Osage Gallery will be presenting works in three different sections, Galleries, Encounters and Film.

Galleries:

Au Hoi Lam will be presenting a brand new body of works that continue her explorations into the transformation of memories, fantasies and special events into momento‐paintings. Memories and time continue to play an important role in Au’s works as she repeatedly ruminates over her own memories and life experiences with the deceivingly simple goal of holding onto fragmented moments of life.

Wilson Shieh is well known for his Gongbi (Chinese fine‐brush ink technique) works, often consisting of satirical portraits of cultural icons. Presented at Art Basel will be Music Families, a series of woodblock prints depicting various string instruments, the bodies of which are made up of three to four human bodies, who in tandem form ironic ensembles. These arrangements of bodies speak to the notion of the shared, common body, which, function in Shieh’s work as a way to comment on role‐playing and identity formation.

Sara Tse's installation consists of several individual pieces, all of which use domestic, every day objects reminiscent of childhoods or times gone by, such as soft toys, rocking chairs, blankets and balls of yarn. Parts of the installation also consist of objects the artist cast and soak in liquid porcelain and then double fired in a kiln, turning what were originally soft, worn or familiar objects into fragile porcelain. Together, these objects create an installation that document and gesture towards other times and spaces.

Ma Shuqing's abstract paintings are an exploration into colour as a medium for time and space. At Art Basel 2014 will be several of his latest paintings. The forms in his paintings are sculpted with layers upon layers of oil paint, testifying to the properties of the time and medium used. With such an endurance‐based practice, the artist is also open to insights and inspirations he encounters on the way; his works are therefore, to a certain extent, improvised and constantly revised.

Miao Xiaochun will be presenting his work The Cross. Using algorithmic 3D software, Miao reinterprets Caravaggio’s Cruxifixion of St. Peter, paying particular attention to the power and expression of lines and their function in both painting ‐ particularly traditional Chinese painting ‐ and digital based media. His works play to the still contentious discourse surrounding the relationship between technology and art, offering a cutting edge point of view that openly embraces re‐interpretation and re‐invention via new technology.

Wang Huangsheng's Moving Visions Series is a series of works through which the artist tests the boundaries and tensions between discipline and freedom as pertaining to the practice of brushwork in traditional Chinese painting. The marks in the works from the Moving Visions Series are simultaneously precise yet mobile, loose yet tight, creating a dynamism to the works.

Louie Cordero will be presenting thinking not seeing, seeing not thinking I and thinking not seeing, seeing not thinking II. The two large scale painting‐sculptures feature vibrant colours and intricate patterning, reminiscent of a kaleidoscopic view. The piece is exemplar of the artist’s aesthetic and interests in comic art and pop culture.

Ng Joon Kiat will be presenting two works; View of an Earthling Creation: The Ultimate Fossilized Wall Street and Dusted Shimmering City. View of an Earthling Creation: The Ultimate Fossilized Wall Street imagines a fictional narrative, taking as its locus Wall Street, New York after the apocalypse and demise of earth, depicting an old map of Wall Street covered with metal and carbon black paint. The work asks the question of how a civilization can cause its own destruction. Dusted Shimmering City on the other hand, is a process‐based work that looks at the ever‐evolving movements of dust and elements as they rain down, in contrast to human made terrains.

Chen Sai Hua Kuan's work Adapt Adapter is a sculpture consisting of a string of adapters, each plugged in another to form an arch. Plugged into an outlet, the work is inconspicuous, and like many of Sai’s other works, is a playful use and interpretation of an everyday object. The undertones of humour and mischievousness in the work require the audience to pay particular attention to their surroundings, and, when found, the site‐specific sculpture is a transcendent intervention.

-Osage Gallery

Image: © Ng Joon Kiat
Courtesy of the artist and Osage Gallery