Deconstruction A collection of personal works 2018-2019 Audrey Chak
Curatorial Rationale As a person who is attracted to lines, forms and shapes in everyday life, I have the tendency to observe details of an object and extract its visual qualities and reducing it to its elementary form. This process of abstraction has allow me to perceive the world in another perspective. Experimenting with angles and perspectives, I see this as another form of language, allowing me to transform what we see in common as an mundane object into a series of lines and shapes. Hence, the theme “Deconstruction” is a departure from accurate representations of reality, as I invite the viewer into my perception to explore the world in another physical dimension. I have arranged my body of work in a survey approach, where I sequenced my work according to the range of abstraction, which starts from closest visual representation of an object to being unrecognizable to reflect my evolving mentality in abstraction. The exhibition begins with Eclosion, and accurate depiction of a dress made out of paper displayed on a mannequin of my height as a reflection of my persona. I encourage viewers to walk around the sculpture to view it at a 360 angles to examine the changing shadows created by the paper cuts. A black cloth is utilized as a backdrop for the second and third piece, whilst providing a sense of direction for the viewer. A Vacation in A Day is a photography series mounted on foam board and hung with fishing wire. Whereas Fluid Metropolis, is a projected onto a large white screen a eye level to allow the viewer to witness the consequences of urbanism from my point of view. The magnitude of the screen also engulfs and isolates the viewer from other works in the collection. The viewer then crosses to Anamnesis, where 30 orange peels are hung on a circular wire structure to allow them to viewer every orange at a 360 angle. The first four works reflects the process of abstracting thoughts into visual forms. The following two pieces that incorporates sense perception and translates them into formal qualities. In Synesthesia, three canvas are hung at different heights, to allow the viewer to stand in my point of view, which also indicates the angle that I am observing. They are hung in different distances from the viewer to mimic a path, to direct the viewer from afar to come closer to look at the textures in detail. The viewer then continues their path as they walk below Propulsion, which is a textile sculpture is hung from the ceiling to reinforce the worm’s eye view of me diving into the water. The viewer walks in the direction from where I am diving and stops at the end of the sculpture marked by a cross on the ground. As they angled their vision upwards, it frames them in the right perspective, which makes the streamline shape more apparent. The final two pieces translates scenarios into visual qualities. Shell-ter is a cardboard sculpture with ink prints as a pictorial representation of the wealth disparity gap in Hong Kong. The cardboard shelter is displayed on the ground, allowing the viewers to climb inside to experience the small cozy space. The finale piece, Bodyscapes is a complete transformation of reducing my body into lines and forms. The sculpture is spread out on a table to mimic a map, serving a metaphor that my insecurities are out in the open to the public. I encourage viewers to bend down to witness the subtle landforms at eye level, which in the process forces them to move closer, which mirrors the act of inviting them to view my insecurities. My concluding piece challenges the viewer to look beyond the surface of what is visually represented, and encourage them to find their own way in expressing their own experience through different art forms. I wish to convey the idea that if we have to fully embrace reality then we have to deconstruct them into elementary forms. Word Count: 667
Exhibition Floorplan
3. Fluid Metropolis
6. Propulsion (hanged)
7. Shell-ter
1. Eclosion
2. My Vacation in a Day
4. Anamnesis (hanged)
ENTRANCE
5. Synesthesia (Hanged)
Legend Artwork Screen Spotlights Route
8. Bodyscapes
Projector Table Viewing spot Black Cloth
EXIT
Exhibition Layout- view 1
Exhibition Layout- view 2
Eclosion Majong Paper 173x 90 x 57 cm 2019 I had always dreamed of becoming a fashion designer when I was young, but faced the pragmatic and protective nature of my mother, who sees this career as impractical and difficult to sustain a living, I am forced to choose another pathway. Whilst this work is an attempt to break through my mother’s constraints and to show my potential for this career by using paper as the medium for the dress, I am constructing my own fantasy as I realize that this would not exist in reality.
My Vacation in a Day Photography on foam board 29.7 x 42 cm (6 pieces) 2018 As a Hong Kong student who faces stress everyday and has to cope with the demands of school work, the ability to day dream frees me is temporary release, where I attach myself from time and space. I would often imagine myself in a natural environment, where I am free to do what I want. Using my meals in a day as inspiration, I explored the range of leisure activities that I enjoy, represented by the figures, where I create a divide between the fictionalized world and reality.
Fluid Metropolis video 4’02� 2018
Hong Kong has always been a city in constant motion, where the passing of time dictates our flow of living. I begin to see how time has an impact on an individual, as time does not await us. Throughout my observation, there is a question that I have encounteredif time is in constant motion, do we as well, appear to be moving unconsciously through space? The video challenges our notion of sense perception, portraying a building which is in motion but appears to be still at the same time.
Anamnesis Orange peels, embroidery thread 43 x 43 x 146 cm 2019 My grandma’s recent illness has made me realize the possibility of losing her one day. This piece aims to preserve the memories with my grandma. The act of peeling oranges remind me of the moments spend together chatting after dinner. The way she slices the orange apart encourages me to cast down my barriers and reveal my inner thoughts with her, and symbolic of our intimate connection. The routine of peeling orange strips demonstrates my attempt to reconnect with my Grandma.
Synesthesia Oil, sewing thread, aluminum, plastic, tracing paper on canvas Dimensions variable 2018 Inspired by the most familiar route home, I explored the journey with my senses, including auditory, gustatory, olfactory and tactile then translated it into textures on the canvas. Through the process, I paid attention to the small details on the trip and broadened my understanding of my living environment. Without relying on my vision, this has been an unique way to interact with the city in a way that I am not accustomed to.
Propulsion Silk organza, sewing thread 400 x 150 x 150 cm 2019 Swimming has always been a meaningful activity for me that allows me to connect with myself. This piece serves as an attempt to capture tactile experience of of cool water running over my skin as I propel through the pool. Inspired by fluid dynamics of water flow, I manipulate lines and forms to create a sensual experience for the viewer. The sculpture showcases a worm eye view of my body in a streamlined position diving into the water, where I enjoy the feeling of momentum of gliding.
Shell-ter Ink on cardboard sculpture 133 x 110 x 88.5 cm 2019
Inspired by Keith Haring’s figure drawings, the work explores the inequality of wealth distribution in society. Each print is unique in order to represent an observed scenario which arises from the wealth disparity gap. The figures depicts the scenario in a humorous manner, which ironically portrays the worsening of this social issue persisting in Hong Kong. Printed on a portable and foldable cardboard shelter designed for the homeless, the work serves as an attempt to help the lower class to improve their quality of living in the harsh environment.
Bodycapes Masking tape and sewing thread 154 x 78 x 14.5 cm 2018 Suffering from eczema since I was six, I feel ashamed of exposing skin, in particularly on my elbows, knees and neck. Hoping to learning more about my physical state as a human body, The action of modeling and shedding mimics the process of rejuvenation, hoping to transfer parts of my body that I am insecure about into a new meaning. The piece explores the acceptance of my insecurities through the process of wrapping and casting, and the transfiguration into geographical landforms in which its beauty would by appreciated as I display my skin as a different landscape to the public.