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Unwilling Suspension of Disbelief, 2021
Performance with suspenders and pillow
Photo by Jasmine Choy
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《非自願懸置懷疑》Unwilling Suspension of Disbelief（2021）
當觀眾或讀者為了進入別人提出的另一個概念領域，比如說作者在敘事中建立一個魔幻的世界，而暫時中止他們對現實的信念時，就會使用自願懸置懷疑的說法或文學技巧。這個行為作品試圖挑戰和駕馭觀眾和藝術家如何在這種詩意的信念中波動和構建。
The saying or literary technique of willing suspension of disbelief is used when an audience or a reader temporarily suspends their beliefs about reality in order to enter another conceptual realm proposed by someone else, say an author establishing a world of magic in a narrative. This performance attempts to challenge and navigate how the audience and artist fluctuate in and construct this kind of poetic faith.
As part of Per.Platform #2 凱龍星逆行末尾 Last Days of Chiron Retrograde
18.12.2021 17:00 - 18:00 -
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to prime ii
2021
Carbon prints on glass; suckling pig head gelatin and bones, water, sugar, carbon black, light
Commissioned by Para Site for 'Noble Rot' Part 1, 2046 Fermentation + Fellowships
This second iteration of to prime is a continued study of the history of photography and more widely, the history of art, through the material and conceptual investigation of gelatin. A sticky colloid gelling agent created by boiling animal connective tissues in water, gelatin is used in art processes as a glue, a pigment binder, a preparatory priming agent, to name a few uses. From the use of mingjiao in Chinese painting to the use of rabbit-skin glue in western oil painting, this intermediary substance is often overlooked in its essential role across artistic traditions.
In a photo-graph, light becomes a mark making for drawing upon a prepared surface. In carbon printing, what we see in the resulting image is pigment trapped in gelatin, hardened by UV light. Carbon prints are known for their extreme archival performance. Without the use of a colloid to either suspend photosensitive chemicals or trap pigment, photographic images inevitably deteriorate over time. The remnants of an animal body allow us to access these images for current and future viewing; such is a glimpse into the privilege and the violence that constitutes the history of the technology of photography.
Special thank you to Damon Lam for his time and generous help on these alternative photographic processes and Chan Ting for the darkroom use.
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We Are Our Own Demons, group show curated by Clara Wong
featured alongside Steffi Che, Michele Chu, Jess Lau and Ringo Lo.
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All profits from books sold will go to G Foundation to support teens from low-income communities, specifically with menstrual products and through reproductive and sexual health education.
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All profits from books sold will go to G Foundation to support teens from low-income communities, specifically with menstrual products and through reproductive and sexual health education.
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