self 2012

226

I made this painting on 26th February at a playground somewhere in K.L. The same day, a protestation “226 Anti-Rare Earth Green Meeting” was held in Kuantan. I spent the whole evening in the playground, no kids around. I purposely ignore “Green” in the drawing process, or I should say “Green” was just gone away from my sight at the moment I observed.

“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.

self 2011

结局或开始：
三十一而立，细水流长。
从被追赶到自发狂奔，感谢鞭策。
勉励还没结束的，面对未知。

整理了2011 的作品，谢谢支持。

ARTIST'S STATEMENT NOV 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.

我相信贴身事物与身处空间构成个人生活。

我透过刻画“物件、空间、人”的关系，呈现人的生活状态。

我抽取生活场景的片断、日常物件的形象与活动中的人的姿势，透过视触的方法——象盲人般的以线条触摸，把人、物与空间同时建构、结合。当中出现的错置、失焦，与事物在空间中的移动轨迹有关，也与观感上的错觉有关：当视线集中在一点时，两旁的空间会重叠或出现偏差。黑色线描总结了我的触觉轨迹，整体尚是一团混沌。接着我再以白色线描覆盖，把片断连接，整理出些许轮廓。最后为形象确定的事物填上其原色。

相对于叙事或抒发，绘画形式的探讨是我最感兴趣的。对我而言画画在于整理我的感观经验，当中的逻辑就像整理一个抽屉： 我习惯先把东西个别取出，擦拭干净再分类重新置入。在我的作品里结构等于造型，好比把隐藏在雕塑里的支架曝露；而颜色则仅是表面的呈现，不表现主观情感。

Figure in Sofa I

2011 / Oil on linen / 156 x 140 cm

Figure in Sofa II

2011 / Oil on linen / 168 x 182 cm

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。

Falling Figure in Bathroom

2011 / Oil on canvas / 110 x 100 cm

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.

往下坠的姿势是我的另一个主题，出发点是关于坠楼的社会新闻，投射我对日常生活中隐藏的不可知的危机的一种过虑、被害的心里状态。

Nothing Happened Here

2011 / Oil on linen / 200 x 300 cm (tryptych)

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.

这是一幅三联画，关于一场请愿活动，背景是城市一隅，作品记录了我的亲身经历。我用黑色线描把事件勾勒出来后，再以过分的白又把一切掩盖。作品比较了自身所见的真实与媒体所呈现的支离片断；旨在探讨主流媒体的限度，反映我对真相的锲求。

LOCATION OF HOM

By car:

Easiest way is to take the last exit on the AKLEH (Ampang exit). Follow the road, and turn right at traffic light. Go straight until you see Petronas and Caltex on your left, about 50m afterwards, turn left at the mamak called D'Klasik. Find parking.

From Jalan Ampang (if you're coming from KLCC), go straight all the way, passing by Gleanegles and Ampang Point on your left. After taking the overhead bridge next to Ampang Point, turn right at the second traffic light. Go straight until you see Petronas and Caltex on your left, about 50m afterwards, turn left at the mamak called D'Klasik. Find parking.

On the MRR2,(If you're coming from Cheras, make a U-turn under the bridge right after Tesco Ampang.) If you're coming from Ampang, Tesco will be on your right, Perabot Cempaka on your left. Stay left, and turn left at the second traffic light. (There will be a signboard saying " Jalan Cempaka"). Menara Axis will be on your right. Go straight until see rows of shoplots on your right. Turn right and go into the housing area, take first right and find parking.

By train: Star LRT (Ampang Line) station Cempaka. HOM is 3 minutes walk from the station.

yellow shirt

Let's DIY your own "yellow" shirt.
Material: Masking tape, Fabric ink/ Acrylic, Scissors & Clips.

Sequential Narratives

Sequential Narratives：Galeri Chandan，19 February - 18 March 2011

我以为展览的出发点是发掘漫画这当代载体的可能性。

利用漫画符号来进行架上创作早不是鲜事，从普普年代的Lichtenstein到村上隆的Super Flat，英雄主义到御宅族，形式随读者群改变，嗅觉敏锐的艺术家每每都让我惊呼“咁都得”！

然而，从形式本身着手，直接使用漫画这载体以表现/发展艺术的可能性，更让我感兴趣。

随着创作形式的跨界、重叠，同时浸淫在漫画与架上绘画的我常会在画画时想故事，在画故事时又怀念起形式的纯粹。对形式的实验、形象的借用都是我当下热衷的。若"comic abstraction" 是最为我所好的架上绘画形式，地下漫画则以"cult"文化让我狂热。

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。