Ken ✶ Syakira
UNIT 1
UNIT 2
✶ info
syakiraken@gmail.com
The Postgraduate Degree Show (referred to hereafter as the Summer Show) marks a vital stage in our artistic development, showcasing the progression of our practice to the wider public. Although there will never be a ‘final’ form of our practice, the exhibition serves as a crucial testing opportunity to move beyond the academic institution. This formal context allows us to engage in critical conversation with the wider public. From seasoned professionals, to casual art enthusiasts, we get the opportunity to gauge the broader perceptions of our artworks.
Every exhibition serves as a testing ground, a lesson first made clear during the ★one-day Millbank show where we assessed how our pieces interacted within a shared, difficult, space. The Summer Show further expanded this lesson. The preparatorial phase of the Summer Show taught me the practical realities of curatorial decision-making as well as navigating the dynamics of the artists’ ego.
As the culmination of our academic journey, I found it best not to make compromises on our individual artistic practice. The pressure to present our absolute best work was incredibly high. This pressure would lead to the heightening of the artist's ego over teamwork, which became a huge challenge for everyone to figure out together. Though this was our most significant academic exhibition, we kept reminding ourselves that it was a group show which comprised the entire MA Fine Arts program, and not a solo presentation. The central question then became: How can we fully realize the final outcome of our practice without overpowering or overshadowing the work of our peers?
Initially, my plan involved creating more than two artworks and executing them through non-conventional display methods. This meant moving beyond the wall to incorporate pieces of varying sizes and heights, as well as utilizing the floor and three-dimensional space for installation.
After seeing the exhibition space and receiving input from peers and lecturers, I realized the necessity of shifting towards a more minimalist way of presenting. Given the complexity already inherent in the work, the detailed metal welding as well as the long serene drapes from chiffon; it was essential to reduce the quantity of the pieces. Too many artworks and playing excessively with size and shape would interfere with appreciating the artwork. The minimal approach ensures that the labor and detail I invested are not undermined, and that the portals do not regress into a mere collection of windows. Combining this approach with the large, quiet walls with ample white space allows viewers to pause, necessary to appreciate and reflect the work and understanding its correlation with the surrounding architecture.
After an extended back-and-forth with the curation, it was collectively decided that my installation would be best situated in the corner ‘cubicle’ of A512 alongside Hannah and Wenting. The curatorial decision was driven by the strong thematic resonance that overlaps between our practices. Our practice collectively explored similar concepts of domesticity, memory, and space, making our little corner a cohesive conceptual ecosystem for visitors to engage with.
Beyond shared themes, the thematic connection was also reinforced by visual parallels: reconstruction of domestic spaces (Wenting’s house-mimicking wooden frames and my metalwork resembling a window) alongside blurry, fragmented memory drawings in Wenting and Hannah’s pieces. Crucially, we all demonstrated an expanded approach to drawing. Rather than conforming to traditional ways of drawing, we utilize our mediums to push the boundaries of what constitutes drawing through our installations and relation with the physical space.
During the installation, we collaborated closely with the task of activating our shared space and to emphasize as well as elevate each other’s work. Since our grouping was in the corner of the room, we ran through several scenarios to optimize the exhibition flow and ensure visitors wouldn’t simply pass by. Our solution with the help of our lecturers and technicians involved placing one of my ‘windows’ so that it was immediately visible from the entrance, inviting the public into our corner. Ultimately, we prioritized careful spacing to guarantee each one of our pieces; regardless of its size, received the same level of attention and impact.
I had the chance to engage with a broad spectrum of people; from old friends and new contacts to interested casual visitors as well as fellow students from other institutions, all eager to discuss and connect deeper with my piece.
The variety of dialogues and interactions I made became an exercise in explaining my practice and artwork beyond its visual appearance and help a variety of people understand the underlying process and thought. I was able to exchange insight on the intricate welding and sewing process with my friends who are familiar with the machines, as well as diving deeper into contextual conversations driving the installation.
A highlight from the Private View was the conversation I had with Gavin Edmonds. It was valuable to get his input, as he has seen my practice in various contexts; from its rawest, embryonic conceptual stage in Unit 1 to this installation in the Summer Show. Our conversation made me reflect on my initial struggles early in the course when I was overwhelmed with ideas, questions, and difficulty. Knowing where I was last year, and how I grew as an artist. He noted that I have successfully developed my own clear visual language. This achievement is an accumulation of academic learning and also of critical lived experience: the time I spent exploring the city, visiting other exhibitions, and engaging in dialogue with people both locally and back home. I grew as a person and in turn, I grew as an artist.
During the PV, I also had the opportunity to observe the public’s engagement towards my artwork. Most visitors would instinctively zoom in and back; taking a step forward to appreciate the metalwork, and then stepping back to comprehend the full scale, noting the chiffon dangling from the three-meter height. The process of stepping in and out requires significant personal space, which was naturally constrained during the crowded Private View. The sheer number of attendees unintentionally interfered with the contemplative distance necessary for the viewer to fully engage with the work’s scale and detail. Fortunately, this was not the case on the quieter days the following week, where visitors could take the necessary time and space to engage with the piece.
Birdbath (MA Fine Art 24/25’s critical reflection salon) organized a special walk-around tour of our exhibition featuring gallerist Sid Motion and Gareth Bell-Jones, the director of Flat Time House. This experience was exciting but operated as a rapid-fire elevator pitch due to the sheer number of attendees and the tight schedule where we had to cover over twenty student works across multiple floors. The time constraint was severe, yet it provided invaluable practice: concentrating our entire practice into just a few compelling sentences.
During the walk-around tour, Catalina (MA Painting) noted that the designs on my window grills were also common in her native South American home, creating a personal connection for her. This observation led to an inquiry that I never considered: Is the commonality of this window design linked to our shared location in the Southern Hemisphere, or does it stem from a shared history of colonial influence?
The question gained urgency after a separate conversation during the ★Threshold States exhibition with Tom Harper (PhD Candidate, CCW UAL), who added that these designs are also widespread in Europe. This made me realize further that these designs are not typically found in parts of Asia that didn’t have a strong European presence. It may not alter my initial reason for for choosing the design, but it became something interesting to think about, that the architecture I perceive as intrinsically domestic and ‘of home’ might not be purely a heritage of my own culture, but a shared inherited colonial legacy.
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Overall, the Summer Show was a valuable experience. The preparation stage was a rigorous phase of learning, covering everything from the art creating process and curatorial discussion to navigate complex group dynamics and professional work ethics. Crucially, I gained a vital professional skill on effectively translating my practice verbally for diverse audiences, engaging in meaningful dialogue, and successfully putting my name forward by actively seeking out dialogues with visitors and industry peers.
While the Summer show marks the conclusion of my time within the academic structure of UAL, it is merely the first step in my artistic career. The path of an artist is multifaceted, and success is not limited to showing artworks repeatedly in exhibitions; it also lies in engaging with curation, in-depth research, and interdisciplinary collaboration. The possibilities following the end of the MA program are endless, and while that freedom is daunting, it is equally exciting. Executing this large-scale Summer Show has served its purpose: it was a crucial step in preparing us to engage with the larger world beyond the academy.