POETIC OBJECT: THE MOVEMENT OF OBJECTS TO A CREATIVE ART-WORK UNDER THE CONCEPT OF OBJECT-ORIENTED ONTOLOGY

Abstract

Background and Objectives: Poetic Object is a sculptural creative work grounded in the concept of Object-Oriented Ontology (OOO), using the repair of broken objects as a case study. The inspiration for this work comes from observing strangely shaped objects in familiar public spaces, such as motorcycle taxi stands or roadside communities. These objects often originate from the repair or reuse of household items for continued functionality. Even though such repaired or modified objects may appear distorted or displaced from their original form (seemingly “out of place”), they still retain traces of what they are or once were. This perception reveals an aspect of objecthood that does not immediately emerge through the visible damage or altered condition of the present form. The awareness of this phenomenon gives rise to the possibility of developing a process of perceiving object existence through artistic creation, by engaging with and manipulating materials. This research, therefore, aims to: (1) study the perception of objects, and (2) develop a sculptural creative process that fosters such perception.

Methods: This study is divided into four stages: (1) surveying the existence of objects, (2) studying object perception through the concept of object-oriented ontology and reviewing contemporary art practices, (3) analyzing object perception through the framework of Object-Oriented Ontology as a basis for artistic creation, and (4) executing the sculptural creation through a process of repair and reconstruction.

Key Findings: The study found that the creative process in this research enables objects to shift from being mere “thing” to attaining the state of “object” (Being) in the artwork. This transformation occurs through the assemblage of materials or elements that differ from their original conditions and previously understood states. This generates a process of thought emerging from the perception of these artistic objects. Furthermore, the act of repair transcends the boundaries of craftsmanship (Craft) and evolves into a reconstructive process within the context of art (Art).

Implications of the Study: The convergence of objecthood in art and the process of making unveils significant implications, revealing the presence of objects where their original state and current existence intersect. This convergence gives rise to the artwork and opening a space for critical reflection and imaginative exploration.

Conclusions and Future Study: The process of engaging with objects in this research expands the boundaries of thought and creativity by exploring object perception that is not confined to human-centered interpretations and meanings. The researcher hopes that this creative process, grounded in the awareness of object existence under the framework of Object-Oriented Ontology, can lead to artistic creation in other fields, including design. Furthermore, the study of object existence beyond broken objects—such as cultural or mythical objects—may reveal alternative ways of material engagement different from reconstruction, which could be beneficial for future artistic creation.