Installation view at Jut Art Museum, Taipei, Taiwan. Courtesy Jut Art Museum
Installation view at Jut Art Museum, Taipei, Taiwan. Courtesy Jut Art Museum
Installation view at Jut Art Museum, Taipei, Taiwan. Courtesy Jut Art Museum
Installation view at Jut Art Museum, Taipei, Taiwan. Courtesy Jut Art Museum
Installation view at NUS Museum
Installation view at Jut Art Museum, Taipei, Taiwan. Courtesy Jut Art Museum
Installation view at Jut Art Museum, Taipei, Taiwan. Courtesy Jut Art Museum
Installation view at Jut Art Museum, Taipei, Taiwan. Courtesy Jut Art Museum
(2014-2016)
Transparencies in Lightboxes of variable sizes, audio installations of variable durations
‘The Other Shore’ is a story of a new generation of Chinese migrants in Hong Kong. Young Mainland Chinese have been migrating to Hong Kong from across China, leaving their homes because of family business, or in search of better education and career prospects. In Hong Kong, they find themselves in majority Chinese and increasingly tense environments, often confronting entrenched ideas regarding ‘Mainlanders’. I worked with mainly young professional or student Mainland Chinese in their twenties and early thirties who are reflective of the surge in this particular immigrant demographic in the last decade. The interactions, which culminated in audio interviews and photography, asked how movements affect how one conceives of one self - how national and family histories and narratives converge with one’s memory, how they are affected by everyday relationships, and how contemporary conditions, be they social, economic or political, create a discordant interiority that inadvertently shape the participants in the project. 'The Other Shore’ was created via a methodology of encountering, interviewing, photographing, hearing, seeing and unseeing, and questioning. In ‘The Other Shore’, the participants are not named and the image and text/audio elements are unlinked. These create an anonymity and a sense that what is said and the experience recounted can be heard in much of Hong Kong. Through this anonymity and the relationship between the images and audio/text, a dissonance between what is said and what is seen is created. Through this dissonance, the idea and fluidity of the migrant identity in Hong Kong, the relationship that many Hong Kongers have to this migrant identity, and the complex relationship between Hong Kong and China are questioned.
The work was first exhibited at the Australian National University Centre for China in the World Gallery, curated by Olivier Krischer, in 2016, and had won the WMA Masters Award, Hong Kong, 2016/2017 . Included in the section are images of the installation of lightboxes when they had been exhibited, and photographs in the body of work.
The Will Always Negates Defeat
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The Will Always Negates Defeat
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The Will Always Negates Defeat
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The Will Always Negates Defeat
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Robert Norman "Bob" Ross(October 29, 1942 – July 4, 1995) was an American painter, art instructor, and television host.[1] He is best known as the creator and host of The Joy of Painting, a television program that appeared on PBS in the United States, Canada and Europe.
Hasui Kawase(May 18, 1883 – November 7, 1957) was a prominent Japanese painter of the late 19th and early 20th centuries, and one of the chief printmakers in the shin-hanga ("new prints") movement.
Kawase worked almost exclusively on landscape and townscape prints based on sketches he made in Tokyo and during travels around Japan. However, his prints are not merely meishō (famous places) prints that are typical of earlier ukiyo-e masters such as Hiroshige and Katsushika Hokusai (1760-1849). Kawase's prints feature locales that are tranquil and obscure in urbanizing Japan.
In 1923 there was a great earthquake in Japan that destroyed most of his artwork.
Alphonse Legros(8 May 1837 – 8 December 1911), painter, etcher and sculptor was born in Dijon.
As he had casually picked up the art of etching by watching a comrade in Paris working at a commercial engraving, so he began the making of medals after a walk in the British Museum, studying the masterpieces of Pisanello, and a visit to the Cabinet des Médailles in Paris. Legros, considered the traditional journey to Italy a very important part of artistic training, and in order that his students should have the benefit of such study he devoted a part of his salary to augment the income available for a travelling studentship. His later works, after he resigned his professorship in 1892, were more in the free and ardent manner of his early days—imaginative landscapes, castles in Spain, and farms in Burgundy, etchings like the series of "The Triumph of Death," and the sculptured fountains for the gardens of the Duke of Portland at Welbeck Abbey.
The Will Always Negates Defeat
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The Will Always Negates Defeat
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The Will Always Negates Defeat
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The Will Always Negates Defeat
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