The Future of Belonging

Speiro Projects

Catalogue Essay written by Josephine May Bailey 

Over the past two decades, a vibrant cohort of diaspora Chinese artists has emerged, leaving an indelible mark on the landscape of contemporary art. Many of these artists, having honed their skills at prestigious colleges and art institutions abroad, immerse themselves in global art trends and techniques. Armed with a rich palette of artistic vocabulary, they navigate beyond traditional Chinese motifs, integrating diverse influences into their work.

A two-part exhibition presented by the newly founded SPEIRO PROJECTS, The Future of Belonging presents the diverse practices of eight artists— Max Lee, Yi Liu, KV Duong, Ningyue Qian, Qinyao Dai, Zhenlin Zhang, Shuang Jiang, and Shibari Art Collective: Alison Chen, Siqi, and Saki—intersecting at the crossroads of Chinese heritage, diasporic identity, and contemporary artistic expression. Through painting, installation, performance, and sculpture, this exhibition traverses themes ranging from mythology and spirituality to societal norms and cultural assimilation, going beyond geographical boundaries to address issues that resonate universally.

 The selected artists’ cultural identities are, as a consequence, as multifaceted as their art; encompassing a spectrum of labels including Asian, Eurasian, British East Asian, and beyond. Rejecting the limitations of a singular ethnic categorization, they embrace a myriad of identities—from feminist to queer, migrant to cosmopolitan—reflecting the complexities of modern existence and offering profound insights into the Chinese diaspora experience.

Part I occupies the entirety of the first floor, offering a diverse array of artistic mediums including painting, sculpture, installation, and performance. Max Lee's captivating works beckon viewers into a realm of parallel worlds, seamlessly blending fiction with philosophical exploration. Rooted in the concept of diaspora, Lee's lyrical paintings reflect his global upbringing spanning both Hong Kong and the UK, showcasing the fusion of Eastern and Western influences in his practice. Central to Lee's artistic process is the holistic approach to creation, where the canvas transcends mere surface to embody a complete entity. This methodology yields intriguing two-sided works, evoking a sense of both relinquishment and control, blurring the line between the visible and the concealed. Currently pursuing his studies at the Slade School of Fine Art, Lee endeavors to breathe new life into narratives drawn from historical and contemporary sources, offering fresh perspectives on familiar scenes.

In a similar lens to Lee, Yi Liu's ethereal compositions challenge conventional interpretations of stories - both mythological and historical. Utilising both line and colour, Liu’s canvases are reminiscent of frescos, illustrations, and even comic books. With loose, lyrical brushwork, Liu’s canvases take a moment to fully digest. There are multiple narratives, references, patterns and colours that swirl and distort to reveal semi-abstracted figures, born from both past and present. Through these depictions, the artist explores themes of love and freedom, reflecting deeply on traditional Chinese mythology, and the inherent power struggles that these so often showcase.  

Ningyue Qian’s keen observations of societal nuances prompt a different kind of introspection. Qian is a sculptor and installation artist, who builds her research on documenting and analysing often-overlooked details. In The Future of Belonging, Qian will exhibit Cooking (2024). Drawing inspiration from past artists such as Judy Chicago, Martha Rosler and Mierle Laderman Ukeles, Cooking (2024) serves as a powerful reminder of the kitchen as a site of political activism. In this work, the artist explores themes of gender, inequality, domesticity and, importantly, the commodification of female labour. Qian will begin creating the piece during the opening of the exhibition, slowly kneading and stretching dough over chosen objects: a skillet; a pot; a table. Qian’s performance will then result in a finished object that exists in the space long after the artist has left, encouraging viewers to observe the site specific piece as it changes throughout the show’s programming.

KV Duong offers nuanced reflections on diasporic existence, challenging prevailing narratives of identity and belonging. An ethnically Chinese artist born in Vietnam, Duong was brought up in Canada, and now lives in the UK as a queer individual. Their practice hovers across many disciplines: sculpture, painting, performance and installation. Currently focusing on the material qualities of latex, Duong’s unique works sit in-between traditional modes of making, blurring the lines between painting and sculpture. Painting on both sides, in a similar fashion to Lee, these works are reminiscent of a window, or perhaps a door. Hinting at the swirling notions of access, border control, and division, Duong’s practice serves to critique his own existence as a member of the diaspora, as well as bring attention to the growing tension that exists between different ethnicities. Duong will also showcase his performative practice on the evening of May 11th as a part of The Fitzrovia Lates.  

Zhenlin Zhangi’s  artistic practice transcends geographic and cultural boundaries, offering a theatrical exploration of Tibetan culture and its intersections with modernity. Through oil painting, Zhenli juxtaposes traditional Tibetan motifs with contemporary influences, inviting viewers to reconsider societal norms and cultural assimilation. Capturing the essence of Tibetan life through symbolic imagery and theatrical drama, Zhenli’s artworks serve as a meditation on the fluid boundaries between spiritual serenity and material desires.

Qinyao Dai’s practice delves deep into her personal experiences, translating sensations from her memories into soft and fragile works that convey feelings of vulnerability, helplessness, and alienation. In her figurative paintings, animals and soft toys serve as protagonists, representing her alter ego and conveying cultural and personal symbolism. Despite their seemingly innocent appearance, the titles of her paintings contrast with the cute style, revealing unsettling truths. Through her painterly gestures, Qinyao creates an intimate atmosphere, evoking a sense of gentleness akin to blushing cheeks. Yet, beneath this softness lies an uncanny narrative and surreal color palette, adding layers of complexity and strangeness to her work. Emotions blend seamlessly into her storytelling, quietly narrating tales of innocence lost, abandonment, tragedy, and resilience.

Descending into the basement of the exhibition space, we now enter Part II, a duo presentation of Shuang Jiang and the Shibari Art Collective, composed of performance artists Alison Chen, Siqi Li and Saki Liu. 

Shuang Jiang's exploration of vulnerability delves into the intricacies of the human experience. Currently studying for an MFA at the RCA in London, Jiang takes a profoundly sensitive approach to her work. Working on a variety of materials including sheep skin and canvas, Jiang painstakingly captures the embedded psychological trauma of self harm. Materiality is central to Jiang’s practice, as seen in the exhibited works. Often stretching and burning the edges of her chosen medium, Jiang attempts to mimic the realism of the human body, and the vulnerability and trauma of past experiences. Jiang’s practice delves into the universal truths of existence, exploring themes of life's transience and the perpetual cycle of decay and renewal. Through her work, she illuminates the interconnectedness between individual consciousness and the rhythms of creation, perceiving each person as a microcosm of the universe. The artist believes that even after her physical form fades, she remains an integral part of the universe, never truly disappearing. These works hold within them an incredibly intense personal narrative, creating a shocking, and incredibly emotive, viewing experience. In this exhibition, we see sheepskin prints hanging from the ceiling, swaying subtly with each movement, mimicking the visual language of her paintings. 

At selected moments, this space is then activated by a performance by Shibari Art Collective: Alison Chen, Siqi Li, and Saki Liu. Taking inspiration from Shuang Jiang’s works, the collective present a new performance piece titled Two in a Cube.  Throughout the performance, Chen, Li and Liu explore the intricate layers of women's self-identity within the constraining narratives of East Asian society. The performance symbolises the conflict between primal desires (the id) and moral principles influenced by patriarchy (the superego) within a metaphorical societal framework, all in search of true self-consistency.

The performers, obscured behind masks, embody a collective consciousness, engaging in simultaneous dialogue and soliloquy. Flesh-colored ropes extend from their bodies, representing both physical and spiritual constraints and connections. A rigid metallic rectangle, entwined with fabric resembling skin, constructs a metaphorical societal space and signifies mental constraints. Meanwhile, the soil beneath symbolizes the link between humanity and nature, highlighting the tension between innate desires and societal expectations.

The performance unfolds in five scenes:

  1. Separation: The performers awaken bound together, gradually realizing their mutual constraint and engaging in a struggle for autonomy.

  2. Mirror: They mirror each other's movements, with the id resisting the superego's corrections, leading to escalating physical confrontation.

  3. Confrontation: The superego attempts to control the id, resulting in a battle for dominance represented by the tension in the connecting rope.

  4. Exodus: The id breaks free from the constraints, while the superego remains exhausted within the installation, symbolizing resistance to liberation.

  5. Reconciliation: The id interacts with the soil, accepting its desires, before both id and superego reach out to each other across the installation boundary, symbolizing reconciliation and a return to the initial state of interconnectedness.

The performance, in conjunction with the works by Jiang, create a world in which ideas of trauma, identity, sacrifice, introspection, societal expectation and self expression are discussed. 

Through various mediums including painting, installation, performance, and mixed media, The Future of Belonging traverses themes ranging from mythology and spirituality to societal norms and cultural assimilation, offering profound insights into the diaspora experience. The exhibition serves as a powerful starting point for SPEIRO PROJECTS - following through on its aims to bridge the east and west, creating meaningful dialogue between artists, curators, and audience alike.

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