Cho, Hui-Chin

Graduated with a First Class Honours degree from the Slade School of Fine Art, University of College London, UK in 2018, CHO, HUI-CHIN’s works are concerned with a miscellany of incongruous figures, motifs and fragments. They form a narrative that is grotesque but still compelling. The body installation performances challenge conventional art-and-spectator relationships, focusing on the fleeting gestures and social subtleties of lived experience or brief movement rather than on labeled material objects. Her inquisitive artistic practices are embodied in her introspection and a reflection on humanity, desire, fetish, ambivalence, sadism and obsession. Her works have been exhibited and collected widely including solo shows and biennials in London, Paris, Florence, Rome, Hong Kong, Taipei, Manila and Tokyo.

The intersections, enigmas, and inevitable conflicts of multiculturalism are central in my practice. The body installation performances challenge conventional art-and-spectator relationships, focusing on the fleeting gestures and social subtleties of lived experience or brief movement rather than on labeled material objects.

The Taiwanese background and ancestral lineages to Japan, France, and the Netherlands, provide a starting point for the imaginary space of my work. I’m interested in the balances between the sense of aesthetics and the sense of pleasures; and metaphors of the iconography of infants to question the politics and ethics of figuration and material choices. Human desire, fetish, ambivalence, sadism and obsession find their way into my work, and I approach each piece in a multidisciplinary way, through performances, painting, sculpture, drawing, installation, text, and collages processes.

Through an experimental approach, I observe and gather layers of symbolism and meanings through metaphorical interpretations of diverse metaphoric arrangement. Each composition is an exploration of the philosophical and metaphysical in-between of the human relationship to body, time, space, life and death. I seek to establish an inner equilibrium between rational analysis and sentimental interpretations. I assume that all figures, colours, and materials can be analysed, deconstructed, criticised, in all their manifestations, finally crystallising to reveal hidden metaphors and perspectives.