently impulsive development

· laws of counterpoint, endlessly alive and original as the nature itself

· vision of new possibilities and aesthetics expressions that are spiritually conceived and of superior value

· eternal realities of permanence

· create esthetic enjoyment for audience

· pictorial means and purposed of painting

· three primary planes

· isolation, combination, oneness of art and science


· self-contained, tension

· inner significance: non-existence as the bridge to existence

· lifeless signs turn into living symbols and the dead is revived

· move a point to somewhere it disconnects with the entire flow, separate from surroundings, 

· open-space: delicate sound and overpowered by sound surrounding it - projector sense

· point can be assumed an unlimited number of shapes that goes jagged and directing to other geometric forms

· basic inner nature is arouse in pure tone

· point seems to be non-existent in its perfected roundness, with the slightest tendency to any directional movements

· inner tension: force and tension lives within, sum of tensions inwardly organised

· graphic as technical origin of artwork

· consistent and schematic manner has to be started from the beginning

· when work of art is estimated on a decidedly qualitative basis, a double sound at least is necessary to the composition e.g. absolute sound of the point, sound of the given location in the basic plane

· repetition: heightening the inner vibration, attainment of elementary harmony

· “people owe their existence to the inability of recognising the inner life behind the external appearance of things”

· small point does not sit in the paper but on the paper, remains inner forces to claw their way to the surface - getting back to glass painting, enamel and pigments sits on the glass but silver stained goes into the piece of glass

· texture: reside in composition (purpose) as other element (means), or else mannerism: inner disharmony arises and drown out the end, external taken over the internal

· difference between objective (sound of element being covered) and abstract art (attains full and unveiled sound, with point itself as  independent, self-contained)

· forces from outside the point would tears and push it to the surface, which concentric tension destroyed with a new being arises -> a line


· tension, movement

· line, the second element, greatest negation (2nd stage in dialectical reasoning) to the pictorial point

· run straightly to infinity, endless movement, the tendency also determines inner sounds

· sound of line: coldness by warmth, flatness by height - horizontal cold, vertical warm, diagonal cold-warm

· acentric and free straight lines, loose relationship to planes, tensions of advancing and retreating - remind me of my initial intuitive drawings from straight lines and squares that occupying the entire digital canvas that gave a sense of constructivism

· black & white = non-colours, silence, sound is reduced to minimum with whispering and stillness, lie outside ether colour wheel, intensive inner seething 

· “modern individual seeks inner tranquility because he is deafened from outside and believes this quiet to be found in inner silence.”

· linear expression is kind of translation of external phenomenon and inner world - relating back to the understanding of light code is kind of a translation of vibration from universe into digital or analogue canvas being carried out by spiritual illustrators. also, the saying of artwork is a communication language for those who are not able to express their inner world - as to materialise and visualise the inner being, the surrounding and everything

· angular line - like bridge to connect two forces, which also bring in the triple sound, the matter that depends upon construction as a whole, not to entirely eliminate certain sound, but out-sound the rest

· are art analysis being too haphazard and personal in nature? which science of art would give an objective way

· zig-zag lines: animated straight lines with height

· straight line is a complete negation of plane, a developing circle (from solid line to dotted) is the most stable and unstable planes

· curve/ geometric waves: pressure, tensions and release

· proportions of lines and planes - as the basic in architecture

· action of force brings live into materials, express in tensions and permit inner nature to be expressed

· contrasts ~ inharmonious: contrasting angular with curve, curves along each other, curves apart from each other

· time and space: time element are manifold din lines, exaggerated scrupulousness, sharpness by pressure, restriction

· the clear language with most complex sound phenomena to eyes and indirectly to ears

· constructivist: original form of abstract construction without practical useful application

· geometric and loose structure: fixed and exact are not excluded but employed in different manner

  · identity: basic characteristics of the material must not be left out of consideration, the actual movement and rest - about how to enforce/ enhance/ intentional movement into paint

· point = rest, line = inwardly animated tension created by movement

Basic plane

· set of as individual thing in the realm of surroundings

· two double sounds of rest, determine the tranquil, objective sound of basic plane

· most objective = square: relatively balanced coldness and warmth

· just relative matter, not absolute objectivity

· sound is all about boundary of basic plane

· above gives looseness, light emancipation, freedom

· below gives condensation, heaviness, constraint

· “weight”: not its material weight, but the expression of inner tension, bring tension into consciousness

· movement: intensity and speed

· relativity: absolute is unattainable, point remains isolated which offers complete rest, and square cannot be designed as colourless form with yellow triangle, red square and blue circles 

· destruction: measure of tension, resistance forces = parts, bridges

· “each part of basic plane is individual, with its own particular voice and inner colouration”

· contrasts: vertical warm rest triangles = stiffest creates contrast, horizontal cold rest triangles = mild contrast with slight tensions

· external parallel and boundaries

· composition construction: the inner mood of the time, the inner strength of the personality determines the fundamental sound of compositional tendencies

· art and time: indefinable, completely senseless, inexplicable and dadaism inner disintegration

· “not everything is visible and tangible, under the visible and comprehensible lies the invisible and incomprehensible”

· relative sound: weaker, obstinacy

· everything acentric - diagonals strengthened through repetition with dramatic sound at above

· predominance/ preponderance, antipodes, objectivity of square disappears, replaced by one-sided tension

· possibilities in direction of freedom, soon suppressed again by shortness of sides

· surrounding of BP participate and exert a pressure from the outside

· texture: precise but elastic pliable potentiality, support in external manner primarily, stands in external to support elements inwardly, not the only in building material plane, but in optical destruction of this plane as well

· dematerialised plane: indefinable material space, combination with elements aka the road from the eternal to the inner

· space is identical with depth, with elements receding into depth

· illusion, illusionary depth is an actual one from the pictorial point of view

· transforming material BP into indefinable space offers opportunity of increasing span of time

let sensory flows


about being

Be the light being that illuminates from within

whether or not to fit in the surrounding or not

i’m experiencing and manifesting the present moments and exploring possibilities out of infinity

Being a combination of molecules

Being an individual

Being a translator to transform state of matter

Being an explorer from within

Believe in what i’m doing

Question and doubt about them, so as to carry on my way

Being hands on to tell what is happening and what happened

Being open to embrace every possibilities that could happen in the future

Live the moment



I’m not sure if i’m bring anything new to or for the surroundings to the society or to the country.

Living at the present, for myself has never been easy to work with.

It’s hard to define, to identify who exactly i am.

As i am always in the middle of the journey

In the midway to somewhere and elsewhere

Being the versatility and multiplicity

That I can fit in to anywhere

and so do I can’t focus on only one single direction/ tendency

Visualisation and translation of existent and nonexistent, illusionary and illumination

Always saying i don’t know throughout the months

and i still don’t know where it will be going to

but I’m

embracing the process

connecting with it throughout

that’s far more than enough at the moment

pleasant about what is achieving



transparent water visualise the invisible wind in front of coloured planes

stepping into unknown ponds and pools

dirty wet shoes and trousers

along with a slight happiness from within

a little wishes that could never be made before

shouting as tiny dots on windows

small talks are revealed when they reach the ground

another plane of fluidity



over complicated

details that none of them was being regarded as important



keep on with chaos

not aware

the necessity of conceptualisation

easily being triggered
let it flows and continue
the state of “i don’t know”

decision at the present

the lines i draw, the position i place and arrange things

what is “want”

i am doing something but if it is what i “want”

should it be just a state/ flowing energy at the moment

so focus at the present

let it be what it is

there are tendency

it’s not that uncontrollable but also the the same time uncontrollable

it’s planned but also not as planned

achieving permanent when everything is not permanent

ephemeral, temporary

so what is existence 

the question came again

after a decade

or more than one




the association/ knowledge of things are built through experience and the past constructed the present mindset, including the subconscious one that we are unaware

“reality” is being sensed at the moment, stayed and gone in short term memory, captured on phone digitally, later reconstructed and deconstructed in form of work

there are memory that wished to be altered/ deleted/ retained

the long term memory, the “reality” that I believed is filtered and built through the process of reconstruction, the way of ultimate presentation


“One” “authenticity/ the original piece”

the one created at a single moment cannot be exactly/ 100%/ perfectly reproduced

replicate one can be a new original yet there is only one original

a circle can never be the same ring of tendency

a triangle can never be the same strength of tenderness

a square can also never contain the same volume of weight



there are things that have been buried physically at the bottom of the cabinets

there are things that speaks loudly about themselves on opened shelves

there are things that sit there silently and wait for another pick up

what if i can hear what they say?

how does the vitality work within them?



07.02.2023 | ontology | let sensory flows| doryeek

07.02.2023 | ontology


stay in the middle

it’s not about me, you, us

who comes who knows

this life

Event Horizon

carrying on and going on

I’ll remember


where stars assemble

diphylleia grayi



Virus in throat


Gory on the table


I am still here it’s not the end

One way ticket

Rain soaked the plane in chaotic silence persistence

Grey and glow



They said you have to lost before you owe to nowhere

Cloud acts as loads of marshmallows

and birds just fly by with,

The best thing of my window frame

the wind chimp is still there
and so as the moon [D.]

about failure

about failure 10.02.2023

It takes years for designers to create something and put into their design into production. There are endless negotiations and compromises. Furniture and lighting will be discontinued if there are any kind of design or manufacture failure, market demand and supply mismatch, even company being acquired by another is in some sense being regard as a failure of monetary/ business operation, but in fact sometimes it is just the timing to change for a more sustainable future, e.g. Skagerak and Fritz Hansen. However, sometimes it is just a good and beautiful piece of work but the market is yet to accept or to adapt themselves with the creation. There are furniture that could only be put into production after the designer was dead, which the initial draft or protocol was the only clue. Due to all sort of availability and constraint, it was such a shame that certain designs were not able to be visualised or put into production.

When result does not come as expected, some will regard it as a disaster or a failure. But I found it as some sort of direction to go for improvement and so as to carry on. Like, 7.2. The idea came with forming a bowl from cutting a circle with 6mm float glass sheet, while the remaining material around the circle are generally being regard as waste that staying on the shelf of the basement forever. What if I can do something with them or at least make use of the entire piece of sheet? In which, this is the beginning of 7,  the experimental and entire cycle of a piece of float glass sheet that commonly use in creation as a prototype instead of the ultimate piece due to its materiality nature. 

I always doubt about the definition of “failure” as if it is just a level or a form of material that matter itself may become and I just accidentally reveal the vitality within it. Or the word “epiphany”/ “divine moment” in the book of Omer Arbel.

In which, clear float glass is showing everything within with its transparency, including its cross-section, the form and so as any flaws like dust or particles that stay there in the kiln and being picked up during the forming process. I have been thinking about what if it goes exactly what i want at the first place, what will be next and what can I manipulate to go for a different results? Should it be about the methodology like fusing and slumping or pate de verre that I always want to give it a try? What about trying levels of temperature in kiln forming, adding varieties in grinding process, or another way to locate them into the plaster bed? “Failure” that people generally defined may be kind of valuable to somebody else, which may be the opportunity and even direct them to certain other possibility that they have never imagined.

Although I see “it” as a continuum, it has never been easy or comfortable to do so. I described it as a labour work to my friend in the studio and started calculating the quantified attempts in the process. It comes to over 2 hours of drilling circles, grinding them at the same time soaking hands into cold water in another 2 hours, hours of design and preparation about what to do with them and so as the tensioned wait while the piece is assembling herself in the kiln. There is a string that getting tight to drag me moving and which is also the motivation of not just sitting or procrastinating and reading philosophical books without trying to linking back to what I am doing in my practice. Practical and philosophical things go as the two sides of one sword, while I always tell myself and so as to the others 

“it is fine, it will be alright, it is okay”

after mumbling to myself about what gone “wrong” or not as expected.

Preparing for kiln formation, sandblasting and cutting glasses have been sharp and hard work, yet it is what I am trying to do and posing myself into a flow of experiment, so as to sort out the ways and focus of my yet to be developed glass maker/ artist journey. 

Taking the team Omer Arbel Office saying in their 113 material experiment took place in Victoria and Albert Museum last year as the end of this journal, fail as fast as possible and be an explorer, not just a glassblower.

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