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.