@BoiHugo, Carlos Alba, Elizabeth Gabrielle Lee and Marvin Tang are taking over Enterprise Projects for a weekend. Works will examine personal, familial, collective and national identity to draw on issues of race, sexuality, colonialism, exoticisation, patriarchy and collective memory under an exhibition titled ; .
A ; can expand into an explanation or an afterthought. It bridges ideas together, stronger than a comma, but not a full stop either. Transition between thoughts that are linked, the title of the show unites the arguments.
@BoiHugo’s practice focuses on intersectionalities and masculinities. More specifically, @BoiHugo explicits the exclusion and fetishisation of East Asians in a white-dominated gay community, and the daily representation of different forms of masculinity. In the work presented, @BoiHugo appropriates images of the ‘homo-normative’ white, shirtless, muscular gay men from popular dating apps, screenshots from pornography websites and private dirty messages he receives. The found material is presented in combination with original photography displaying @BoiHugo’s voyeuristic observation of a hegemonic masculinity. The resulting work is an overwhelmingly chaotic collage standing as an attempt to initiate a conversation on interchangeable gaze, oppression and desires.
Carlos Alba’s research stemmed from the discovery of family pictures in which his grandmother had consistently removed the face of his grandfather by cutting through the photographic paper. Carlos found further documents evidencing domestic abuse, such as X-ray scans, mutilated photographs, and letters. Informed by family memory, Carlos engaged in an enquiry on domestic violence and patriarchy. 'Text me when you get home' is the latest development of Carlos’ exploration of the issue: composed of a collection of found videos depicting looping sequences of brutality, the work reflects on the banalisation process of gendered crimes. Carlos’ phone number will be printed on one of the wall of the exhibition space and viewers will be able to text to receive the video. This process offers the choice to the visitors to view and therefore confront, or ignore.
In 'These hands shall carry you home', Elizabeth Gabrielle Lee assembles a collection of family images and manipulates them into abstraction. Family photography is an integral aspect of Elizabeth’s practice, and 'These hands shall carry you home' is the result of her observation of such patterns in her practice that seemed inherited from her father. Intimate details of hands—interlaced, gripped and embraced—are cropped and blown to monumental scale, superimposed and intervened. The result is a wallpaper resembling the galaxy in which memories, reclaimed or imagined, are scattered. Through the lens of personal histories, Elizabeth researches into the innate, collective and transcendental memory.
Marvin Tang’s series, 'The Colony', investigates the underlying agendas and narratives of Botanic Gardens, which were established in the wake of colonisation. 'Guardians, Dogs and other Objects' focuses on Kew Gardens where, since 1840, seeds and plants from around the world were imported to Britain through both legal and illegal means to serve as a display of power and wealth. Kew Gardens, with its deeply rooted colonial and imperial history, elicited multiple avenues for exploration. In 'Guardians, Dogs and other Objects', Marvin focuses on the Chinese guardian lion located in front of the Palm House. Historically, Chinese guardian lions were placed in pairs at the entrance of imperial palaces, imperial tombs, government offices, temples, the homes of government officials or the wealthy to protect its residents. When brought to the UK by Chinese settlers or British travellers the symbolic value of the lions was transformed and reduced into a superficial one: as an object of exoticism and decoration. 'Guardians, Dogs and other Objects' is a reflection on the fragmenting of symbolic objects and traditions when clichéd, displaced or misunderstood.