NORM YIP | 葉 灃
27.12.2016
Room 809, 8/F Hong Kong Chai Wan Industrial Building 26 Lee Chung Street Chai Wan, Hong Kong T: +852 2540 6267 M: +852 6838 8948 E:
nwy@normyip.com
W:
http://normyip.com
Design, text and photography by Norm Yip Copyright Š Norm Yip 2016. All rights reserved. No part of this book may be used or reproduced in any manner without written permission except in the case of brief quotations embodied in critical articles and reviews.
Cover & Back: Norm Yip, Ode to New York, No. 1, 2016, Acrylic on Canvas, 125 x 125cm
NORM YIP 葉灃
26.12.2016
Profile Norm Yip’s work eschews any one medium or genre; it
Norm further expanded his artistic repertoire when
weaves in a constant circle around photography, graphite
he began photographing the Asian male body. Inspired
drawings and paintings. The essence of his art permeates
by the chiaroscuro aesthetic of Herb Ritt’s sculptural
at several different levels; reflecting varying aspects of
subjects, his series of photography books - aptly named
his mind and heart at play.
‘the Asian Male’ - brought a renewed sensibility to the Asian man as monuments of beauty, desire and pleasure.
Graphite drawings dominated his early repertoire and remains some of his most philosophically and emotionally
In 2012, Norm set out to combine his disparate interests;
influenced pieces today. Pencil and paper meet to inscribe
allowing photography and painting to collide and fuse
his awakening into the mysteries of life and death. At first
into an altogether different form of expression. Through
appearing as symbols, the drawings tend towards the
a process of image transfers using an ink toner printer,
formless - the ‘being-ness’ of existence represented in a
paper and acetate with animals and portraits as his initial
series of embryonic circles.
subjects, the pieces that emerged were highly textural and tactile; vivid in their raw emotional energy and vigor
Where graphites provided glimpses into his deeper sub-
while tempered with a tenderness and sensitivity born
conscious, it was acrylics that gave Norm’s thoughts full
from years of observation and experimentation.
voice - a vocabulary exciting and rich in both colour and form. His visual language of choice is that of abstraction, with recent works inspired both by nature and the malleability of the medium; using colour to capture movement and guide the eye. In another series, he uses the infinity symbol ∞ to represent the unending consciousness of life; bound neither by birth nor death.
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Biography Norm Yip was born in Canada in 1963 to Chinese parents.
In photography, Norm’s work was first recognized
He received his Bachelor of Arts degree (cum laude) in
when his photographs of Asian men was selected to
1984 at the University of Saskatchewan and his Bachelor
appear in publications 2Blue and Dreamboys 2, both
of Architecture degree in 1989 at the University of
special editions of aclaimed Blue Magazine, known for
Toronto. In 1994, he moved to Hong Kong where he
its excellence in fine art photography of male physique.
worked as a project architect for Wong & Tai Associates
Since then, his work has been featured in The Best of
Ltd and RTKL International Ltd before pursuing his
International Nudes Photography III by Feierabend
greater interest in art and photography.
Unique Books and The Romantic Male Nude by James Spada.
In 1999, he co-founded the art collective Meli-Melo Artists Alliance (MMAA) along with Betty Cheung and
Norm has taught photography courses at The Open
Wilson Chik, where he curated several exhibitions with
University of Hong Kong and has been a guest lecturer
artists such as Gavin Tu (Hong Kong), the late Neung or
at the Hong Kong Art School. In addition, he has been
Panuwat Hoonbamrung (Thailand) and Oksana Movchan
invited by the Cathay Camera Club to act as a judge in
(Canada).
their monthly photography competitions.
Shortly thereafter, he formed his own photography
In 2008, he moved his studio to Chai Wan, an industrial
company Norm Yip Photography, in addition to Studio
neighborhood, where he continues to photograph, paint
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and draw.
the district of Sheung Wan -- where he hosted private and selected exhibitions in the mediums of photography, painting and graphite.
As a photographer, Norm’s work has appeared in HK Magazine, WHERE, Global Investor and American Express’ Centurion magazine, Prestige, and Luxury Properties Magazine. Celebrities he has photographed include Zhang Yimou, Jennifer Lopez, Ricky Martin, Destiny’s Child and Korean pop-star Rain.
Ode to New York, No. 1, 2016 Acrylic on Canvas 125 x 125cm
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Ode to New York, No. 2, 2016 Acrylic on Canvas 125 x 125cm
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Untitled (Self Portrait), 2016 Acrylic on Canvas 125 x 125cm
The journey of this painting took nearly a month of indecision and searching. As a result, I destroyed one painting in the process after 3 white washes of one canvas; thereby starting over completely. One friend to whom I mentioned this to said that was very courageous. I thought so too, but only because I felt no guilt or anger from the fresh start. Process. No feelings of discontent or anger. Just let it be. The new canvas proved to be the right thing to do. I could feel the surface of the canvas again; and how it would inform me of it's need to be felt. So what went on in my mind as I was painting this piece, which didn't have a title prior to the completed art? I was trying to force it into being similar to the first two paintings in the series of Ode to New York. I wanted it to be the same vein at them so there would be a coherence of bold dark thick lines and form with richness in contrast and colours, meanwhile being balanced throughout with areas of confusion pitted against clarity and sharpness. I wanted it to look like the first piece in the series, but it simply would not happen. I felt at times that I had been a failure during this process. How could I not do it again? This gave me the feeling that I should never do a commission. Midway through the second canvas, I came to a stage of the painting where I thought: yes, this is coming along. I put that thought on hold and continued to paint the surface with a secondary thought: the new work has to have its own identity. It is desperately wanting it's
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own character, it's own voice. The message is different. With that, I took the brush and once again, make marks. I pulled back from the painting and to my dismay, it looked like shit! What the fuck? I took the painting quietly and placed it in the storage area. I didn't want to look at it again. The next night as I lied on the sofa, the voice inside said: push it further! I didn't like the word 'push'. I corrected the voice with my own and said 'I'll work on it more'. With that, I pulled the painting out from the storage area and lied it flat on my painting table. I turned down the lights in the studio to darken the space, while I had a light on in the adjacent room. With that, I started to paint. Something magical happened and I could feel the energy moving through me, transporting the marks onto the canvas. I knew it was coming. Layers of colours went on with a new feeling coming to the canvas. I pulled the painting off from the table and place it on the wall. I felt another colour wanting to make its mark and again, pulled the painting down and laid down the several more marks. Suddenly, there it was. It was right; it was perfect. For it's title, I knew it was a self portrait of me in an abstracted form of disjointed feverish brushstrokes with underlying layers of complexity, but it is an untitled piece; this could be anyone, it could be you, the viewer.
Pulsation, No. 6, 2016 Acrylic on Canvas 100 x 100cm
Many of the great painters had muses; they provided the inspiration for their artwork amongst other things. I have my muse as well and she comes from the city of Hong Kong itself. Hong Kong is the place where I have felt an inner connection with: the energy, the vibrancy, the dense population and it’s frenetic pace in which it operates under. She casted her spell on me from
That very day, I was about to start on a new painting. I froze, not knowing how to approach the blank canvas. Previously, my inspiration stemmed from aesthetic beauty. This time though, beauty was not on my mind, but I had to translate the feeling into my art. How it would turn out, I would not know. And so, I just let it happen. The results of which you see are shown
the day I landed in 1994. It is something that is very hard to describe, but a close feeling that I have submitted to many times within my creative work as a visual artist. Pulsation is my newest work and is a continuation from my Vibratory Field series of paintings; however the paintings have extra ingredients: pain and anger.
here: eight paintings that were generated in short matter of time, imbued with the energy and fervor that my mind and body had succumbed to.
The deeper story behind the origins of the Pulsation series are sad and tragic, which all began in Orlando, Florida and the mass shooting that left 49 people dead in a gay bar. That gay bar was called Pulse. The emotions that streamed through my mind as I watched the news and its repercusions halfway around the world in Hong Kong was no less than shock, sadness, and horror. It left me numb.
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The brushstroke are bolder and more emphatic than previously. There is a quality that resonates with both inner energies and outer influences of suffering and confusion. It is chaos within order or order within chaos.
Pulsation, No. 7, 2016 Acrylic on Canvas 100 x 100cm
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Pulsation, No. 8, 2016 Acrylic on Canvas 140 x 140 cm
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Pulsation, No. 1, 2016 Acrylic on Canvas 210 x 140cm
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Pulsation, No. 2, 2016 Acrylic on Canvas 210 x 140 cm
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Pulsation, No. 3, 2016 Acrylic on Canvas 152 x 96 cm
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Pulsation, No. 4, 2016 Acrylic on Canvas 152 x 96 cm
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Pulsation, No. 5, 2016 Acrylic on Canvas 152 x 96 cm
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Rapture, 2015 Acrylic on canvas, 125 x 125 cm
My interest in quantum physics and vibrational energy influenced my series of paintings I call the vibratory field. They are works that delve into the particles which make up the physical matter in which we live and work under, where fractals, neutrons and protons and electrons exist in their vibratory non-static state. Although the genesis for the artwork came from a less analytical beginning of letting go, the outcome was extroadinarily engaging. The hills and valleys remind people of my photography work, and others have related the landscapes as a painting of the vibration of particle resonance. As the title implies, it is more nebulous and more about feeling of blisss and ecstacy, something that is so rare in our every day experience.
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Rapture, No. 3, 2015 Acrylic on canvas 125 x 200 cm
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Rapture, No. 4, 2015 Acrylic on canvas 125 x 200 cm
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Travelling, No. 1, 2015 Acrylic on canvas, 200 x 125 cm
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Travelling, No. 2, 2015 Acrylic on canvas, 200 x 125 cm
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Travelling, No. 3, 2015 Acrylic on canvas, 210 x 140 cm
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Ecstasy, 2015 Acrylic on canvas 125 x 200 cm
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Ecstasy, No 2, 2015 Acrylic on canvas 125 x 200 cm
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Germination, No. 1, 2015 Acrylic on canvas 100 x 100 cm
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Germination, No. 2, 2015 Acrylic on canvas 210 x 140 cm
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Germination, No. 3, 2015 Acrylic on canvas 200 x 125 cm
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Dark Matter, Unveiled, 2015 Acrylic on canvas 100 x 100 cm
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Infinity, No. 5, 2015 Mixed-media on wood 92 x 92 cm
I have always been intrigued by the idea of infinity. It represents the spiritual, the unending existence (or non-existence) of consciousness. The symbol itself, much like the circle, found its way into my work, after contemplating how I should actualize the artwork. Would it be through the use of graphics or should it be raw and unrefined? Initially, I thought of making all the works through the use of computer graphics, but it was not the language that materialized; rather, it was through the use of using paints, canvas and wood. Infinity, No. 5 depicts a fiery red-orange landscape and reminds me of the creative forces at play. For those familiar with the Tarot, it is akin to the Two of Pentacles and the Three of Wands. It represents a new frontier of creative energy (fire) and the dialectic of the rational and the irrational, between physical form and spiritual, which is symbolized by the lemniscate (∞ ) or infinity symbol.
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Infinity, No. 3, 2015 Mixed media on wood, 60 x 60 cm
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Petals from the Anointed, 2015 Acrylic on canvas, 152 x 96 cm
In the act of painting, I have always been conscious of how I paint and the way in which it comes in contact with the surface of canvas or wood. The motion, the gesture or force in which the paint is applied is a part of making marks. In many of my earlier works, I was already aware of how I wanted the paint to appear on the surface, and made attempts even to hide certain brushstroke on the canvas. In the Abstract Series 2015, my working tools in this case is both a brush and a piece of cloth. I apply the paint first with a brush, vigorously putting on globs of paint onto the canvas. Subsequently, I use a wetted cloth to spread the paint, thereby creating my ‘ground’ or first layer. I have no specific agenda nor a description; it is purely abstract. The sweeping and gentle pull of the cloth as it streaks the surface of the canvas is exciting and beautiful, especially when two colors are applied simultaneously. As usual, the process (if its feelings could only be recorded) is so crucial the to process of creating art.
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Symphony from the Divine, 2015 Acrylic on canvas 152 x 96 cm
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Visitation of Aurora, 2015 Acrylic on canvas 100 x 100 cm
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Windows of Memory, 2004 Acrylic on canvas 126 x 153 cm
Patches of color in a field of background pastels. This the physical manifestations of listening to impressionistic emotional music compositions that brings a sense of peace and serenity in the frenzied city of Hong Kong. The patches of color are created first as an under-layer, and subsequently covered by more layers of varying shades, usually in pastel colors. The painting evokes contemplation and peace, besides reflection. Looking at the artwork close-up, there is an intense connection between the colors and nuances, and of the beingness of the painting.
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Windows of Memory, No. 4, 2015 Acrylic on canvas 125 x 125 cm
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Windows of Memory, No. 2, 2015 Acrylic on canvas 100 x 100 cm
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Secret Constellations, 2004 Acrylic on canvas 113 x 88 cm
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Lust, 2013 Mixed-media on canvas 100 x 100 cm
In 2012 I had set myself the goal of finding a new way of combining black and white photography and painting, but without going the route of using an inkjet printer and canvas (although the option to do so in the future still lies firmly in my mind). I was seeking something highly textural and tactile, where the surface expression of paint and photography could combine successfully, but without it needing to perfect or pristine. I found the ideal working method through a process of image transfers using a printer, paper and/ or acetate, and acrylic gel medium. The process is a relatively simple procedure not unlike transferring a tattoo sticker onto your arm. The resulting artwork has a vintage or distressed look that is appealing. In 2012, I curated a group exhibition entitled Seven Deadly Sins at Voxfire Gallery. The idea was based on how I was suffocating as a young adult when confronted by Christian beliefs regarding homosexuality. The sins were considered evil, and had the power to send you to the pits of hell. Rather than using women or abstraction to represent the sins, I opted to use animals and color to convey the message of violation of God’s will.
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Greed, 2013 Mixed-media on wood 60 x 60 cm
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Gluttony, 2012 Mixed-media on wood 60 x 60 cm
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Sinha is here, 2013 Mixed-media on canvas 90 x 90 cm
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Lava Basalt 1, 2010 Acrylic on canvas 157 x 97 cm
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Lava Basalt 2, 2010 Acrylic on canvas 157 x 97 cm
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Lava Basalt 3, 2010 Acrylic on canvas 157 x 97 cm
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Lava Basalt 4, 2010 Acrylic on canvas 100 x 100 cm
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Lava Basalt 4, 2010 Acrylic on canvas 100 x 100 cm
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Beyond, a better day, 2003 Acrylic on canvas 97 x 92 cm
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Exhibitions, Recognition & Events December 2016, The Wild Collection, Selected paintings from
December 2014. Embryo, Solo graphite drawing exhibition, L’s
Seven Sacred Sins collection, Awethentic Gallery, through
Where, Hong Kong
Consigg Limited, Hong Kong October 2014. The Asian Male, solo photography exhibition, November 2016, Two Minds One World, Group exhibition of
Gallery Box, Zurich, Switzerland.
selected paintings and photographs with Alexis Reynaud, Gallery Box, Zurich, Switzerland.
October 2014. Andy Warhol X Absolut, group exhibition, Pink Season Factor, Azure Restaurant, Hong Kong.
November 2016, Aids Concern Charity Event, Painting Rapture, No. 2 was sold during live auction, Aids Concern, Hong Kong
October - November 2013. Cool on the Inside; Hot on the Outside,
August 2016, Pulsation, Solo painting and drawing exhibition,
photography exhibition, Studio 8 HK, Hong Kong.
Tree of Life, Hong Kong. July - August 2013. The Narcissist, photography exhibition, Studio June 2016, Clifford Chance Pride Art Exhibition, selected
8 HK, Hong Kong.
artworks, Clifford Chance, Hong Kong. July 29, 2013. Collections, Selected artwork Greed in a group June 2015, Pride Art Exhibition, Group exhibition, Clifford
online exhibition, Saatchionline, London.
Chance, Hong Kong July 26, 2013. Story of the Creative, Selected 3 image transfer May 2015. Selected artwork Infinity, No. 4 in curated collection
artworks to appear in See | Exhibition Space, Angel Orensanz
New This Week - 5-25-2015 by Saatchi Art (online), Los Angeles.
Foundation, New York.
May 2015. Selected artwork Infinity, No. 3 in curated collection
November 2012. Curator and exhibitor. Seven Deadly Sins, Voxfire
New This Week - 5-11-2015 by Saatchi Art (online), Los Angeles.
Gallery, Hong Kong.
May 2015. Selected artwork Spring rejoicing in curated collection
August 2011. Group exhibition RetreAttack – RA Vol. 2, Selected
Bright Abstracts for under $2,000 by Saatchi Art (online), Los
photographs of Janice, Dahlia Gallery, Singapore.
Angeles. February 2011. Group exhibition Heat, Selected photograph and April 2015. Selected artwork Heaven is here in curated collection
painting, Charity Art Sale for Hong Kong Aids Foundation, Voxfire
New This Week - 5-4-2015 by Saatchi Art (online), Los Angeles.
Gallery, Hong Kong.
April 2015. Selected artwork Infinity, No. 1 in curated collection
November 2009. Group exhibition. Selected graphite Verge V.
All Things Abstract by Saatchi Art (online), Los Angeles.
Zonta Club of Hong Kong II. Charity Art Sale. Rotunda, Exchange Square, Hong Kong.
April 2015. Selected artwork Will you remember? in curated collection New Portraits by Saatchi Art (online), Los Angeles.
May - June 2009. Oxford Pride 2009. Group exhibition to the theme of 1969 Stonewall. Two bondage photographs were selected to appear in the show. Oxford, UK.
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December 2008. Group exhibition. Curated and participated in
June - July 2002. Solo Exhibition, Persona of Spirit, exhibition of
the charity art auction Sexpression benefiting Horizons Group in
new graphite drawings and paintings, Studio 8, Hong Kong.
Hong Kong, Studio 8 HK, Hong Kong. May 2003. Solo Exhibition Intrepid Terrain, exhibition of paintings. September 2006. Solo Exhibition, Skin Deep, Selected
E&J Gallo Gallery, The Fringe Club, Hong Kong.
photographs of the new male nude/semi-nude photography, Baileys at the Fringe - Fotogalerie, Hong Kong.
June - July 2002. Solo Exhibition, Embryo of Intelligence, exhibition of graphite drawings, Home Boutique, Hong Kong.
November - December 2005. Group exhibition, Gay Artists: Gay Art?, Selected photographs of The Asian Male, Art Statements,
May - June 2002. Solo exhibition, Verge, exhibition of paintings
Hong Kong.
and graphite drawings, 5 opt Studio / Gallery, Hong Kong.
August 2005. Solo exhibition, NudeNotNaked, Selected
March 2002. Artist and curator of a group exhibition Buddha
photographs of the Male Nude, Three Boxes, Hong Kong.
Buddha. Other artists include Neung (Thailand) and Gavin Tu (Hong Kong), Studio 8, Hong Kong.
April 2005. Group exhibition, Moonstruck, Acrylic painting submission, Club 64 and the Venice Biennale 2005, Hong Kong
November 2001. Solo Exhibition Navigation. Selected paintings,
and Venice.
drawings and photographs. Studio 8, Hong Kong.
March-April 2005. Selected group exhibition, Nasi Campur,
March 2000. Solo Exhibition First Level, exhibition of graphite
exhibition of acrylic paintings, Gallery Taksu, Kuala Lumpur.
drawings, Meli-Melo Artists Alliance, Hong Kong.
October 2004. Selected artist featuring selected graphite images
January 2000. Co-curator/Exhibitor Light + Shadow, black & white
to appear in art book Eyes of the Soul – Exploring Inspiration in Art;
photography, Meli-Melo Artists Alliance, Hong Kong.
written and compiled by Philip Rubinov-Jacobson; foreword by Ken Wilber. RRR Publishers, Germany, 2004.
October 1999. Co-curator/Exhibitor Entanglement, group exhibition, mixed media, Meli-Melo Artists Alliance, Hong Kong.
August 2004. Selected Group Exhibition, Private Edge, selected fine art photographs, B2G Gallery, Singapore. June 2004. Solo Exhibition, Secret Constellations, exhibition of acrylic paintings, Studio 8, Hong Kong. November - December 2003. Group Exhibition, Art in The Winter Gardens Exhibition, selected paintings, Lee Garden, Causeway Bay, Hong Kong
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