Juliette Furio. Veronica Habib. Yang-En Hume. Thomas Quayle
OPENING PREVIEW WITH THE ARTISTS
FRIDAY 6th June 6-8PM
Dismemberment of the body is used as a tool in this exhibition, to explore themes such as voyeurism, the gaze, the objectification of the body, social constructions of gender, taxonomy, isolation and suffering.
The participating artists use dismemberment in both literal and metaphorical ways. Yang-En Hume and Juliette Furio’s physical dismemberment of the human form utilises abject sensibilities, provoking a visceral response in the viewer. They use dismemberment as a means of critiquing archetypal constructs of gender and identity. Veronica Habib’s cut clothing performances, dismember the human form through simultaneously disguising and revealing sections of the body. Thomas Quayle’s quietly disturbing ceramic pieces point to a dismembered humanity, where the disconnection between humans leads to ignoring others’ suffering.
Show runs 6th - 22nd June 2014
12 ARGYLE PLACE
MILLERS POINT NSW 2000
I finally had a chance these school holidays to finish some drawings I've been working on since February.
They're small mixed media works set over LED lights which gives them an amber glow. I like how they change colour and glow differently depending on the light you view them in.
No Human Being is Illegal (In All Our Glory) - Photo by Nancy Skinner
No Human Being is Illegal (In All Our Glory), is a collaborative collage project instigated by Deborah Kelly for the 2014 Sydney Biennale. I've been participating since December last year, and what an experience it's been!
One of the collaborators Tania Leimbach has written a really great article about the whole process and experience. Her words resonate with my experience. I hope you get the chance to view the works at the Art Gallery of New South Wales.
Read Tania's article here:
My work is featured on The Art Life Blog this week as part of New Work Friday.
Check it out:
Promo video for Home@735's Art Month Program, by Michael Filocamo.
Check it out:
My exhibition has been reviewed in The Art Life:
"Along the upper corridor is the work of Yang-En Hume, comprising mixed-media drawings, framed photographs and a collection of jars containing dolls heads in brown liquid, like vitrines from the laboratory of Frankenstein. Hume is interested in the way in which dolls have historically been used as aides to prescribe socially acceptable roles for little girls – teaching them about modesty, compliance and the importance of beauty. There is nothing modest, compliant or beautiful about Hume’s use of dolls, which she dismembers and defiles in her re-configuring of their social function. These uncanny specimens are called such things as Lipotes vexillifer and Incilius periglenes. I assumed this was Hume’s own pseudo-Latin, but lucky for Google! These two examples are actually the Chinese river dolphin and the Golden toad, found in Costa Rica. Their literal meanings are not the point however, but rather they link these works to notions of the strange. The issue of sexuality is as unavoidable in Hume’s work as in Chow’s and yet perhaps more disturbing for its distortion through the prism of the little girl’s plaything. Hume questions and challenges what we teach children about their bodies, sexuality and especially, I would argue, privileged Western notions of beauty."
Head over to the Art Life to read the full review written by Meredith Birrell:
I'll also be giving an artist talk tomorrow (Sat 1st March) at 5pm at the Gallery: 735 Bourke St, Redfern. Hope to see you there.
My exhibition is part of Art Month
GROUP SHOW 15.02.1415 February - 6 March
Artist Talks Saturday 1st March, 5pm
Closing Party Thursday 6th March, 6-8pm
The intimate and familiar surrounds of a Redfern terrace provide 4 distinct areas for exhibition; add the TV and you have Home@735’s video space. For 15.02.14 the lounge room gallery features paintings by Caitlin Hespe which confound viewers expectations of the everyday. Showing alongside Hespe is performance artist Frankie Chow’s unsettling exploration of the ‘camgirl’ phenomena. Moving up into the stairwell space you follow the path taken by Jingjing Ma’s camera as he reveals the beauty of the obsolete shopping strip of Canterbury Road.
Upstairs are installations by ceramic artist Sarah O’Sullivan and painter Yang En Hume who address everyday domestic objects in very different ways. Hume’s dismembered dolls and O’Sullivan’s reflective and re-contextualised ceramics raise questions about the way we live and operate in Australia today.
Image: Jingjing Ma, Absence (detail), 2013, archival inkjet print, 841 x 594 mm.
You are invited to drinks with the artistsFrankie Chow | Caitlin Hespe | Yang-En Hume
Jingjing Ma | Sarah O'Sullivan
opening Saturday 15th February 2014 from 6 - 8pm
735 Bourke Street Redfern 9310 7606
Yang-En Hume dismembers toy dolls, using them as anthropomorphic objects to question dominant gender paradigms in relation to beauty and femininity. The abject nature of her work resists hegemonic constructs of femininity in its refusal to depict the female body as self-contained. In examining her work, the viewer becomes both voyeur and object of the dolls’ gazes, subverting the conventional roles of artwork and audience.
I'm featured on the Near and Elsewhere blog this month
"You mention on your website that the doll as motif is significant in "shaping girls' experiences of being female" - can you elaborate? How do you feel it effects women's perceptions of being female?
Dolls are one of a number of factors, which teach girls how they should behave and to what they should aspire. They train girls to associate certain characteristics with being female. From the second half of the 18th century, they were used as a form of education to teach girls how to dress, and to foster maternal aspirations. Paintings of dolls from this period depict them as an aid in developing girls into docile women, probably indicative of underlying fears that women have innate unruly passions that could threaten the social order.
More recently, a number of writers and theorists have argued that dolls continue to teach girls’ gender norms and social expectations such as maternity, domesticity and beauty. Barbie reinforces a white-skinned, thin, fashionable beauty ideal, which when internalised has been shown by some studies to contribute to the development of body dissatisfaction in girls. Barbie and other dolls reinforce to girls that their primary social value is the attainment of beauty, encouraging insecure consumerism. Furthermore, Barbie represents a physical ideal, which extends the idea of beauty to characteristics such as skin colour, marginalising girls of non-Caucasian ethnicity. Even though they are not the only contributing factor, dolls, I think, act as a symbol of broader social and cultural expectations to which children are exposed from a very young age. They are a tool used to inculcate girls with certain ‘feminine’ values, and to train them to aspire to a narrow beauty ideal."
Check out the rest of the interview at: