Spotted! Benedict Yu

Noise

Noise
As Taiwan has ended the martial law in the year of 1987, the freedom of speech has out-bursted. Social media without a strict restriction of its content, started to influence the way Taiwanese view their own country. As more and more news media competitors came to place, each company tried to get the most attention from the audiences. Eventually, this phenomena led to an excessive or rather, violent pressure to force the people to take in information. This work is referenced from the format of a TV news report, having multiple information shouting at the audience at once. Do we care about what information is true or we just take them all in?

望子成龍

Untitled (望子成龍)
The definition of inheritance is the transfer of materials, tangible or otherwise, to other counterparts. It is inevitable that the process of an inheritance may generate other issues, thus diverting it towards a more extensive phenomenon. As a young adult with dual citizenships, I have faced many challenges with regards to my parents’ expectations within the spectrum of education and nationality. All the questions and thoughts are concealed within the gesture of writing in luminous paint. The contrast in education systems and parents’ expectations compels me to reconsider my identity – what is my origin and what will I bring with me into my future?

焚山

Mountainscape of Void (焚山)
Political books, sacred writings, educational textbooks, when they are all burned down to ashes, they reach an equal state of neutralization. The color of grey from the ashes symbolizes equality and the idea of void. What is the value of writings when the fragility of paper looses to the consumption of fire? At the end they have turned into wordless vanity. I transform the variety of books by destructing through the ritual act of burning.

Desquamation of Once Where Life is Beautiful

Desquamation of Once Where Life is Beautiful
We study, work, talk to friends, family, lover, strangers, there are so much information coming in and out everyday. After a long tired day, we will reach home and release all of our stress from the busy life that traps us. This is the place where we shed our skins and emotion, hide them far away into the darkness. We don’t want to show this part to the public, however they will always be there glowing in the dark. The debris will slowly creep back and form into a living creature, await for us to come home and shed our skins and emotion again.

Coexistence-Nature, Religion, and Industry

Coexistence-Nature, Religion, and Industry
Growing up in the suburb area of my hometown in Taichung city, I experience the tranquility of a simple life. I used to run around the rice fields and play hide and seek with my childhood buddies. One of my favorite things is to submerge my body into the rows of crops. The feeling of running down the rice field and getting touched by the nature is just indescribable. Whenever we ride our bikes and pass by a small altar, we would stop and bow our heads to show our respect.

Benedict Yu has freshly graduated from LASALLE’s Fine Arts course. Born in Singapore but raised in Taiwan, the young artist explains that “having a dual-citizenship allows me to experience and explore the cultural differences”.

With an exposure to two different visual cultures, Eastern philosophy, aesthetic, psychology, sociology, and anthropology are a constant tone throughout Benedict’s portfolio.

“In my latest work, I’m re-evaluating some of the social values and problems hidden in Taiwan’s society. Having multiple identities, inevitably I will compare both countries under the microscope. Parts of what Singapore is doing well, are missed or neglected in Taiwan and the other way round. Both are post-colonised countries that have to work very hard to catch up with the globalised network.”

You can view Benedict’s work up close from 26 August until 17 September, at Gajah Gallery as part of the ‘The New Now’ exhibition.

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Exhib! Void by Loi Cai Xiang

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Running until 20 August,  Loi Cai Xiang will be exhibiting new work at Chan+Hori Contemporary. The series titled VOID is a “ramification from his previous series of intimate spaces, and withdraws from the external (immediate surrounding) to the internal (self)”.

(from the press release)

The author finds values in personal experiences, drawing stimulation and empathy from nostalgia and sense of familiarity to visually reenact a mental scar or emotional blemishes. Beyond the soliloquy, the works also speak, with interest, of consciousness and awareness, of being and self, in relation to the masses.

Void taps into an emotional resonance from seemingly familiar spaces where personal emotional stimulation is present. The catalyst behind Void arises from a sense of intimacy and familiarity that one shares with the environment and space, and in so, rekindles experiences and memory. The spontaneity between the environment and personal experiences bounces off against each other, collides and interacts until a point of resonance is reached. Like an actor interpreting a dialogue, the paintings draw from personal experiences and first impression to interpret the environment and synthesizes new narrative with metaphors and stimuli into a palpable and stark visual poetry. This constant need to define a void that resides between us and the physical world is an attempt to make sense and create a synthetic connection to explain a state of being. This endeavor is a personal exploration for sensibility to define a private gulf that exist between my conscious and subconscious state of mind.

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I’ve Cot You by Zinkie Aw

In I’ve Cot you (Sayang, Sarong Baby), photographer Zinkie Aw sets out to document families that are still practising the cloth baby cradle in Singapore. She hopes that through sets of photographs made in documentary and conceptual styles, viewers imagine that slice of memory lane that we could never remember as a baby in the cot, as well as appreciate an old trend that increasingly gets labelled as archaic.

(from the press release)

Most of us used to be sarong cloth cradle or 摇篮 (‘yao lan’ cradle), also know endearingly as ‘yo-nah’ babies.

Were you one?

As babies, we could never give a testimonial, or recall that experience.

Via the ‘yao lan’ or sarong cradle as a cultural icon for interviews, this body of work focuses on family bonding, Singapore’s shared values, and ties in with a sense of collective cultural heritage via exploring memories of the family unit.

Sayang, the sarong baby.

The exhibition opens on 6 August and runs through 30 September at the Tampines Regional Library, Our Tampines Hub, L2 – L6.

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Spotted! Samuel Lee

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We spotted Samuel Lee’s work at the Fireflies group exhibition that is running at Flor Patisserie until the end of the month.

Samuel is an illustrator with a Diploma in Animation from Nanyang Polytechnic. He is a MediaCorp Gold Medal winner, a recipient of the MediaCorp Award for Outstanding Project, and his work has been showcased both locally and internationally.

More about Samuel on his site and on instagram.

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Lest We Forget by Jamie Teo

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lest we forget-2b

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Embroidery artist and Arts Manager Jamie Teo tells us that she has an interest in the preservation and documentation of heritage, finding a way to let the past live in the present.

Her latest project, “Lest We Forget, is inspired by the memories of her maternal grandmother. “It highlights the idea of remembrance – lest I forget who you are and lest you forget who you are. Going against the ‘Great Man’ theory, I seek to prove the influence of any and every individual. I am always uncontrollably brought to tears when I speak of my grandmother and by way of making the linoleum plates, I carved out the imprint she has left on me through every passing day. This work seeks to prove the importance of personal histories and to give voice to individual narratives. This is my act of remembrance.”

Lest We Forget was created during a five months mentorship programme under the tutelage of Joseph Chiang of Monster Gallery and will be shown at the Working Proofs: Young Printmakers League exhibition from 16 June to 30 June.

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