Games & Wonderments brings together small works, artist multiples, games, recipes, cards and performative objects. These works are modest in scale, but they open situations of play, speculation, participation and poetic exchange.
Many of the works use simple materials: paper, cards, stamps, buttons, mugs, board games, balloons, recipes, boxes, lenses and found objects. Their purpose is not to fill white walls, but to create small acts of attention. They can be held, played, worn, read, performed, exchanged or used.
Rather than treating art as a distant object, these works move it into everyday gestures: drinking coffee, folding paper, playing a game, looking through a hole, throwing a paper airplane, stamping a page or sharing a story. They operate as compact social devices for curiosity, humour and encounter.
BEAUTY MARK
Public art for anyone and everyone
Beauty Mark is a small pin-on button designed as a public and intimate artwork. From a distance, the button appears to be a beauty mark; up close, it reveals itself as a small brown heart on a white ground.
The work is activated by being worn. The wearer pins the button to a point on the body where a beauty mark might be found, turning a private physical detail into a public sign. The gesture is simple, but it shifts attention toward the body, self-image and the social codes of beauty.
The button is accompanied by an instruction: “Of all the treasures of the world, one’s own is always the last to be dug up.” In this way, Beauty Mark becomes a small device for exposing what is normally hidden, questioned or judged.
As more people wear the button, the work becomes a distributed public image. It challenges media stereotypes of beauty by transforming blemish, mark and individuality into something deliberately visible.
CHOCOLATE, SEX AND HEROIN
Flights of fancy for a set of paper airplanes as art multiples
Chocolate, Sex and Heroin is a set of paper airplane multiples conceived as art-placebos. The work offers symbolic flights into pleasure, appetite, risk and fantasy without requiring the actual substances or experiences named in the title.
Each airplane functions as a small performative instruction. The participant chooses a “flight,” concentrates on the selected desire, and releases the plane into space. The act of throwing becomes a temporary substitution: a harmless, absurd and poetic form of indulgence.
The work treats imagination as a physical action. Fantasy is not only thought, but launched, watched and allowed to drift. The paper airplane becomes a carrier of projected desire.
FOR LOVERS OF COFFEE AND VOLCANOES
A simple pocket game
For Lovers of Coffee and Volcanoes is a pocket game about ascent, descent, danger, exhaustion and reward. It uses the image of a volcano as both a game structure and a metaphor for getting lost, climbing, returning and surviving.
Players roll the dice and move up and down a volcanic grid. The goal is to reach the top of the volcano and return safely. The game transforms geological drama into a small social ritual of chance, patience and return.
The background image comes from an exploding espresso maker, linking the volcano to the everyday ritual of coffee. The work connects the memory of descending Mount Etna with the intense pleasure of coffee after physical effort.
A PIANO PIECE
A piano piece with variations, with or without a piano
A Piano Piece is a set of variations for a piano that is not required to perform the work. The piece shifts the idea of piano performance away from the instrument and toward gesture, surface, touch and imagination.
The first variation, Caught Like a Thief, is for two or more players sitting at a real or imaginary piano, or at any other surface. Performed blindfolded, the players create scratch-like sounds and repeat or relocate the action freely.
The second variation, A Breath Sound That is Scratching, uses a foldout score that can be read from multiple directions. Performers place the score on a table, floor, meadow or forest ground and follow it using sandpaper and guitar picks.
The work treats music as an action that can survive the absence of its traditional instrument. It is a score, object and performance situation at the same time.
Materials: printed paper, sandpaper, guitar picks.
DRINK ME LOVE ME BE MY FRIEND
A hand-printed mug for coffee or any other warm substance
Drink Me Love Me Be My Friend is a hand-printed mug that turns drinking into a small narrative event. The work brings together warmth, appetite, childhood memory and the strange emotional power of ordinary domestic objects.
The work refers to a story about a child who refuses food and milk, a frustrated household, and a father who invents a magical appetite syrup. The syrup becomes less a medicine than a device of care, persuasion and family mythology.
As an object, the mug carries this story into the act of drinking. It asks how taste, memory and affection can be attached to a simple vessel, and how an everyday object can become a carrier of invented folklore.
THE EARTH CELL GAME
A board game about life and the living
The Earth Cell Game is a board game developed from a workshop at the Rainbow Centre in Singapore, a non-profit organisation for children with special needs.
The game is played with a die and coloured hexagonal pieces. Players compete to construct animal or flower figures from the pieces, using a combination of chance, strategy and visual pattern recognition.
At the centre of the board is a hexagonal image of the earth composed of 121 rainbow-coloured parts. Around the edge of the board is a set of sixteen figures that players can choose to build.
The work combines play, learning and collaborative making. It treats the board game as an accessible social form in which colour, pattern, rules and imagination produce a shared experience.
NINE LEVELS BETWEEN HEAVEN AND EARTH
A do-it-yourself colour-the-moon kit
Nine Levels Between Heaven and Earth is a do-it-yourself kit that links space travel, food, colour and absurd practical invention. The work refers to Yang Liwei’s book of the same title and to the cultural imagination surrounding China’s first manned space flight.
The kit includes several small works and actions: abstract ink works on crumpled paper, a fleet of paper airplanes, a recipe for Leeky Noodles, and a blinking chopstick trainer.
The chopstick trainer comes with a roll-out placemat showing a partial image of the moon’s surface. When combined with other placemats, a larger lunar image appears. The chopsticks contain blinking LEDs in red, green or blue, allowing participants to “colour” the moon while eating.
The work treats space exploration not as heroic abstraction, but through the ordinary and necessary act of eating. It asks what colour the moon might be when seen through food, light, humour and shared use.
DNA BUBBLE BLOWER
A silly science project
DNA Bubble Blower is a humorous object that brings together scientific structure and playful misuse. Its form is based on the double helix of DNA, but its purpose is to blow bubbles.
The work uses scientific reference without becoming a scientific demonstration. DNA is understood as a structure of life, copying and mutation; bubbles become temporary living figures that appear, float, attach to the world and disappear.
As bubbles land on puddles, stones or surfaces, they invite the imagination to find faces, beings and temporary organisms. The work proposes play as a way of thinking about life, mutation and emergence.
VANISHING BIRDS
A piece of fragile and inflatable art
Vanishing Birds is an inflatable artwork about environmental loss, fragility and collective responsibility. Balloons printed with bird images are inflated with the breath of participants and then set into motion.
The work uses a deliberately light and playful form to address a serious condition: the disappearance of non-human life through environmental destruction and indifference. The printed bird becomes both image and warning.
Participants are invited to keep the balloons in the air together. This simple action becomes a social metaphor: preservation depends on shared attention, repeated effort and collective care.
SPACE ART POSTER GALLERY
A fold-out gallery for a mixed reality exhibition
Space Art Poster Gallery is a mixed-reality art multiple that turns a poster into a compact exhibition space. It combines the accessibility of print with the expanded space of digital augmentation.
The analogue work can be hung in a domestic space, hallway, window or informal environment. Through a QR code and mobile application, the poster opens into a digital layer where individual Art Asterisms can be viewed separately or together as a complex galaxy of constellations.
The project belongs to a renewed form of mail art, extending the circulation of printed multiples through mobile media. It proposes that an exhibition can be folded, mailed, hung and digitally expanded without losing its intimacy.
The augmented layer also includes a view of orbital debris, connecting the imaginative language of space art with the ecological consequences of space exploration.
SPAGHETTI FIBONACCI
An almost traditional pasta recipe for travelling with the mind
Spaghetti Fibonacci is a performative recipe that brings mathematics, tradition and cooking into relation. The work uses the Fibonacci sequence as a conceptual structure for rethinking a familiar Italian pasta dish.
The recipe does not treat tradition as something fixed. Instead, it proposes that traditions remain alive by changing, adapting and being reinterpreted through new situations.
As an artwork, the recipe asks the participant to slow down the preparation and consumption of food. Cooking becomes an artistic act, and eating becomes a way of attending to rhythm, proportion, memory and time.
HOMMAGE
A miniature museum for a spaghetti box
Hommage is a miniature museum constructed from a spaghetti box, a small figure of Michelangelo’s David, and a postcard of Rome at sunset used as a coloured light filter.
The work was made in response to the COVID-19 pandemic and pays tribute to the dedication of health workers in Italy. Its simple materials give the work an intimate and fragile character.
To experience the piece, the viewer looks through the end of the box while moving the postcard across the opening. The coloured light changes the interior atmosphere and transforms the miniature figure into a small scene of endurance and homage.
The work uses David as a metaphor for strength under impossible conditions: the spirit with which people confronted a giant enemy using the means available.
CIRCLE CARD
A work of concrete poetry for a circle
Circle Card is a small performative object that explores the circle as peephole, object, movement and viewing device.
The card is activated through a simple instruction: the participant holds a lens behind the card, looks through the circular opening, and slowly turns 360 degrees while standing in place.
The result is a compact panoramic performance. The surrounding room becomes re-framed as a moving field of colour, rotation and altered perception. The work is both concrete poem and optical action.
WOODPECKER CARD
A performative sound artwork
Woodpecker Card is a hybrid of concrete poetry and musique concrète. It is read as a poem and performed as a sound work.
The card includes text and a small twig. By dragging the twig across the textured edge of the card, the reader produces a sound that evokes a woodpecker somewhere out of sight.
The work joins reading, listening and action in the imagination of the participant. For a moment, the reader does not only imagine the woodpecker, but becomes implicated in its sound.