Early works- 2004


Plaster, filmo, cotton, cavity filler, 2004

The solid, dominating rectangular is too established to shift, within its boundaries stereotypes are drawn and culture is former.  But binary division reveals incomplete identity through protruding stalagmite-like forms, pushed to the surface by the primordial filler.  Order is disturbed, yet physical centre of Banana remains almost empty.  Absence blocks completeness from uniting China-Hong Kong-England. This is the paradox of dystopian mind/body, self/society; impetus to uphold logic is as strong as will to abolish.

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Hole and Hijab

Plaster, gloss, acrylic, 2004

As an inhabitant of East London’s Muslim dominated Whitechapel, I was enchanted by the muezzin’s voice echoing form the nearby mosque’s minaret and sought to investigate my place in relation to the Muslim community. Hole and Hijab resulted, amongst The Mosque, video piece, a set of screenprints and a sculptural construction resulted from investigation into Whitechapel daily life.  A result of exploration into local Brick Lane clothing and food shops and the Mosque’s imam, social workers and youths, plus nearby Bangla-video shop keepers.

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Lower Foyer Gallery, Duncan of Jordanstone School of Fine Art, Dundee, Scotland, 2004

SinOpsis exposes China’s complicated history; with its glorious red and relationship with the Western polar.

The very starting point is my own distilled personal history- a filtered understanding snatched by the viewer. Drawings such as fortune cat and golden carp rollercoaster along thread, interweaving the main hollow wooden structure.  An orchestration of fine detail, each attachment carefully positioned to dialogue with the dynastic hegemony which denotes the new social free market and a desire for gradual effacement of collective memory amongst the new generation.

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