Undone
22/9/2012 - 20/10/2012
HARDNECK.hk, Hong Kong
Undone
22/9/2012 - 20/10/2012
HARDNECK.hk, 香港
22/9/2012 - 20/10/2012
HARDNECK.hk, Hong Kong
Undone
22/9/2012 - 20/10/2012
HARDNECK.hk, 香港
Taking inspiration from the ubiquitous construction sites seen across Hong Kong, the exhibition explores the ambivalent notions of construction and progress within the contemporary context. In specific, Ko attempts to question the correlation between the individual motion and the movement of the whole; whether the act of constructing necessarily leads to the ideal collective goal, or does the condition of imperfection (construction site/exhibition space) ultimately become a static image and a reality throughout time. Further highlighting the tension between development and destruction, lurking around the exhibition is the disruption of pre-existing signs and images, connoting the inevitable collapse of order and structure.
Neon signs from around the city are diluted and stripped off of their original contours In the video installation Planet series (2012), what remains is merely the presence of colour quietly submerging behind the artist’s faint brushstrokes. On the other hand, an awry hand-painted hazard stripe sign found from a construction site is captured, magnified, and rendered to a monochromatic palette under Wall series (2012). These two works at once probe into the problematic relationship between formal abstraction and intrinsic functioning of signs. As an extension, striped tarps are stretched as canvases in Home Improvement (2012). On the surface the work is a simple illustration of the creation of an ideal private home upon an empty space. Underneath is a satirical depiction of the powerlessness of the modern inhabitants, whose only control extends to the decoration arrangement within their private space. The new works form part of Ko’s ongoing exploration in relooking at the abstract elements found within images and objects of the everyday, and their role in influencing the function of the visuals, authority and the system.
以香港隨處可見的地盤作起點，展覽探討在不同層面上，興建與進步之間所帶來的矛盾。當中，高氏亦對個人活動和群體方向兩者的關連發出提問︰興建這動作是否必定引領我們達至一個美好的共同目標﹖或是建設時的不完美狀態（地盤／展覽場地）已經變為一種靜止圖像甚至是一個現實﹖展覽內，不同標記與圖像被淆亂，不單展示著發展和破壞的張力，亦預示著本身存在的秩序與結構在建設時不能避免地瓦解的可能性。
錄像裝置《行星》系列（2012）裡，城市內霓虹燈的形態被一一模糊化，最終只剩下色彩燈光遊走於藝術家筆觸背後。另外，一張在地盤牆上找到的龐大手繪黃黑標記於《牆》系列(2012)被捕捉，放大，及轉化為單色調 。這兩個系列嘗試了解抽象形態對標記功能所作的影響。《Home Improvement》 (2012) 裡，藍白線條圖案的防水布化成畫布， 畫布上呈現了美好家居擺設的畫面。這件作品表面上簡單地展示一個私人空間如何建設在一個空白空間上，實際上諷刺著都市人只能擁有私人家居狹窄的權力範圍 。今次展出的新作品顯示高氏一直關注於日常生活中物件和圖像裡所存在的抽象元素，它們顛倒的不單是這些物件原有的功能，而是延伸至圖像裡所呈現的權威性，及整個社會的體制。
Neon signs from around the city are diluted and stripped off of their original contours In the video installation Planet series (2012), what remains is merely the presence of colour quietly submerging behind the artist’s faint brushstrokes. On the other hand, an awry hand-painted hazard stripe sign found from a construction site is captured, magnified, and rendered to a monochromatic palette under Wall series (2012). These two works at once probe into the problematic relationship between formal abstraction and intrinsic functioning of signs. As an extension, striped tarps are stretched as canvases in Home Improvement (2012). On the surface the work is a simple illustration of the creation of an ideal private home upon an empty space. Underneath is a satirical depiction of the powerlessness of the modern inhabitants, whose only control extends to the decoration arrangement within their private space. The new works form part of Ko’s ongoing exploration in relooking at the abstract elements found within images and objects of the everyday, and their role in influencing the function of the visuals, authority and the system.
以香港隨處可見的地盤作起點，展覽探討在不同層面上，興建與進步之間所帶來的矛盾。當中，高氏亦對個人活動和群體方向兩者的關連發出提問︰興建這動作是否必定引領我們達至一個美好的共同目標﹖或是建設時的不完美狀態（地盤／展覽場地）已經變為一種靜止圖像甚至是一個現實﹖展覽內，不同標記與圖像被淆亂，不單展示著發展和破壞的張力，亦預示著本身存在的秩序與結構在建設時不能避免地瓦解的可能性。
錄像裝置《行星》系列（2012）裡，城市內霓虹燈的形態被一一模糊化，最終只剩下色彩燈光遊走於藝術家筆觸背後。另外，一張在地盤牆上找到的龐大手繪黃黑標記於《牆》系列(2012)被捕捉，放大，及轉化為單色調 。這兩個系列嘗試了解抽象形態對標記功能所作的影響。《Home Improvement》 (2012) 裡，藍白線條圖案的防水布化成畫布， 畫布上呈現了美好家居擺設的畫面。這件作品表面上簡單地展示一個私人空間如何建設在一個空白空間上，實際上諷刺著都市人只能擁有私人家居狹窄的權力範圍 。今次展出的新作品顯示高氏一直關注於日常生活中物件和圖像裡所存在的抽象元素，它們顛倒的不單是這些物件原有的功能，而是延伸至圖像裡所呈現的權威性，及整個社會的體制。