Online Log
Last Updated 24.10.31
Sweeter Studio
SARAH WONG
Graphic Designer | Zine Maker | Illustrator
sarahewongdesign@gmail.com
LA-area designer, working since 2018. Loves literally every piece of art they see, full of tattoos, always learning and growing.
Contact for resume and PDF portfolio.
Has Worked for
A Noise Within Theater
Vietnamese Film Festival
Laguna Playhouse
Brannan Center
Loves
Matcha Lattes
Tattoos
Colored Foil
Fun Earrings
Dungeons & Dragons
Evil Clowns
CONTACT
7.17.25
Olafur Eliasson’s work is reflective and quiet, playing with light and glass to create illusions of vastness and alternate dimensions.
In comparison to similar, vast environmental pieces of installation art, such as Yayoi Kusama’s infinity rooms, you can stand in Eliasson’s art piece for an unlimited amount of time, mentally at play. The art is large and inviting.
I saw Eliasson’s work a couple weeks ago with Leona at the MOCA. It was the middle of the day, so we were able to see the pieces in quiet contemplation. Around us, families with children weaved through the exhibits, the children excitedly running towards the shadow-making wall, experimenting with the plays of light. Someone in a wheelchair was carefully guided through the exhibits, un-hindered by the usual crowds that come to the museum on weekends.
The large structure in the picture above stretched from the floor to the ceiling, with ample room to walk through. The mirrors reflected the air conditioning vent in the ceiling with sheets of plastic hanging from it. A simple, but strange and soft sight.
Similar structures encircled the main room, some framing skylights, and others, structures of incandescent lights.
In the room, pictured above, smaller displays of light and glass were scattered around the room, self-contained. One piece magnified the water dripping off of colored glass, another showing angled prisims of light. The lantern-like structure in the center of the room illuminated a near holographic range of colors in an increasingly complex structure of mirrors. What felt crazy to me was how consistent the light was from every angle. The colors didn’t shift, like what I would have expected from something holographic.
The whole exhibit played with my perception and my awareness of what light and mirrors were capable of. Less of a deep message, and more of an encouragement to notice the world around me more.
After going through the main exhibits, we sat in the little plywood library embedded at the end of the museum and looked at art books. The featured books were all dedicated to Eliasson’s art. We thumbed through the pages with fascination, commenting on the printing and binding methods.
Some books had paper that smelled like Earth. Others had fanciful cutouts, and still others had gel light filters that played with color and light. A million different ways to contain the feeling of Eliasson’s work inside of a bound 200 pages.
If nothing else, graphic design has made me observant of the small pieces of commercial art that surround us. The books, the pamphlets, the billboards. A skill that has its place, but is becoming less valued as we all become critics of culture in online spaces. Myself included.