Contemporary China (2018)

Powerful individuals who retained their identities in a society where uniformity is the social norm, are worthy of being known to a wider audience. I decided to look at my own identity and that of my family during Mao’s regime (1949-1976); at their origins, stories, and journeys. More specifically, in this collection I focus on the characteristics of my mother, grandparents, their siblings, and my great-grandmother. First-hand accounts of their poignant experiences are the sources of inspiration for this body of narrative art.

When Informer Calls

Watercolour pencil on paper & Digitalised on Photo

23.4" x 33.1"(A1)

2018

I wondered what my family members are like from a different perspective than from that of a family-portrait-photographer; what were they like under a Communist’s scrutinisation? On the digitalised layer, I drew a hand that holds an opened Little Red Book. It symbolises China’s Informer Culture, where the Red Army would search an ordinary family if they hear anything that is suspected to be anti-Maoist. This is an actual episode in my family, and I seek to capture the moment of their anxiety through the exaggeration of their expressions. The white lines that flow freely from one to another represent the family bond. I aim to say: no matter the circumstance, their identity as one family is still strong.

Couple

Mixed media Acrylic and gouache on paper & Digital

2018

My family’s unusual experiences with the Communist regime is a topic we often talk about during dinners. The boy with the long face in the last piece has grown up to be my grandfather, an extraordinarily smart character, who is bold with his words. His honesty and straightforwardness often cause my grandmother much trouble; Being liberal and saying things that his corrupted bosses don’t like to hear always makes them the family subjected to unfair treatments. Thus, these bad experiences became deep, long wrinkles on his face. I hid a Little Red Book next to them as an indication of the environment he grew up in. His clothes, reduced to colourful geometries, is reflective of how I see him in real life. Rather than visualising the dull linen shirt from his era, I see him wearing bright colours. This choice of colour is reflective of how I see him--rich and vibrant.

Life Drawing

Brush Pen on paper

11.7" x 8.3" (A4)

2018

Having explored the form, belief, and behaviour of those around me, I realised that there is no better way to explore the theme of identity than to question that of my own family. Noting this, I picked up my sketchbook and began to observe my family members: What makes them who they are? I used a Pentel Brush Pen, which can be manipulated to create both a fine line and a thick line, depending on the angle to which I held the pen. This technique laid the basic foundation for my digital pieces, which are largely covered by lines.

Gouache Practice
Gouache on paper & colouring pencil

11.7" x 8.3" (A4)

2018

Whenever there are two people inside the same frame, viewers automatically guess the relationship between them. Are they friends? Family? Are they close? Are they distant? What are they doing there? I wanted to push myself towards a more complicated composition so I found photographs of models to practice how to depict the relationship between people. The composition of the painting, where one model stands in front of the other, generates a narrative. The crossing of the arm and the lip also serve to make the model seem like she is feeling rather uneasy. This experimental painting is inspired by James Jean’s pastel palette for portraits. His use of both saturated and muted acrylic paint adds a soft quality to his figures. Intrigued by the way he uses colours to suggest form, I decided to paint a saturated group portrait.

First Time In the City 

Colouring pencil and collage

Polymer Clay Sculpture with Tin Can 

Diameter of Can 5"
2018 

I wanted to further explore the role of forms (plump features in my drawings) but in a three-dimensional way. I was fascinated by the tranquillity delivered by Beth Lo’s porcelain sculpture Boy, but also the intense emotions showcased in Samuel Salcedo’s Rain. The tin is part of the sculpture because its rustic façade reminded me of the rundown street walls of Hong Kong’s urban landscape. As I continued to mould a face according to my imagination, I thought that the figure does not have to resemble my grandmother for me to convey my message on the emerging role of women. A man holding a baby is a powerful image that would show how women are no longer restricted to household chores and child-caring. Overall, I enjoyed the process of sculpting because nothing I press down is permanent. Also, so much could be changed during the process that I think this media has allowed me to explore my own ideas thoroughly before I reach a final resolution. 

For the tin can, I glued on a collage I made out of elements I saw in Hong Kong, including advertising posters, graffiti, delivery boxes, and iron gates. These are all used to represent our crowded Street view.