In Mike Kelly's discussion about the uncanny, he said " all feelings are provoked by an object, a dead object that has a life of its own, a life that is somehow dependent on you, and is intimately connected in some secret manner to your life" (Mike Kelley) I find this statement interesting because it resonates with my thinking process toward the old objects that tend to have a new life in an exhibition space. Everyone has a pan in their various homes yet seeing accumulated pans in a book self sort on gives the viewers a surprising feeling. The viewers began to relate to the objects but in more a curious way because the accumulation consists of only old pans that have obtained patterns with random manipulations through a long period of time. They are installed as dead objects yet I see life in them. Some viewers mentioned that they have several pans like these and others were also also narrating personal stories upon the pans.
My research is about seeing possibilities within objects and transforming them to have different context. All objects have hidden secrets, they are uncanny just as Timothy Morton mentions, yet it takes the creativity of an artist find those things as hyper-objects. He talks about nature as hyper-object and I'm very much interested in the fact that nature particularly climate change affected the material thus the rusted aluminum roofing that I'm using for my work. This makes me consider the material as hyper-object
The play with dead things also reminds me of my previous exhibitions where I titled the series of works as "fantasy town". I collected several dead objects that have been processed for sale. In this work the frog is positioned as if it were alive, crawling to eat a blade stick. I was playing with the idea of fantasies as Mike Kelley mentioned.
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In the exhibition space all these dead objects were placed as if they were plucked from the tree. It suggested the possibilities within objects, the hidden secrets that we don't see in objects. I see that objects have power. In this image, the objects are no more what they are or known to be, I was seeing them as vegetables and fruits. They were arranged as how fruits and vegetables are sold in Ghanaian market. It was a way of of placing value on the objects.
Mike Kelly also said that " For the very young child, a stuffed animal is not simply a model of some agreeable object, a friendly animal or an object to weave fantasies around, like a doll" I think this statement relates one of my students Wyatt Lucovsky's work he made which was inspired by his nostalgic experience. In his artist statement, he referenced Mike Kelley's stuffed animals. Wyatt made a TV out of card board, through which stuffed animals were dramatically jerking from the virtual space into the real world. He states, "I remember experiencing this as a kid and I believe that I often learned from and was inspired by the cartoons that I watched, as many of the were created to teach and inspire". I think that this work explores a child's curiosity in the nature of cartoons sometimes we tend to love some characters in the cartoon movies that we wished they were our real friends. According a child, this is ultimately uncanny. Mike Kelly calls it the "child's first Not-me possession"
PROMPT 1
PROMPT 2
HYPEROBJECTS OOO
I would talk about hyper-object focusing animal rather than any other object or human because Timothy's hyper-objects explores non-human elements. I see an elephant as a hyper object, in terms of its scale. It could be friendly and at the same time harmful. It is so big that it could do so many things beyond our imaginations.
Timothy Morton also mentions that "to be a thing is to be haunted". It makes me understand what the term materiality of objects mean to artists. In other concepts, materiality sometimes relate to amount or scale. This connects to Timothy's explanation of the TARDIS. I think that object oriented ontology suggests the metaphysical study of nature of objects through which ideologies or possibilities of could be revealed. He said, "Hyper objects are big but we have the controls, we can do anything about them" The OOO means that we have the capability to control the hyper-object, we could manipulate it to rather become a "thing" but not just an object
He said "everything is uncanny", just as Mike Kelley's uncanny analysis about objects. I find the idea of architecture being haunted very intriguing and I think U Ram Choe's Plastic bag in the pavilion gives me that picture clearly. The artist saw the plastic bag as a critical object because it was able to scare him beyond his imagination. He built a golden pavilion and kept the plastic bag in it as an artwork. The plastic bag is a hyper-object because Timothy also mentions that the hyper-objects are scary things. According to Timothy, buildings are also haunted by the past and future so plastic bag is haunting the pavilion thus a building just it haunted the artist. 
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