Installation shots of my exhibition ‘Love fulfilled’ with Carlos/Ishikawa in London.
Painting has always fascinated me in how it has the possibility to represent, change and guide the way how people would observe their world. It is a tool of materialising an individual’s way of perceiving their “objective” reality. And by depicting it as their set definition (at least as an attempt). I think it visually influences— and has influenced— people more than we think.
For example, I don’t think we have an idea about how influential those prehistoric cave drawings must have been in the evolution of our consciousness. I can imagine that the first humans perceiving those murals invoked an awareness of concept in them. It started out with basic depictions like trees, the moon, sun, hunt, sex, death, etc… and this conceptualisation of our physical world into images and logos, caused by the acknowledgement of those facets of life, must have been a major step in the evolution of consciousness because of this.
Of course, the creation of those murals probably originated out of some form of function or practicality within these proto-societies/communities. But that’s the beauty of it, that its creation by these individuals probably functioned to unite and socialise a group of people into a community.
By saying this, I am not trying to eulogise painting as some high form of art or anything (because clearly it is also not the sole way of expressing our world). But today I hope it can do a somewhat similar thing by functioning as a unique glimpse into a person’s perception and world view. A perception that hopefully could unite (in the social space; a gallery)— and most ideally inspire some people, who feel an affinity towards this individualistic way of perceiving our shared reality.
In essence, painting for me is a depiction of life and exteriorisation of the intimate being, a display of interests, in whatever way one wants to express and visualise theirs. Influenced by a perpetual stream of consciousness, a great river of contents in a succession of different conditions which I have been taught to call thoughts, images, memories, interior dialogues, regrets, wishes, resolves, all interweaving with the constantly changing pageant of exterior sensations of which I am selectively aware.
Filmmaking is a medium for which I have always had a strong affinity, and towards its possibilities of visualising our world’s narrative. For me it is an endless source of inspiration out of our image cultus. I think what attracts me most is the possibility to depict movement— because painting is frustratingly anti-kinematic and portraying movement on a canvas is something that rarely translates well. The possibility to think in movement and dynamics with film have been a new spark for my creative thinking about imagery and storytelling.
The tools of the filmmaking process has seeped in into the painting vocabulary because of my own personal search in how to facilitate this as a way of expressing my perception or interests. As a continuation on this family legacy (I am a descendant of a sculptor’s family of five generations), I manipulate their hoarded information (this physical materialisation of a memory; sculptures, objects, ornaments, etc.), to collate, classify, compose, and sort it in order to create new ideas, or maybe deconstruct old ones, into painting imagery and storytelling— and as an addition to it, filmmaking has become an entity inside its vernacular.
‘Love fulfilled’ is a title of which I hope that it “speaks” to the mind’s eye. It is an attempt to give the viewer of the exhibition a set directive. Which is intended to cause a search for meaning onto the visual vocabulary, setting verbs in motion and turning sensations into metaphors by inviting us to live it figuratively. Like logos to perception— because of course, every painting has a personal intention, but I do hope that an individual’s mind makes more of it than what the limitations of its figuration depicts.
This title was chosen because of how I feel about it; that it is like a sentimental lie. Its wording could announce romance and as well desperation. Desperate because when will a love ever be fulfilled? Perhaps only when it is looked at one from a future life?
And that’s what I hoped to achieve by adding this marble sculpture of a heart, carefully placed in side a rope nest on top of a Flemish Art Deco carpet. I want to invoke the feeling that this assembly was found and not created, to insinuate the impression of observing, or reminiscing, from a distance towards a life lived.
Anyway, this former life I then imagined, interweaved with elements of my own- and staged in the convenient interior setting of my studio space.
Please take note that whatever I write about the works, there is never an intention for me to give an absolute reasoning or meaning about its narration — ideally they invoke a quest in the spectator’s mind space onto a search for meaning and structure by the own’s associative reading and thinking of the painting.
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