Ritual of Synthesis 《光承轉合》
LI Hiu Wa
SIU Wai Hang
Ritual of Synthesis
Date: 3 - 31 August 2019
Opening: 3 August 2019, 4 -7 pm
EXIT, 3/F, 25 Hing Wo Street, Tin Wan, Aberdeen, Hong Kong
Hours: Tue - Sat, 11am - 6pm
Gallery EXIT is pleased to announce “Ritual of Synthesis”, a group exhibition by LI Hiu Wa, Urich LAU and SIU Wai Hang. The exhibition will open on 3 August 2019 and remain on view through 31 August 2019. An opening reception will be held on Saturday, 3 August from 4pm to 7pm.
The exhibition showcases works by three artists who explore alternative photography and image-making methods in their practices. The artists have developed their own unique processes and visual languages that allow them to reflect on photography as a medium in contemporary art.
SIU Wai Hang employs an analogue approach to photography and explores its materiality in his series. “Strokes of Light” focuses on light as a medium, which is fundamental to photography and essential for visual perception. SIU developed a series of prints using the leading end of photographic roll film that is exposed to light before being loaded into the camera. The array of colours captured is literally a transformation of intangible light into physical form. In “Faces of People”, SIU discovers photography in an alternative way with obsolete technology.[WHS1] By taking individual still images with a super 8 film camera, a device made for capturing moving images, he explores the nature of photography through the context of moving images.
LI Hiu Wa is fascinated by the landscape and still life objects of the every day. His works explore the passing of time and its effect on the imagery and materiality of still life photography. LI observes in “Tree and Watermark” the subtle changes of a plant and a puddle of water beside it for a duration of around one year through a series of three digital prints. He also experiments with alternative photographic printing in “Fading Harbour”, for which the image is developed using flame tree flower extract – an anthotype technique that makes use of plant pigment as a photosensitive material. Because of the absence of the fixation process to prevent further exposure, the image will eventually disappear due to over-exposure. The work reminds us of the inability of photography to preserve a captured moment forever.
Urich LAU explores the effect of modern technology on our daily life and the way it affects our perception of reality. In “Code File: Three Domes”, images of domes are intervened by glitches created by disrupting the lines of codes within the image files, through inserting the mission statement of Singapore’s National Arts Council. The work remarks on cultural hegemony in the region. The revealed codes also bring to light the image alteration process that often exists behind the scene in the digital era. “Spy Ball” captures and tracks the movements of gallery visitors with with an assemblage of a sepak takraw ball (from the traditional Southeast Asian game) with 11 spy cameras. The live-feed footages are glitched by cross-feeding of signals, as well as streamed through a multi-channel surveillance digital video recorder. The work reflects on the accessibility of technology in modern times and our increasingly active role in creating images of our surroundings. Yet our freedom of movement and privacy are restricted by the video capturing devices.
香港 香港仔 田灣 興和街25號 大生工業大廈3樓
開放時間: 星期二至六, 上午11時至下午6時
劉威延的作品探視現代科技對日常生活的影響，以及科技如何改變人對現實世界的觀感。《Code File: Three Domes》把新加坡國家藝術委員會的使命宣言轉化成文本編碼，干預了原本建築物拱頂圖像的編碼，從而形成圖像上的雜訊。作品批判該地的文化霸權，並揭示數碼科技的背後操作。《Spy Ball》把十一個監控鏡頭和藤球（一種流行於東南亞國家的球類運動）結合，捕捉畫廊訪客的一舉一動，並以實時直播成投射裝置。而影像的訊息在輸入器會被雜材時受到雜訊干預。裝置作品反映出科技在當下的普及，以及現今人士在建構周遭的影像世界方面漸趨主動。但同時間，人們的日常及私隱亦受制於鏡頭的監控。