Thursday, June 12, 2008

PORTRAITS OF PARADOX

SOLO EXHIBITION
Wei-Ling Gallery,
14th July - 5th August.




















Title: Arbitrary Ruler I
Medium: Oil on canvas
Size: 183cm x 138cm
Year: 2008






















Title: Arbitrary Ruler II
Medium: Oil on canvas
Size: 183cm x 138cm
Year: 2008























Title: Pride
Medium: Oil on canvas
Size: 183cm x 138cm
Year: 2008





















Title: Immortalized Ruler
Medium: Oil on canvas
Size: 214cm x 168cm
Year: 2008












Title: The Meeting
Medium: Oil on canvas
Size: 122cm x 306cm
Year: 2008

















Title: Mass Gathering I
Medium: Oil on canvas
Size: 168cm x 214cm
Year: 2008



YAU BEE LING AT
WEI-LING GALLERY
Gina Fairley
Asian Art News,
Vol 18, No 6 Nov/Dec 2008


I was introduced to Yau Bee Ling’s work in 2005, when we shared a year on residency together in Malaysia. It was a year of transition for all and her paintings jarred with the tensions of a new home, of family responsibilities with a new marriage, her identity as a Chinese woman, and finding her voice following success early in her career. We witness the work’s transition from nostalgic portraits of a home shared with 12 others and its suffocating intensity, scenes often focused on the ritual of dining, to still life and a more feminine space of bedroom dresses, abandon tables and abstracted angles that seems to regurgitate the lessons of art school. The figure was expelled from these works, yet there was always looming presence just beyond the frame. They carried that tension of overbearing or a lack of resolve.

This exhibition Portraits of Paradox, made two years later floored me. Yau had found that maturity for which she had been searching. This is an exhibition of deeply psychological portraits that are bold and confident and probing. Gone is the cute naïveté of the earlier works and in its place a brave engagement with the sitter and the self. Take Pride (2008) for example, with its face slightly upturned indignant, and sitting on a flat, red field. The internal pattern of the face is at once controlled in its rhythm zigzags and yet the over painting is brushy, gestural. It captures the many personas or emotions that make up our everyday.

What is most affronting when standing in front of these paintings is their scale. These aren’t ‘pretty’ paintings and they draw you into their turgid space. The most obvious read is their frenetic oscillation between pattern and portraiture. It is almost a metaphorical fracture, a disconnection with the subject that she couldn’t achieve in her early work and one that has allowed the critical distance in constructing the image. This is most easily read in the way these images are layered, abstracted mark, eventually defined with the clarity of a black line, and masked off with solid color. The device of framing the face has a curious control that is imposed over the internal vibration within these images.

In the two works, both entitled Constantly Repressed (2008), Yau magnified this vibration to a scream. These works are scarred with almost frenetic, linear brushmarks that seemingly strike out the face. She attempts to regain that control with exaggerated facial definitions in black and cool blue background. Yau’s paintings have always been characteristically awkward in the way forms interact. What is interesting in these new works is that she doesn’t shy from that uncomfortable space and cover it with what curator/artist Anurendra Jegadeva called, “ fiesta color” While these are not totally resolved paintings, they should be celebrated for their strength and affirmative direction.
The painting that arrives at that new place with a casual knowing is The Meeting (2008). Hanging on the end wall in the gallery-huge diptych-it commanded the space. It sits at that point where figuration truly tips into abstraction and the unconscious dances with knowing, acceptance and delight in the other. This painting projects a bright future for Yau’s work.

Monday, June 9, 2008

ON MOVING OUT AND MOVING IN

Rimbun Dahan Residency Show
14th February, 2006
















Title: Gifts From The In-Laws
Medium: Oil on canvas
Size: 122cm x 153cm
Year 2005

















Title: Cluttered
Medium: Oil on canvas
Size: 168cm x 214cm
Year 2005
















Title: Dis-Unity
Medium: Oil on canvas
Size: 168cm x 214cm
Year 2005


ON MOVING OUT AND MOVING IN
Sharon Chin
December 2005


If there is one thing that characterizes moving out of a home and into a new one, it is the humble cardboard box. More than being a container for objects, they also hold memories, histories and hopes for the future. Looking at Bee Ling’s previous works that paint the idiosyncrasies of home life in all its ritual complexity, and now at the new series created during the year-long Rimbun Dahan residency, I am reminded strongly of unpacking a cardboard box in a new house - the jumble of the past colliding with a heady anticipation of new independence.

Rimbun Dahan has been a transition of sorts for Bee Ling. Together with her husband and fellow artist, she has moved out of the old family home into new territories and new roles. What sort of home has Rimbun Dahan provided for the artist? It was always to be a temporary abode, but dwelling somewhere for any amount of time means that habits are developed, certain rituals invented, and time and care is devoted to one’s surroundings. This is the nature of inhabitation. No place is ever neutral, nor stays unchanged if you place someone in it.

Hence we are presented with paintings that act like windows looking in and out. In the foreground, views are framed - here by a stripe of color, there by the cheerful edge of a floor rug. We look in upon traces of life lived at Rimbun Dahan. In Celebration, for example, a multitude of empty glasses tells us light-heartedly of the consumption and chatter that accompany a heightened social occasion. Windows in the background leading to the world outside reinforce the in-between nature of these works, reminding us (and the artist) that all this must sit in context of a wider societal picture.

A period of transition is also one of negotiation. For Bee Ling, there are many roles to play as artist, wife, woman, daughter and now, daughter-in-law. In between must lie the personal search for individuality. As such, in the paintings, tables become platforms for a parliament of objects. It is not so much what is depicted, as the way they are grouped. They crowd each other, jostling for space and prominence, much as one must feel torn between fulfilling the many expectations of society, family and the self. There are quieter dialogues though, such as in Make-up set on Pink Table and Typewriter on Pink Table. These reveal a calmness that exists within the intimate private space of a person.

We could see the home as a container for all aspects of our lives – basically everything we put into a cardboard box upon moving out, as well as our very bodies. There are many symbolic containers in Bee Ling’s works, taking the form of baskets, which sit large upon the aforementioned tables. The objects that fill these containers are less defined, blurring into each other in a riot of color that threatens to overspill the confines of the basket, onto pristine table-tops and into the surrounding environment. These seem to speak of emotions and the sheer energy of living, the fruits of which are naturally a vibrant and at times chaotic harvest.

Here we see the artist pushing the potential of her medium, reveling in paint’s materiality to convey thought and feeling. In Working Hard in the Kitchen, for example, a basket is filled with a jumble of groceries. The brushstrokes overlap each other on a surface that is built and rebuilt again. These painterly gestures are almost self-contradictory – having started by making meaning, the artist proceeds to efface that meaning with other layers. This is reflective of a self-identity that is mutable and in constant change. After all, as any cook will tell you, in the kitchen one must be organizer, toiler, purchaser, and provider!

Moving out also means moving on. It takes courage to do so, to recognize the need for personal privacy, freedom and individuality. These are as important as the familial ties that bond people together. As much as we move into a new place, we carry with us that which has made us what we are. Yet if we hold on too firmly to the past, we can stifle the opportunity for growth. I see these new paintings as a transition between moving out and moving in, a record of the first brave steps into a world and a home of one’s own making.