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The Touch of a Human Hand and Heart

Wandering through the virtual exhibitions at the Royal College of Art was delightful, thought provoking and a welcome respite during this surreal time. My selections were purely based on instinct. I was drawn to work that embodied beauty, nostalgia, mystery, the radical, sustainability, human connection, hopefulness and where I felt the touch of a human hand and heart. This body of work presents limitless possibilities for creativity and innovation.

Denise Ream

Adrian Ward’s Utopia

Lois Langmead’s Cameo Presences

Deconstructing the plant into ingredients

Marina Belintani’s Japanese knotweed project

Lowena Poole’s Stop Time by Smashing Clocks

Constanza Valderrama’s Horizon

Qianhui Yu’s Wastopia

Jaden Cho’s Diverse Women (Lily of the Valley — ‘The Lollipop is the Lollipop’)

Laura Aitken’s Ghosts in the City of Angels (part one)

Detail No.2 — This work aims to present the appearance when the painting form gets involved in the basic observation methods that people are accustomed to in the contemporary digital era. In the eyes of the artist, it also comes from the discourse system provided by the issue of 'meta painting'. The figure appears in the painting is reading attentively, while the small rectangular area prematurely covering the surface is the local amplification effect of the book content. This is quite similar to the contemporary behaviour of ‘zooming in and out’ of an image on the electronic device screen, just like the local zooming effect generated by placing the cursor on the product image when shopping online. When people execute the command of zooming pictures given by the brain, their psychological appeal is usually to see clearer details of materials and textures. However, when the same behaviour occurs in the context of painting, due to the influence of some basic attributes of painting , such as timeliness, the contingency of stroke, colour and non-replicability etc, the painting products cannot provide more discernible details than the original image after being partially enlarged. The information that the viewer could receive is still interlaced strokes, and even the colour has an uncontrollable difference to some extent due to the needs of the painting process or the fact that two layers of painting take place at different time nodes. Lingrui Zhang attempts to capture the psychological gap that the viewers could not meet their habitual demands, and its reasons include the self-reference of painting. This kind of self-reference starts outside the art system and runs through the ongoing debate about contemporaneity.

Lingrui Zhang’s WYSIWYG

Manye Xu’s ‘She’ grows ardently

Yoojung Kim’s Can we let cherries be cherries?

Lexiao Guan’s West Mountain

Systematic problems of chemical fertilisers

RYO by Juncheng Wen

Ambrose Yiu’s An Overview: The Cover as Civic Infrastructure

Anabela Pinto’s Movie Night

Wu-Ching Chang’s MY GRANDMOTHER IS AN EGG

Ming Ying’s Rhythm of Life

Hannah Elisabeth Jones’s Lliw Lleol

‘Yuanguang I’ — Longquan porcelain Traditional Celadon (blue/green) glaze

Bingqing Hu’s Yuanguang I

Denise Ream

Denise Ream joined Pixar Animation Studios in 2006 as the Associate Producer on the Academy Award® winning feature film Up. She continued on to produce 2011’s Cars 2, followed by Pixar’s original feature film, The Good Dinosaur, directed by Peter Sohn, which was released in 2015. She is currently working with Sohn on a feature film that will be announced shortly.

Ream began her career in Los Angeles working as a production assistant on low budget feature films, commercials, music videos and industrial films. She dove into the production world with a job at Boss Film Studios, a visual effects company founded by Richard Edlund, Academy Award winner for Star Wars, which specialized in visual effects photographed on 65mm film for their higher quality. Ream started at Boss as a purchasing agent and finished as a commercial producer.

After five years at Boss, Ream went on to work at Industrial Light + Magic where she spent 13 years in production. She began as a producer in the commercial division but quickly moved onto feature films. During her tenure there, Ream worked as a visual effects and animation producer on a number of projects including Daylight, Eraser, Deep Impact, Amistad, The Adventures of Rocky and Bullwinkle, Harry Potter and the Sorcerer’s Stone, Timeline and Tears of the Sun. Ream also served as the visual effects and animation executive producer on Star Wars: Episode III: Revenge of the Sith and spent her last year at ILM as an executive in charge of production for Mission Impossible 3, Pirates of the Caribbean: Dead Man’s Chest, Lady in the Water and Transformers.

Born and raised in Los Angeles, California, Ream graduated with a Bachelor of Arts in English Literature from the University of California, Berkeley. She is a member of the Producers Guild of America, the Academy of Motion Picture Arts and Science, and ASIFA-Hollywood. Ream currently resides in Mill Valley, California.