Amy Tong x RNH Space: 

10 Years Ago, A Woman With Lipstick Like This Kissed My Glass, And Now, We Are Doing The Same Act.


2 July - 22 August 2021

10 Years Ago, A Woman With Lipstick Like This Kissed My Glass, And Now, We Are Doing The Same Act.
is asking the public for help in locating a missing ____(noun). ____(name) was reported missing on ____(date) from the ____(verb) area. A letter was sent demanding a ransom of ____(number). If you have any information, give us a call.

請求公眾協助尋找失踪的 ____(名詞)。 據報,於____(日期)____(姓名)在____(動詞)區域失踪。收到的勒索信要求贖金____(銀碼)。若您發現任何線索,請立即與我們聯絡。

About Amy Tong

Amy Tong is known for her abstract experimentation on possible scenarios. Her work is often a collage of idealised, multi-layered scenarios, expressing the emotional traces from her daily encounters with society. Treading around the realm of truth, rituals, and absurdities, Tong creates textured environments to explore the complexity of human emotions within surrealist settings.


Curatorial Statement

In the exhibition 10 Years Ago, A Woman With Lipstick Like This Kissed My Glass, And Now, We Are Doing The Same Act, Amy Tong creates work that explores the awkwardness within communications - sometimes passive, sometimes assertive. The environment portrays a sense of helplessness in these situations. Through employing delicate or volatile materials and malfunctioned objects, the artist constructs five surreal yet evocative installations in a setting of an apartment, whilst fostering a dreamy atmosphere that takes the viewers to escape into a mellow embracement.

In her artistic practice, Tong always shows her own way of emotion-focused coping - ingesting, altering, softening and romanticising struggles in real life by means of innocent yet acute interpretation.

Paper, as the centrepiece of the exhibition, is a paper sculpture in the shape of a chair with paper knives extruding from the seat. The forms suggest an idea of torment yet the materials propose otherwise. The heart-shaped cut-out on the back of the chair alludes sugar-coated manipulations creating a feeling of vulnerable souls brooding over complex interactions which - in many ways - could have been simpler.

Sugar, in a similarly ravishing approach, features love letters composed by the artist, between two fictional characters with reference to Romeo and his crush, Rosaline. Romeo confessed his feelings to Rosaline, but she rejected his love. Coated in gelatine, the letters with handwritten poetry borrowed the story between Artemis and Orion from Greek mythology to show an interaction between a rejection of love and the bitterness within the relationship.




作品《Sugar》利用相似的作風,以詩歌形式寫成 情書。故事中兩個虛構人物的原型是羅密歐(Romeo)和他的暗戀對象羅莎琳(Rosaline)。羅密歐向羅莎琳表白了他的愛慕卻遭到拒絕。被果凍覆蓋的情信以手寫詩的形式呈現,二人的互動中借希臘神話中阿蒂蜜絲(Artemis)和俄里翁(Orion)之間的故事作隱喻,表達被拒絕的愛與關係中的苦澀。

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