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.
十年前，一個扭曲口紅的女人親吻了我的玻璃，現在我們在做同樣的事情。
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.
「十年前，一個扭曲口紅的女人親吻了我的玻璃，現在我們在做同樣的事情。」
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.
唐嘉欣擅長以抽象實驗手法探討充滿可能性的多種情境。她的作品經常拼貼理想化並多層次的境遇，描繪在社會中日常遭遇的情感踪跡。遊走於真實、儀式、和荒謬的邊界，唐氏於超現實的框架下創造了富質感的環境，探索人類情感的複雜性。
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.
展覽「十年前，一個扭曲口紅的女人親吻了我的玻璃，現在我們在做同樣的事情」中，唐嘉欣創作的作品意在探討交流中的彆扭尷尬:—時被動，—時武斷，展覽因而刻畫此情境下的無奈。藝術家建構出一個寓所的環境，透過使用脆弱、無常態的材料以及失靈的物件，創作超現實而又令人觸動的五件裝置作品，同時營造夢幻的氛圍，給觀者一個用於逃離現實的溫柔擁抱。
唐擅於將自身情感處理方式融入其藝術實踐當中，透過單純而敏銳的手法，吸收、轉化現實生活中的掙扎，滋養出一份柔軟與浪漫。
作品《Paper》作為展覽的中心是一個椅狀紙雕塑，椅座上伸出紙做的匕首。作品的形態暗示煎熬、折磨，但紙柔和的特質帶出相反的意味。椅背上撩空的心形帶有操縱被糖衣美化之映射，透露出脆弱敏感的靈魂因人際互動太複雜而憂慮的感覺，而很多時這種互動本可更簡單、直接。
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。
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.
唐嘉欣擅長以抽象實驗手法探討充滿可能性的多種情境。她的作品經常拼貼理想化並多層次的境遇，描繪在社會中日常遭遇的情感踪跡。遊走於真實、儀式、和荒謬的邊界，唐氏於超現實的框架下創造了富質感的環境，探索人類情感的複雜性。
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.
展覽「十年前，一個扭曲口紅的女人親吻了我的玻璃，現在我們在做同樣的事情」中，唐嘉欣創作的作品意在探討交流中的彆扭尷尬:—時被動，—時武斷，展覽因而刻畫此情境下的無奈。藝術家建構出一個寓所的環境，透過使用脆弱、無常態的材料以及失靈的物件，創作超現實而又令人觸動的五件裝置作品，同時營造夢幻的氛圍，給觀者一個用於逃離現實的溫柔擁抱。
唐擅於將自身情感處理方式融入其藝術實踐當中，透過單純而敏銳的手法，吸收、轉化現實生活中的掙扎，滋養出一份柔軟與浪漫。
作品《Paper》作為展覽的中心是一個椅狀紙雕塑，椅座上伸出紙做的匕首。作品的形態暗示煎熬、折磨，但紙柔和的特質帶出相反的意味。椅背上撩空的心形帶有操縱被糖衣美化之映射，透露出脆弱敏感的靈魂因人際互動太複雜而憂慮的感覺，而很多時這種互動本可更簡單、直接。
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。
