LAM Hoi Sin: Interpretation  林愷倩《印塔比替唇》

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LAM Hoi Sin
Interpretation

19 August - 10 September 2011

Gallery EXIT is pleased to present "Interpretation", a solo show of LAM Hoi Sin. Developed under surrealist influence, “Interpretation” is an on-going series of drawings based on found images. The artist explores the ambiguity in such images and through drawings, reconfigures the visual components with her eccentric associations. The image and drawing compete against each other as the viewers' imagination wavers between reality and fiction. While most works in the series appear as pure visual play based on free association, some transformations cannot be simplified as mere humour or wonderment.

Lam addresses our subconscious fixations on sex. Phallic symbols can often be spotted in her drawings. The work derived from a Diesel advert shows a woman with a mannequin body. She is partly undressed, possibly by the man presented in the profile shadow behind her. The drawing depicts an unsettling picture of a rape scene. With minimum alteration, the artist simply asks the audience to rethink the aesthetics of the original and whether her drawings are so different or controversial. After all, in mass media, women are constantly being objectified into victims, consumed and manipulated. The artist explains, "Despite the fiction, the new images are rearrangements of reality."

A more playful reading includes Kenny Dalglish being depicted as a magician. As the footballer poses with his shirt, Lam's drawing elevates his head from the torso and slides it across the fabric. The artist emphasizes that there are many possible readings of the found images, "for “Interpretation” is to form interpretations, not to present a single one."

LAM Hoi Sin, aka Sin, was born in 1986 and raised in Hong Kong. Having hundreds of websites, Sin uses the Internet as a communication tool for her thoughts and random findings. Besides blogging in different themes, her productions include automatic drawings of music, hand-painted totes and affordable conceptual art. She has participated in Bag for Better (2009), Feng Yu Piao Yao Ai Guo Shi (2009) and FAX (2010), an exhibition co-organised by Independent Curators International and Para/Site Art Space.
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林愷倩
《印塔比替唇》

​2011年8月19日至9月10日

Gallery EXIT 安全口畫廊將呈獻林愷倩的個人展覽《印塔比替唇》。受超現實主義的影響，名為《Interpretation》 的一系列畫作是根據現成圖片而創作的。林愷倩探索對圖像解讀的含糊並用她奇異的聯想去繪畫和重組圖像。並置的圖像和繪圖混淆觀眾的想像力，令他們浮游於真實及虛構之間。大部份的作品雖似是毫無目的玩弄視覺效果，但我們絕不能僅視為兒戲之作。

林氏探討了我們潛意識中對性的迷思。陽具的象徵經常在她的作品中出現。其中一幅來自《Diesel》廣告的作品，顯示了一個具有人體模型般身軀的女人。她衣衫不整，很可能是被身後那側面影子中的男人脫去了衣服。這幅畫道出了使人不安的強暴情節。林愷倩在重新繪畫圖片中其實做了最少的改動，希望令觀眾反思原本在廣告中的審美準則，並從中反問她的作品是否那麼格格不入和具爭議性。說到底，女人在傳媒的塑造下時常被描寫成受害者並遭受欺壓和擺布。藝術家解釋：「儘管有虛構的元素，這些新圖像只是現實的重組而已。」

一幅較有玩味的作品中，足球員Kenny Dalglish被塑造為一個魔術師。在他拿着球衣拍照之際，藝術家把他的頭從身軀移開，畫在手持的球衣之上。林愷倩強調閱讀和理解圖像其實有很多可能性「《Interpretation》這個系列的原意是跟每件事和物作多方面闡釋，不只是給予單一角度的見解。」

林愷倩生於一九八六年，是香港土生土長的藝術家。擁有一百多個網頁的她視互聯網為心血來潮時發表想法及感受的途徑。除了製作不同主題的網絡日誌，她的作品還包括：隨意音樂繪畫、手繒購物袋和價格適宜的概念藝術品。她曾參與《袋袋平安》(2009)，《風雨飄搖愛國時》(2009)及由Independent Curators International與Para/Site 藝術空間合辦的《FAX》(2010)。