For all three methods, average errors as compared to experiment are within chemical accuracy for 110 solvation entropies, 11 activation entropies in solution, and 32 vaporization enthalpies. The S ω, S ϵ, and S ϵα models are nonempirical and rely only on physical arguments and elementary properties of the medium (e.g., density and relative permittivity). Here, computationally efficient (i.e., having similar cost as gas phase entropy calculations) approximations for determining solvation entropy are proposed to address this issue. However, this procedure exaggerates entropic effects in processes that change molecularity.
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It is assumed that, because implicit solvation models are fitted to reproduce free energies, this is sufficient for modeling reactions in solution. By disrupting the subtext of these hybrid compositions, Tezuka reveals the essence-or is it the artifice?-of their narratives.The entropies of molecules in solution are often calculated using gas phase formulas. The banality of her symbols of technology, consumerism and ecology reflect more urgent, contemporary needs. But Tezuka works with textiles from the past, whose motifs and designs spring from previous aspirations. Textile art often revolves around layering or embellishment, rather than reduction. Throughout its length, the artist’s stealthy logos rise and fall within the prim traditional pattern. Peranakan 1 pulses from rigid design-flowers and birds on a turquoise background-into drifts of sheer color before regenerating back to its formal woven state and then disintegrating again in a swoon of threads. The colors in this massive train of cloth therefore appear richer and in those segments where Tezuka has removed threads, the fabric has the transparent color and mobility of chiffon. The artist painstakingly redesigned the piece to reverse the warp and weft the colored threads that are typically used to create the design run horizontally, rather than vertically. Tezuka chose this textile as particularly evocative of Singapore Peranakan refers to the mixed-race Chinese, Indian and Malay cultures that embody the “warp and weft” of the nation’s history. Derived from an early 20th-century beaded Peranakan tablecloth, the 24-meter-long piece meanders along the walls, artfully draped against mirrored pillars. The show is dominated by Certainty / Entropy (Peranakan 1), an expansive fabric that swathes the length of the gallery. Other pieces included the reproduction of an ornate 18th-century Indian bedcover suffused with gleaming hot-pink strands, whose unraveled fibers hang heavy as melted wax. A large central portion of the piece is neatly expunged where Tezuka has plucked out a perfect circle of threads, reducing the original design to a blurred shadow highlighted with shiny gold filaments. It appears as worn and velvety as the original, but its heavy floral and fruit motifs are ignited by the gold threading of Tezuka’s modern icons, which hover within the fabric. One of these works, Certainty/Entropy (England 1), replicates a 16th-century table covering. This involves culling threads from a carefully delineated area of fabric, allowing its viscera to spill onto the floor or sag in place. Then there is her untying or “peeling” approach, which she applies to her pieces at Third Floor (all dated 2014). One is by merely extracting threads: her 2007 installation Extracting Warp Thread (Cut and Mesh) (2007) features blood-like rivulets of red thread streaming onto the floor from a wall-mounted piece of cloth. Tezuka then proceeds to partially unravel her exacting creations by “untying and unwinding” the cloth, in order to recompose “structures and stories hidden within the material.” The artist disassembles cloth in various ways. These included familiar imagery such as radiation hazard signs, DNA helices, credit card logos and recycling marks.īut this regeneration is only the first step. These fabrics were reproduced and adapted to Tezuka’s specifications, which involve discreetly injecting the cloth with contemporary generic symbolism-not as superficial embroideries, but as integral, interwoven elements. The artist researched textiles at local museums and identified specific pieces that embodied Singapore’s historical, cultural and aesthetic elements. Tezuka’s “Certainty/Entropy” at Hermès’s Third Floor gallery is a site-specific exhibition of four works rooted in the foundation-and transformation-of Singaporean heritage. But while the shear-wielding Atropos snipped the threads of life, Tezuka incises the warp and weft, altering the essential composition and structure. Her fastidiously conceived swathes of fabric are intricately spun, measured, then deliberately cut to shreds, in a quirky allusion to the three mythological Fates of Greek mythology. The works of Japanese artist Aiko Tezuka are beautiful mutilations.
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