From 10th January 2012 Amelia Johnson Contemporary is thrilled to present an exciting initiative, The Third Eye Project. Featuring the video, projection and installation work of three international artists this series of installations will take place over three months and present three very different artistic responses to Hong Kong.

Australian artist Jayne Dyer is based in Beijing and Sydney. Her exhibition and award experience over 20 years indicates her committment to inter-­‐cultural collaborative exchange, particularly between Australia and Asia. Her practice includes individual and collaborative projects, museum installations, commercial exhibitions and large scale permanent public and prívate commissions. Dyer’s practice is hybrid and multidisciplined, incorporating text, photographs, objects, drawing, audio and video, with a focus on installation. Her framework is underpinned by an insistent question - what is valued? She considers the veracity of individual and cultural assumptions about what is, and what constitutes, permanence and endurance. Art works point to change and imminent states of collapse.

Ever Ever simultaneously contains a film noir ‘Hitchcockian’ presence and a sense of dislocation, absence and loss. A single black tree suspends in space, growing from a suitcase. A pile of black books fall to the floor. LED light words ever ever spell out possibilities, undercut by an intimacy alluded to but never directly expressed. Objects and words point to the transient and perhaps unfathomable aspects of human behavior. The exhibition’s unnatural illuminations and blackness forebode a bleak environmental future.

Dyer’s practice has been an insistent fascination with the relationship between visual art and language. Found and made words, constructed, borrowed and imagined texts formulate the core of Dyer’s practice. Her ambitious scale and concepts have resulted in installations where books spill from doorways, columns of books become architecture, and identities of cities and natural environments are mapped through individual stories.

Dyer posits alternative scenarios. The installations MEMORYspace and READINGroom (Taipei, 2011) reflect on community change and urban regeneration, And then we dream (Kinmen Island, 2011) and Then (Hangzhou, 2011) alert us to ecological fragility. And then we dream (Taipei, 2011) LED light words and books or empty picture frames stacked in a precarious tower-like formations intimate the uncertainty of our times. In Utopia (Beijing, 2010) inverted historic and contemporary landmark buildings and a soaring plywood skyscraper critique expected constructs of a contemporary Eden. I Wish (interviews undertaken in Tibet, Taiwan, Hong Kong and mainland China, Australia and England 2008-11) collects individual hopes and fears, and is a microscope to societal values and identity. In And then we (Sydney, 2011) and Talking in Tongues (Melbourne, 2010) LED light words present a conversation. Two people, two stories, pointing to communication and miscommunication. Black Friday (Taipei, 2008) and the Butterfly Effect series (Taipei, 2008/2010, Hong Kong, 2011) thousands of black butterflies swarm into domestic and public spaces to remind us of sustainability and our ecologically fragile environment. The Book Project – Taiwan (Taipei, 2009) and The Book Project – Korea (Seoul, 2009) remaindered and discarded books spill from a fissured wall and a museum skylight, signaling the rapid reduction of print media in line with the rise of internet media access, and reflect on the subsequent loss of opportunities for independent voice. The Reading Room and The Library of Forgetting (Sydney, 2007) books become the opus for what is lost, what is no longer valued.