Today we speak to Sean Lam of Plate Interactive and Hanging Up The Moon.
Yanda: Tell us about yourself and what you do.
Sean: I’m a digital designer by profession and a music hobbyist.
How would you describe your work in one sentence?
Unassuming yet able to communicate on an emotional level.
How did it get started?
I took a course in electronic media design in TP. I knew I wanted to get into this field very early on.
Do you treat it as a job?
Of course, it is a job I’m just glad it’s also something I enjoy.
Are you having fun at it right now?
Honestly, not as much as before when I was bright eyed and wet behind the ears (the demise of Flash didn’t help either) BUT there’s still fun to be had every now and then.
What do you actually enjoy doing?
Spend time with my family and cats, making music.
How often you spend time doing them then?
Not often enough.
Have any daily routines you cannot do without?
Kopi-O. Need that caffeine fix in the morning.
When is your favourite day of the week and why?
Friday cos it’s the start of the weekend. Weekends are precious for family folks.
Are you seeking a work life balance?
How important do you think it is?
What about seeking happiness?
I suppose so… even though I think happiness is overrated.
What is your definition of happiness then?
It is what it is, an emotion. I think people who enjoy melancholia are also happy in their own way.
What are the things that keep you sane?
My family and writing songs.
The publication documents the development and realisation of the production A Short History of Crying by Sanja Mitrovic, which premiered in November 2010 at the Hetveem Theatre in Amsterdam. It is conceived as an investigation into the phenomenology of tears, touching upon themes of memory, emigration and death. In this work, and the accompanying publication, Sanja Mitrovic explores social and cultural mechanisms related to public display of emotions.
The publication consists of two parts. The first part presents materials from research and rehearsals – partly reproduced as scans of photocopies, original books and postcards – alongside newly commissioned essays. The second part combines the original script with photographic documentation of the performance. This part is printed on Chromolux paper: the glossy side presents the documentation photos while the script is printed on the reverse, uncoated side.
The series is entitled The Institute of Critical Zoologists, which is the first interdisciplinary scholarly center dedicated to promoting scholarly dialogue and research on the principles and practices of animal spectatorship, animal advocacy, animal killings and animal-related polices in the fields of social sciences, entertainment, commerce, aesthetics, culture and ecology…
My projects in the Institute of Critical Zoologists produce forms and ideas about the zoological gaze. They concern themselves with the institutionalization, the archive and the mediation of the zoological gaze. The inspiration for my works comes from trends in conservation and zoological research. These trends and events include how economic incentives shapes the appreciation of zoology and its preservation, and the critical debates about the feigned objectivity of zoology as a science; they prompt me to question the ambivalence of these measures and push them to their logical extremes.
Published in conjunction with the Singapore Design Festival in 2007, ‘Document’ contains a selection of works by H55 completed between 1999 to 2007.
To acknowledge the significant relationship between archiving works and the element of real time, the printing company was instructed at the last minute to crop the overall cover a little higher so as to reveal the production ‘markings’ which states the exact time when the colour proofs were made.
This design intervention also exposed the print registration marks and colour bars which added to the overall design of the book cover.