Tuesday, 28 February 2012
“A drawing of a tree shows, not a tree, but a tree-being-looked-at.” -John Berger.
My purpose of drawing is to record my viewing experience, rather than to imitate.
My drawings always come in 3 layers: black, white and colours. By adapting the formula of classical painting, I shape representation form with black lines accordingly to my collective conscious from the subject and space, and then I purified my intended images with white pigment by overlapping the previous black outline. At last, I apply an even paint onto surface, to reveal what eye sees: colors, shapes, optical phenomenon.
I mark each of my drawing stage with a time, and leaving the particular area with no following layers. It is to record my viewing track, to proposes the simultaneity of a multitude of moments.
Saturday, 31 December 2011
Sunday, 6 November 2011
Personally, I am interested in the connection between “still” and “life”.
I deconstruct and rebuild visual relationships as I draw on figure, everyday objects and space. This is not to depict literal dismemberment, but rather to augment the disconnected, anxious tension between themselves, their bodies and immediate surroundings.
By adapting the formula of classical painting, I shape representation form with black outline accordingly to my collective conscious, which inspired in daily life, and then I purified my intended images with white pigment by overlapping the previous black outline. At last, I apply an even paint onto surface, to reveal what eye sees: colors, shapes, optical phenomenon. Color isn't playing any significant role to portray my feeling.
In my artwork, narration and expression are not my concern. “Form” is my intention. I am inquiring into a formula that can completely record the sensational experiences. My process of painting is like withdrawing a drawer, and then inserts it back after clearing and cleaning it.
In black and white events of ‘Figure in Sofa I’ & ‘Figure in Sofa II’, I am depicting a fluid human form in the sofa which place in a living room. I translated the visible objects into my vision; I am capturing the movement of still life and suggesting a quiet but pervasive depression atmosphere in a timeless tense of a living room.
椅子是我的常用主题, Figure in sofa I 与 Figure in sofaII 捕捉如肉团般滩在沙发里的人的姿势。少了骨架支撑的肉体似乎遭沙发吞噬，是我观照自身的生活经验得出的形象。
The falling gesture images came from my memory, on the daily news letter that i have been through. I feel insecure, with the victim’s state of mind, to the hidden crisis that might come to me in anytime anywhere.
Study on a sequence of motion (walking). I tried to restore the scene of a petition from various aspects, based on personal experience. I paint everything with black lines: the possible details and process, and then I cover/ rubbing off everything with white paint.
I doubt the authenticity of my life, through the information that is reported in mainstream media, through the contradiction of being an active facebooker to the great silent majority, through the invisible warning lines everywhere.
Tuesday, 1 November 2011
By train: Star LRT (Ampang Line) station Cempaka. HOM is 3 minutes walk from the station.
Saturday, 9 July 2011
Tuesday, 8 March 2011
Cult 的思潮起于美国的B级电影，不完整、错漏百出的设定、荒诞的剧情、暴力与性虐待、淋漓尽致的感官快感、黑色幽默... 最可爱是不按牌理的叙事方式：急转直下、反高潮。从B级文化吸收养分，导演如高氏兄弟、Spike Jonze、Quentin Tarantino等都拍出了艺术的高度。漫画方面，美国与加拿大也是个中表表者, 虽说都是地下漫画作者但有不少已是展馆常客。
这次的展出作品有好些是正职的漫画作者，一些偏向插画，纯美的较少。可能没有明显的主题，展出的作品只注重把漫画表现在不同的载体上：如动画形式、雕塑或架上绘画（有些是digital print on canvas)。一般的叙事手法，常见的画法，内容通俗。我的作品入选原因大概是因为丝印在布上吧'''。（突然怀念起cutie cultie comic show添！）
我的参展作品：Why are they not coming to town? 说的是为何大家都不来番薯国？圣诞老人怕火烧教堂、Harry Porter 怕挤不上火车、蜘蛛人怕被从14楼丢下... 想以西方中古的黑色寓言方式作一警世漫画。丝印了两份，第一分印在信封上，之前参与了新加坡的Pameran Poskad 2010展。