Yen Phang

          Artists 驻地艺术家

YEN PHANG (b. 1979, Singapore) – Yen Phang speculates on the secret lives and hidden neuroses of objects. Through painting and performance, he investigates things as theatres for habit, consumption, labour, and personal politics, oftentimes dwelling on the individual and collective anxieties of everyday life. He is currently pursuing his MA in Fine Arts at the Lasalle College of Fine Arts, Singapore, wherein he wonders about toilet habits and public bathrooms. Past shows include Continuum (Automatic Itineraries) (2014) at Post-Museum Pop-up at the Centre of Contemporary Arts (Singapore), Invisible Frequencies (2015) at OCBC Art Space (Singapore), and Lullaby for a Gardener Lost in the Woods (2015) at the Montreal Art Centre (Montreal). He has also initiated projects such as Displacements: 13 Wilkie Terrace (2013), Interstitium (2015), and Repurposing Nostalgia (2016) under the Displacements banner. Yen was a recipient of the Winston Oh Grant (2016), Winston Oh Travel Research Award (2016), and was awarded the Cliftons Art Prize (2015) and the UNSW Julius Stone Prize (2006). His work has been collected by the Singapore High Commission in Kuala Lumpur, Malaysia, Ministry of Foreign Affairs Singapore, Cliftons Venues, One Farrer Hotel & Spa, as well as British Airways for their Terminal 1 Lounge at Changi Airport, Singapore.

YEN PHANG(生于1979年,新加坡) - Yen Phang推测物体的秘密生活和隐藏的神经。通过绘画和表演,他把事情作为习惯,消费,劳动和个人政治的场所进行调查,时常考虑日常生活中的个人和集体的焦虑。目前他正在新加坡拉萨尔艺术学院攻读美术硕士学位,在那里他开始研究厕所习惯和公共卫生间。过去的展览包括当代艺术中心(新加坡)博物馆展出后的Continuum(自动行程)(2014),华侨银行艺术空间(新加坡)的无形频率(2015),摇滚迷失的园丁(2015)蒙特利尔艺术中心(蒙特利尔)。他还参与了很多其它项目,像是Displacements: 13 Wilkie Terrace(2013),Interstitium(2015)和Repurposing Nostalgia(2016)。 Yen是Winston Oh Grant(2016),Winston Oh旅游研究奖(2016)的获奖者,并获得了Cliftons Art Prize(2015)和UNSW Julius Stone Prize(2006)。他的作品被马来西亚吉隆坡新加坡高级委员会,新加坡外交部,Cliftons Venues,One Farrer Hotel&Spa以及在新加坡樟宜机场的1号航站楼英国航空公司收藏。

“How do we see “clean”? In “Clean River”, “Looking for the WC”, and “How to Wear White”, I use mainly melted bar soap as a painterly medium. It resulted not so much in a singular project, but a development of my painting practice in various movements, by using soap to paint fishing nets and wall sections, as well as encasing fragments of broken roof tiles. What is “clean” after all when depicted materially, whether we’re talking about body-hygiene and the landscape of health (of a functioning body or body politic), or its corresponding moral associations? What becomes of white, whether as negative space or material imposition on existing objects, as deliberate hue or non-color.”

“我们如何看待“干净”? 在“干净的河”,“寻找卫生间”,“如何穿白色”中,我主要使用溶化的肥皂作为绘画的媒介。 它不是一个单独的项目,而是一个发展我的绘画实践的各种运动,通过使用肥皂画渔网和墙壁部分,以及装满碎瓦片的碎片。 毕竟,当我们谈论身体卫生和健康的景观(一个有功能的身体或身体政治)或者其相应的道德联想时,什么是“干净的”? 无论是作为负面的空间还是对现存的物体施加的物质,白色变成故意的色彩或非色彩。”