The Futrue Of The Past Is The Future Yet To Come
"Lai Cheuk Wah grew up in Hong Kong. To some extent, she's indulged in the images coming from life through various medias, the speculations of conversing with objects, as well as the re-articulation of public affairs and media languages through personal perspectives." Text/Huang He
Q: Huang He
A: Lai Cheuk Wah
Q1: Describe a little bit about the focus of your art works and interests, please.
A: I'm fascinated by certain images that I can't get rid of in my head, and yet find charming, even though I may not necessarily understand what they stand for immediately. Take the pair of hard shiny black leather shoes as an example. They are exhibited items from the exhibition project "In Stasis". I'd love to describe them from different angles and in different ways. Though insignificant, the feeling shall be powerful if I do so.
Q2: Is your birthplace also your current residency (Hong Kong)?
Q3: How is your current artistic creation related to where you live?
Q4: Is it true that your works contain a lot of media images?
A: These are the themes I've been interested in lately, especially media images from the past. To some degree, media images, such as ads, portrayed a future desired by many at that time, allowing people to believe that better things could happen. However, those desires in the past were never really fulfilled in today. Is today a truly better world than the past? Looking back, I think the future in the past is the kind of future that has never come true.
Q5: What's your view on the in-control and out-of-control in our living environment?
A: In terms of being out of control, it depends on the nature of matters. In some case where someone suddenly goes broke and ends up living in the streets, this can be counted as an example of getting out of control. Certainly I do not wish to see this happen; somehow, for artists, out-of-control can turn out to be some sort of toughening-up and an inspiration.
Q6: Does the living environment and changes in atmosphere affect your works? If so, how?
Q7: In your opinion, what's the difference between the media's viewpoints and personal viewpoints?
A: The ideal media viewpoints should be objective and universal; while personal viewpoints can be subjective and private, free from external disturbance. When the two different viewpoints contradict each other at some point, one can allow his/her imagination to go wild when he/she is misinterpreting the media images.
Q8: In your opinion, what kind of details are overlooked in the media context?
A: The media need to spread news and information fast and efficiently, so do images. The media, of contemporary significance, has slowly cultivated reading habits in viewers. Without any awareness, the viewers could easily overlook something possibly more interesting besides the information in images.
Q9: Do you think your works are angry?
A: Among my works, "In Stasis" is obviously angry and serious; others, not so much.
Q10: Which works of yours do you want the public to know of most?
A: It doesn't matter if they don't really know my works, because I don't expect my audience to be so eager to get to know my works. Very often, even I myself would require some time to better understand what I've created. All I want from the audience is not to make any hasty judgment.
Q11: If possible, what questions would you like to raise to your audience?
A: Can't think of any.
黎卓華与 Para Site 艺术空间合作的展览项目《停滞之中》，于2015年3月在香港巴塞尔艺术展展出，策展人为林沁怡小姐。当中除了《尽情擦亮你自己的皮鞋》《蹂躏它直至它被移除》两件录像作品，还包括两张油画《倾侧的躺下》和《让它发亮》、一组indigo打印《背向的形象》和现场表演《被划定的区域》。
Lai Cheuk Wah's exhibition project with Para Site Art Space, "In Stasis", exhibits in Art Basel HK in March 2015, curator is Qinyi Lim. Except two video works "Polish Your Own Shoe As Long As You Can", "Rub It Until It Is Removed", it also contains two oil paintings "Laen And Lay Down", "Make It Shine", a set of indigo print "Back Images" and performance "Demarcated Area".
"The image of these shoes appeared quickly in my mind—deep dark, but shiny on the appearance, very hard, that whether it treads to the ground or falls on the ground, it would make that noise "cluck cluck". I want to describe it. In fact the whole exhibition is to describe this image in different ways. I am aware this image will always linger in my mind, because it's very strong, I'd still think of it sometimes."
《尽情擦亮你自己的皮鞋 Polish Your Own Shoe As Long As You Can》
single channel HD video, color, sound, 11'11"
《蹂躪它直至它被移除 Rub It Until It Is Removed》
single channel HD video, color, sound, 5'40"
《倾侧的躺下 Lean And Lay Down》
布面油画 Oil on canvas，40.5 x 50.5 cm
"About the oil painting "Lean And Lay Down", there is a mid age man, don't know why, he forgot one of his shoe, the shoe just lay dowm like this forever, and the man who once own a pair of shoe doesn't exist anymore."
《让它发亮 Make It Shine》
布面油画，Oil on canvas，60.5 x 84 cm
《背向的形象 Back Images》
Indigo打印，亚克力装裱 Indigo Prints with acrylic frames
《被划定的区域 Demarcated Area》
行为，混合媒介 Performance with mixed media
"I hired two security men in Art Basel HK to perform "Demacrated Area" during the exhibition. They are not only need to make the audience awared that they're under surveillance, but rearrange the barriers that I offered every hour to manipulate the visitors' route in the exhibition and decide which areas are accessible. Those who are observant will probably start to suspect that they're being in some sort of composition and they'll see the performance if the time is right."
《停滞之中》网页链接 The link to "In Stasis"
Images and text provides by artist and artist's personal website
本次展出作品 Works on exhibiting
Polish Your Own Shoe As Long As You Can, single channel HD video, color, sound, 11'11"
Rub It Until It Is Removed, single channel HD video, color, sound, 5'40"
A Drowsy Car, installation, LED light box, 140x110cm
A Drowsy Car, installation, oil painting on canvas, 183x168cm
Occasionally saw a news picture on internet, it is a car flip over on the grass after an accident. It looks tired, laying on the ground comfortably, but for a vehicle, it seems not a proper way for laying like this.
黎卓華 (生于 1983 年，香港) 成长和生活于香港。2007 年获得香港中文大学艺术系学士学位，现入读香港中文大学艺术系硕士课程。曾参与个人展览有《停滞之中》(Para Site，巴塞尔香港艺术展，香港，2015) 和《用灯光照着一盏灯》(SOUTHSITE，安全口画廊，香港，2013) 等 。群展有：《不隅之见》(第五届三亚艺术季，三亚，中国，2016)；《→》(刺点画廊，香港，2016) ；《四子棋》(Simon Lee Gallery，香港，2016) ；《众口铄金》(马凌画廊，香港，2015) 及《第二届CAFAM未来展》(中央美术学院美术馆，北京，2015) 等。
Sarah Lai (b. 1983, Hong Kong) obtained her BA in Fine Arts from the Chinese University of Hong Kong in 2007 and is currently an MFA degree candidate at the Chinese University of Hong Kong. She has held solo exhibitions that include In Stasis (Para Site, Art Basel Hong Kong, Hong Kong, 2015) and Spotting the light onto a light (Gallery EXIT, Hong Kong, 2013). Group exhibitions include Inception, (The Fifth Art Sanya, Sanya, China, 2016), → (Blindspot Gallery, Hong Kong, 2016), Connect 4 (Simon Lee Gallery, Hong Kong, 2016), Clamour Can Melt Gold (Edouard Malingue Gallery, Hong Kong, 2015) and The 2nd CAFAM Future Exhibition (CAFA Art Museum, Beijing, 2015) .
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