Thursday, 30 August 2012

Future Colour

Terence Koh’s adverse outlook transcends from his daily crisp shirts and angular blazers to his studio work in its black and white nature. The bland, hushed hues purify the scene, alluding to the idea that the world is merely a blank canvas and it is our routine actions and resolutions which shape its landscape and history. The monotone work advances time to create an almost apocalyptic ambiance and wakens the glitches of social dilapidation and corruption of ideals, which thrive from feeding on the fragile ruins of our culture. Like many of today’s emerging artists he questions the public edifice and democracy, especially that within his birth country of China, which still to this day omits rudimentary human rights to maintain a tight grip of the nation by censoring adverse behaviour and beliefs. It therefore comes as no surprise that Koh elatedly consumes and manifests the creative and sexual freedom harboured in his adoptive city of New York. The autonomy has no doubt been galvanized by the global move towards liberalism and open-mindedness – in early 00s, same-sex marriage found itself welcome in six states and countries such as Canada, Argentina, Sweden and Spain. The overdue revision of archaic principles brought on hope for independence and individuality, enlivening Koh’s work with perceptual colourful undertones. The plain, careful and angular nature of his installations likens them to props out of a futuristic, utopian science-fiction movie, unveiling his longing for a future which welcomes self-expression and creative freedom. The artist asserts the importance of fathoming and relishing every detail of oneself (which is evidenced in him gold-plating and selling his own feces for $500,000) – this being vital as the future and the landscape of the globe are shaped by a collaboration of every human and their physical attributes, down to the last atom.

Thursday, 26 July 2012

Spectral Spectacle

Duane Michals’ photographs are an impression of sky-rocketing supernatural scenarios where his subjects transpire from one plane of existence to another in a never-ending journey. This infinity is mirrored in the images of unravelling galaxies intricately dusted with myriad stars, each one a disembodied spirit demonstrated in a much simplified form. This conjures the question of our relevance to the entity of the universe and the general purpose of our being. The habitual domestic environment of the pilot snapshots is penetrated and metamorphosed by shifting, eerie human forms which are exposed on a multitude of planes. This intrusion engulfs the initial familiar plane, divulging it as merely one of many and unmasking human beings as trivial and inadequate.

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Wednesday, 25 July 2012

Sunday, 22 July 2012

Le Tub

An independent diner located at the Hollywood beach in Florida, Le Tub boasts an eccentric d├ęcor of rustic wood installations amongst dense greenery, joined by bathtubs and toilets greeting you at the entrance.  The diverting design continues with the irony of sauce and water-filled nutrition bags contributing to the interior. The chef takes the home-made ethos very earnestly and you should expect to wait at least 30 minutes for the 15oz hamburger though it’s undeniably better than any other burger I’ve ever tried.

Saturday, 21 July 2012

Friday, 20 July 2012

Morph into Exposure

Eva Klasson demonstrates an entirely new approach to portraiture. Her photographs explore the human form through extreme close ups. This deconstructs the form, mutating the features into a new unfamiliar shape which can be interpreted on countless levels. The staggering level of intimacy with her subject evokes discomfort through the invasion of privacy - the subject left prey to the attack of the camera.

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Thursday, 19 July 2012


15 days in 15 frames.