LIVES AND WORKS
LIVES AND WORKS
Biography & Artistic Thesis
I am a Hong Kong-based artist in multidisciplinary practices, with a primary interest in painting and installation. My work has been displayed in several group exhibitions across the South-East Pacific, including the Museum of Lost Public Notices, RMIT University (Melbourne Australia),The Jockey Club Creative Arts Centre (Hong Kong), and the Kikinda Cultural Centre (Kikinda Serbia). My very first solo exhibition will be organising at Five Walls Projects, Art Gallery (Melbourne, Australia) in February 2020. Currently, I am in the final year of my Fine Arts degree, majoring in Painting at RMIT University (Melbourne Australia), and am expected to graduate in December 2019.
The body of works is a combination between contemporary art and science, more specifically the physics in space and the movements of the human body. Within my art practice, I have combined the exploration of materiality and architecture to study corporeality and the bodily acts of making. Corporeality is the quality of being or having a material body. My work emphasises on the physical and mental act of making, as well as material exploration in regard to elemental materials, elemental processes and direct engagement with such matter. The influences of corporeality are central to my practice, as the work has a direct association with bodily dimensions and actions. The visual impact of the paintings highlights three key aspects: the artist’s physical strength used to crumble or fold, the audience’s sensory awareness to the dimensions of the material, and the overall relationship with space, the body and the material, ie. the interaction with the forces of the outside and inside, the physical forces of the body and the material construct of the material itself. Making is therefore inextricably linked with the outcome, which is a visual record of cognitive processes. When emotion, perception and material work together, they fuse as one to create an artistic experience.
In the initial construction of the three paintings - Blind Fold #1, #2 and #3, I intended to take a geometrical shape as my foundation to create a three-dimensional rejection flatness by blind folding and crumpling - a metamorphosis that amalgamates the historical tradition of abstraction and conventional folding techniques. I discovered the tremendous challenge of creating artworks without vision. The first appearance of these paintings resembles the shape of a pristine black destructive geometrical shape, with vivid soft edges created by blind folding and crumpling techniques. The entire pristine surface, with its natural looking creases, shows rhythm and flow which offer a liveliness and expression to the works. In addition, veering between abstraction and minimalism has become a fundamental part of my vision for this work. This henceforth influenced my choice of colours. I used acrylic black paint as the primary colour for the paintings to produce an even and low sheen surface. The four edges are painted in black charcoal to give a strongly ambiguous appearance. Moreover, the surrounding background compliments the blackness with rustic sense that resembles wear and tear, thus creating a chaotic expression through use of the human hand. The characteristics of the painting portray a spontaneous, harmonic and affectional abstract composition born out of destructive action.
In summary, “The Fold” is a minimalistic representation of how the act of destruction can become the reconstruction of a new shape or expression. The works are an attempt to close the gap between art and science, aiming to celebrate the immersive experience of using one’s hands to engage with the materials while underpinning the embodied theoretical practice of making.
WHO I AM
Hong Kong based artist in multidiscipline practice.
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