VICE PRINCIPAL - LEARNING SYSTEMS & STRATEGIC DEVELOPMENT
HEAD OF ART
KYLE FORD
MYP ART TEACHER
JAMES CHAN
2022-2023
In/HUMANITY showcases a group of multidisciplinary artists who investigate the complex interplay between external influences and internal identity formation in the contemporary world. Against the backdrop of a rapidly changing technological landscape, where the rise of algorithms and human-coded artificial intelligence is transforming the way we understand ourselves, the artists in this exhibition offer a critical commentary on the impact of these developments - present and future - on our sense of self and our relationship with the world around us.
Through their use of diverse media, such as painting, sculpture, photography, and multimedia installations, the artists in In/HUMANITY invite viewers to engage in a contemplative journey of self-reflection, questioning the societal pressures and commercialized rhetoric that influence our choices and shape our sense of society and self. They explore the ways in which external forces can lead to feelings of alienation and disconnection, and how this may be amplified by the increasing prevalence of technological determinism in our daily lives. Through their thoughtprovoking works, the artists challenge us to seek a deeper understanding of the complex interplay between internal and external influences in the contemporary world, and to contemplate our place within this evolving landscape.
Ultimately, In/HUMANITY invites us to embark on a journey of self-discovery and introspection, one that leads us towards a more nuanced and empathetic understanding of ourselves and the world around us. Through this exhibition, we are prompted to confront the inhumanity of our current cultural landscape and to engage in positively shaping the future of our collective existence.
- Above text generated by ChatGPT and prompted and edited by Kyle Ford
Pulling from the lexicon of art history, Jay uses paragons of femininity, like Venus, as a reference point to dissect identity, gender roles and expectations in a perfection driven world. This manifests in the photographic retellings of classic iconic pieces like The Birth of Venus by Botticelli, Les Demoiselles d’Avignon by Picasso, and Sleeping Venus by Giorgione and Titian. Recontextualized in the mind of a contemporary teenage girl, Jay’s staged approach to artmaking results in works that are meticulously considered and performative as she investigates the construction and subsequent destruction of identity and self. Jay invites the viewer to question what informs our development of self and self worth as her teenage heroine slowly unravels before us in an unsettling display of conformity.
Throughout Selevan’s colorful work, allusions to science fiction lore drive narrative arcs through to a dystopic end. Selevan’s collection of large scale photographs and paintings come together to illustrate a world where humanity’s spark slowly erodes away as they voluntarily offer up literal pieces of themselves to a false god. Selevan’s graphic and staged works draw on the sci-fi nostalgia of a time gone by to explore the age-old question of what will come of humanity. He poses open ended questions of identity, self, and the need for basic human traits like empathy and care. Through his work he asks the viewer to look into themselves and question how can we hold onto what makes us sentient, human?
In Tong’s sculptural and graphite pieces, metamorphosis takes center stage. As the work alternates between large scale and intimate drawings, Tong ruminates on concepts of social anxiety, fragility and acceptance. Each piece builds upon the aesthetic leitmotif of a cocoon, symbolic of confinement and rebirth. Tong’s work is a cathartic process of self-acceptance in an overly result-focused existence. She generously opens her mind to the viewers, taking them on a Freudian journey of introspection and resolution through an array of dreamlike scenarios.
- Above text written by Kyle Ford, human
Entering womanhood is often seen as a celebration for most women; however, the negative sides are often silenced. My exhibition aims to shed light on the horrors behind the female experience. From oppression to beauty standards to dehumanisation, the divide between the individual and society is prevalent in all pieces. Capturing both the external and internal struggles of the female experience, my exhibition follows a linear framework that corresponds to the process of emerging from childhood into the dark realities of womanhood. Each artwork furthers the narrative of identity development, progressively failing further into chaos.
Throughout the exhibition, recurring themes of horror, vulnerability and the abuse of innocence often lead to the evaporation of one’s humanity portrayed through grotesque appearances. The symbol of Venus appears throughout several pieces. The Greek goddess serves as both an innocent rendering of beauty and a toxic ideology imposed on young women. Feeling the pressure of living up to such unrealistic standards, each figure present in every artwork aims to mould themselves into different identities, eventually losing a sense of who they are.
Act 3: Woman in Closet (After Picasso)From the series One Person; Three People Photography
42 x 51 cm
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Act 1: Woman in Bathroom (After Botticelli)
- From the series One Person; Three People Photography
58 x 36 cm
Pablo PicassoAct 2: Lounging Woman (After Giorgione & Titian)
- From the series One Person; Three People
Photography 42 x 51 cm
Time-based Media, Dual Projections
4:59m
This exhibition is a manifestation of my love for science fiction and storytelling. Drawing upon a traditional sci-fi aesthetic, I am using symbolism, visual metaphor, atmosphere, and tension, to convey complex concepts of inevitability, transformation, and dystopia – presenting a critical analysis of humanity and its flaws.
Each work aims to construct a narrative arc, progressing from a recognizable world to a dystopian, barren landscape of desolation, delineating the gradual erosion of humanity and empathy in mankind. The artworks are marked by an underlying personal identifier in the form of a metamorphosed representation of myself, transformed into a universal symbol of post-technological humanity through the use of unspecific features and reflective metal skin.
This body of work explores a gradual loss of humanity, and the descent from structured society brought on by the technological age. I Invite the audience to reflect upon concepts of humanity, empathy and existence, considering their own ideas and interpretations of the themes presented in the exhibition.
Untitled Pencil and Graphite Powder on Arches Aquarelle
300mg Paper
Wrong Reflection Acrylic Paint on Canvas 45.5 x 61 cm
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Seconds Before Disaster Acrylic Paint on Canvas 122 x 91 cm
In this body of work, I attempt to explore various ideas in relation to the theme of metamorphosis with underlying motifs of growth, social anxiety and changes in the body. The process of creating and mounting this body of work has been cathartic, helping me to better understand myself while allowing me to express my personal struggles with mental health. Throughout the exhibition, I am exploring the Freudian manifestation of anxiety in dreams. I incorporate reoccurring symbols of butterflies, cocoon-like shapes and eggshells to reference concepts of rebirth, change and development in relation to the concept of metamorphosis.
By the end of my exhibition, I want to leave the audience with a feeling of acceptance, inviting them to resonate with my human experience through figures suspended in ambiguous backgrounds of a dreamlike world. The viewer’s journey comes full circle as I attempt to illustrate my internal struggle akin to the complex emotions and events I felt at the time.
Choking on the bed
Gouache on Arches Aquarelle
300mg Paper
56 x 76 cm
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The Butterflies Within Pencil and Graphite Powder on Arches Aquarelle
300mg Paper
57 x 76 cm
Societal norms and standards often shape our identity. In my exhibition, I explore this theme through the perspective of a little girl, demonstrating the ways in which society influences her identity while growing up. Each piece is created with the intention of representing the struggle between keeping one’s identity whilst fitting into society. The exhibition aims to portray a loss of innocence in this attempt to “fit in” to societal expectations.
In the exhibition I would simulate a dystopic version of a little girl’s bedroom, inviting the audience into her world. As the viewer walks through the exhibition, they see these disfigured views of self and identity, emulating the way the girl perceives herself. I choose to imitate an eerie bedroom as I want the audience to feel a sense of discomfort, helping them empathize with the feeling of growing up.
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Robbery Acrylic Paint on wood 20 x 93 cm
SPECIAL THANKS TO JOFY YIP AND THE REST OF THE ADMIN TEAM
