Wong Wai Yin
Wong Wai Yin graduated from the Chinese University of Hong Kong in 2004, and obtained her Master of Fine Art at the University of Leeds, UK, in 2005. Wong experiments with a variety of media, such as painting, sculpture, collage, installations and photography. Her work is about autobiographical experience, episodic memory and playful intervention with art history.
Wong’s selected solo shows include “Without trying.” at Spring Workshop (Hong Kong, 2016); “From Waong Wai Yin’s Collection to the Hong Kong Art Archive” at Asia Art Archive (Hong Kong, 2011); and “L’Écume des choses – l’art de Wong Wai Yin” at Observation Society (Guangzhou, 2009). Her works have been presented in museums and institutions internationally, including Para/Site Art Space (Hong Kong, 2015); Osage Kwun Tong (Hong Kong, 2013), M+ (Hong Kong, 2012); Collectors House (the Netherlands, 2011); Taipei Biennial (Taipei, 2010), OCT Contemporary Art Terminal (Shenzhen, 2010); International Studio & Curatorial Program (New York, 2009); Chinese Art Centre (Manchester, 2009); Worksound (Portland, 2008), Hong Kong Museum of Art (Hong Kong, 2007); and MoCA Shanghai (Shanghai, 2007). Wong is one of the co-founders of the Observation Society in Guangzhou.
Wong currently lives and works in Hong Kong.
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He / 2019
He, She, It (2019) are three series of acrylic and watercolor drawings, executed in an aesthetic reminiscent of vintage posters from the 1950s. Self-explanatory, He, She, It respectively represent clichés about the male, female and neutral genders. Wong uses ready-made clip art stencils to depict blank faces interspersed with catchy slogans, turning the iconography on its head and into a tool for satire, caricature and parody. The display methods of these three series are also meaningful: He is framed and proudly hung on the wall, She stands in an upright open rack to be perused, while It lays on a poster rack on the floor, indifferent to the viewers’ gaze.
Beneath the levity of superficial binary gendering, the works prompt self-reflection and trigger unwitting identification, which might ultimately arrive at a deeper truth about genders. We might yet see that gendered behavior and prejudice are tautologies perpetuated by our own conscious and unconscious participation in it.
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She / 2019
He, She, It (2019) are three series of acrylic and watercolor drawings, executed in an aesthetic reminiscent of vintage posters from the 1950s. Self-explanatory, He, She, It respectively represent clichés about the male, female and neutral genders. Wong uses ready-made clip art stencils to depict blank faces interspersed with catchy slogans, turning the iconography on its head and into a tool for satire, caricature and parody. The display methods of these three series are also meaningful: He is framed and proudly hung on the wall, She stands in an upright open rack to be perused, while It lays on a poster rack on the floor, indifferent to the viewers’ gaze.
Beneath the levity of superficial binary gendering, the works prompt self-reflection and trigger unwitting identification, which might ultimately arrive at a deeper truth about genders. We might yet see that gendered behavior and prejudice are tautologies perpetuated by our own conscious and unconscious participation in it.
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It / 2019
He, She, It (2019) are three series of acrylic and watercolor drawings, executed in an aesthetic reminiscent of vintage posters from the 1950s. Self-explanatory, He, She, It respectively represent clichés about the male, female and neutral genders. Wong uses ready-made clip art stencils to depict blank faces interspersed with catchy slogans, turning the iconography on its head and into a tool for satire, caricature and parody. The display methods of these three series are also meaningful: He is framed and proudly hung on the wall, She stands in an upright open rack to be perused, while It lays on a poster rack on the floor, indifferent to the viewers’ gaze.
Beneath the levity of superficial binary gendering, the works prompt self-reflection and trigger unwitting identification, which might ultimately arrive at a deeper truth about genders. We might yet see that gendered behavior and prejudice are tautologies perpetuated by our own conscious and unconscious participation in it.