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CHO HUI-CHIN - 3D virtual exhibition by HONGLEE CURATOR

CHO HUI-CHIN

lun, 08/10/2020 to dim, 08/16/2020

curated by:

I was raised in a multicultural country, the Taiwanese background deeply influenced by Chinese aes-thetics and the culture surrounding Japanese anime and manga, all of which have shaped the enticing space of imagination to me; my main subject matter is figures, and I have a predilection for baby fig-ures. my childhood was surrounded by the Japanese manga culture which makes me become ob-sessed with "figure"; you can easily tell the figures which are anima-like around my works

I often postulate that painting and sculpture are the same manifestation since they both depict ambigui-ty in concrete dimensions to me, and this ambiguity attains layers of symbolism and meaning, which could be conveyed through a variety of compositions and motifs. Material is an important aspect of my work, and animal by-products such as vintage and antique leather symbolise creatures that were sacrificed by humanity and represent an ambiguous existence between life and death.

Through my work, I intend to reflect on conflicting phenomenon, namely the inevitable relationship between obsessions and humanity. If ‘indulgence’ is postulated to be an aspect of humanity, this means that ‘obsession’ is the human nature and part of human beings’ spiritual needs; the behaviour of being overly obsessed with gratification shows that our instinctive needs, in particular those associ-ated with the dark side of humanity such as desire, fetish, and obsession, are magnified excessively. My work assumes that all patterns, objects, motifs, colours and materials can be analysed, decon-structed and criticised in all their manifestations and forms. The binary opposition in my work repre-sents the dichotomies between a material’s initial form and the value/definition given to that material. My intention is to evoke hidden metaphors that refer to the relationship of certain materials to life and death: the artworks were once living creatures. Consequently, my work deconstructs the value of ma-teriality and addresses the dilemma of using vintage, antique, luxury or animal by-product materials. The patterns or motifs in my work can be deconstructed, and the behaviour of viewers who speculate about the materials is considered part of the work and completes the process of deconstructing the value/definition of materiality.

As a result, my work is experimental deconstruction. It establishes a dialogue which is an inner equi-librium between rational analysis and sentimental interpretations. By exploring these responses, the processes of deconstruction could help each individual viewer form their own perceptions flow through my works and uncover their own opinions about desire, fetish, ambivalence, sadism and ob-session.

Cho Hui-Chin

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