[2015-12-26 20:04:28]

Winnie Yoe（尤颖儀 行为 女 中国香港）

1992年出生于香港，于2014年6月从美国达特茅斯学院获得文学士学位，主修工作室艺术，辅修数字艺术。2013年1月到3月在英国中央圣马丁艺术设计学院进修。

驻馆经历/荣誉：

2015年，纽约，Triangle Arts Workshop

2014年，国际雕塑中心，在当代雕塑奖项中获得杰出学生荣誉

简短自述：

我的作品探索的是个人和人与人之间情绪的旅程。通过触觉和交互式的经验，我向观众们提供一个能够与自我对话的机会。雕塑和行为艺术的结合是一种以体感的方式来经历和体验空间的媒介。视觉感受和身体知觉被放在同等地位，用来创造新的经验。正是这两种经验的结合使我们能够获得关于物理世界的经验。

Yoe_01_ViewingPoint

Viewing Point (Performance)

2015, Steel, Stone, 3:05’, 150x99x8cm

see video on website or: https://youtu.be/eIs8SOfpgt8

The performance begins with the object created by the artist and placed flat on the floor. I lie down next to the piece. With careful and strenuous movements and manipulation of my body and my feet, I lift and raise the stone over to greet my face and later the crook of my neck. The atmosphere in the public is tense because the sharpened stone is both fragile and dangerous.

Yoe_02_AProtestAgainstTheMonumental

A Protest Against the Monumental (Performance)

2015, Steel, 53x69x33cm

see video on website or: https://youtu.be/mcF98l_-mxU

A response to a request to create a sculpture as big as my size, I asked the 

person who gave me the prompt to put the cage on me and I stayed inside the cage until someone decided to release me. While I was in the cage, I remained silence and refused to interact with the public. The atmosphere changes from playful to curious to uncomfortable. Through a seemingly quiet and passive act, I transform from an object of the spectacle, of the gazed to an actor that reflect the gaze at my audience and switches the power dynamic between the two. 

Yoe_03_VestigeofHorizon

Vestige of Horizon

2015, Electric tape, Commercial spaces in Hong Kong, various dimensions

An intervention in office and commercial spaces in Hong Kong to confront the soulless and monotonous corporate lifestyle. An interruption – a line for the sky, a line for the land – to reminisce the times in Sale, to ridicule my life as a cog in the machine, and to remind myself there is a horizon out there that I shouldn’t give up on.

Yoe_04_Lets Shake Hands

Let’s Shake Hands

2013, Wood, 20x8x6cm

Yoe_06_The World Looks Better This Way

Only Hug Me This Way

2013, Wood, Steel, 98x20x144cm

Yoe_07_Pause

The World Looks Better This Way

2013, Wood, 41x41cm (Each)

Two wood carving – one smooth, one rugged. A temporary escape, an ostrich strategy, a self-mockery.

Yoe_08_Lineof Snow

Yoe_09_Lineof Snow

Line of Snow

2013, Snow, Various Dimension

A non-sensible act of moving and placing remnant snow by hand to form singular lines to interact with geometric lines in a public space in London. Work is presented in both video and prints using a combination of digital photography, Chine-collé and embossing techniques.

In the process of creating, workman came and set a long ladder – one of them stepped on the snow; a group of children walked through to enter the building from the side door – some were not aware, some hopped over the line of snow. I continued to find and relocate snow.

Yoe_10_ShelterII

 Shelter II

2013, Wood, 112 x81x66cm

CV

1992 出生于香港

          EDUCATION Dartmouth College, Hanover, NH

Bachelor of Arts,  Major in Studio Art and  Minor in Digital Arts,  June 2014

GPA:  3.68/4.00  (Cum  Laude  with  Honors)

Central Saint Martins College of Arts and Design, London, United Kingdom

Transfer  Term, BA  Fine Arts,  Jan. 2013 - Mar. 2013

HONORS/ RESIDENCIES

Triangle Arts Workshop, New York, 2015

  Honorable Mention in the International Sculpture Center

  2014  Outstanding  Student  Achievement  in  Contemporary  Sculpture  Award

EXHIBITIONS        “Digital Musics and Arts Exposition 2015”, Hopkins Center, Dartmouth College, NH,  2015

      “Senior Majors Exhibition”, Strauss Gallery & Jaffe-Friede Gallery, Dartmouth College, NH, 2014

      “Mockery Senior Majors Exhibition”, Black Family Visual Art Center, Dartmouth College, NH,  2014

      “Digital Musics and Arts Exposition 2014”, Hopkins Center, Dartmouth College, NH, 2014

      “If  it doesn’t work out, it doesn’t work out”, Black Family Visual Art Center, Dartmouth College,

      NH,  2013

      “Land On Paper”, Two Rivers  Printmaking Studio,  White River Junction,  VT,  2013

EXPERIENCES

Mirum Agency Designer

Jun. 2015 – Present | Hong Kong

> Developed creative concepts for websites and digital campaigns

      Quirky Inc. Design Intern

      Jan. 2015 – Apr. 2015 | New York, NY

       > Designed user experience for smart home appliances, visuals for marketing campaigns and packaging

      Ralph Appelbaum Associates (RAA) Graphic Design Intern

      Aug. 2014 – Jan. 2015 | New York, NY

       > Collaborated with architects and writers

       > Projects include Presidio in San Francisco, Canadian Museum for Human Rights, Vanke Milan Expo  

          2015, Wisconsin Veterans Museum and Moscow Urban Planning Center

     Studio Assistant to Painter, Edward Del Rosario

      Jul. 2013 – Mar. 2014 | White River Junction, VT

     Hood Museum of Art Curatorial  Fellow

      Sep. 2013 – Jun. 2014 | Hanover, NH

      > Independently curated  Rejecting  the  Diminutive:  Small-Scale  Art,  the  Viewer,  and  the  Art  World

      > Researched  and  curated  a  WWI  posters  exhibition  at  Baker  Berry  Library  focusing  on  the  gaps  in    

                        portrayals of  race,  gender,  and  sexuality

SKILLS Languages: Fluent  in  Mandarin  Chinese, Cantonese  and  English

Computer: Proficient in Photoshop, InDesign, Illustrator, Final Cut Pro, Autodesk Maya, Glyphs, HTML & CSS

Shop: Woodworking, Welding and Metal Fabrication, Laser Cutting, Printmaking and  Photography

作者自述：

My work explores emotive journeys – be it personal or interpersonal. Through creating haptic and interactive experiences, I propose to the audience an engagement in inward self-dialogues. Sculpture-performance is a medium to experience and engage with space kinesthetically. The visual sense and kinesthesia are both considered with equal weight to create new experiences. It is with the two senses combined that we learn the experience of the physical. In my work, I revisit senses of vulnerability through specific subject matters and actions in sculpture-performance in responses to particular life experiences. By refusing to put my body and voice under a submissive gaze, and by placing my audience in an imbalanced, uncomfortable state, I seek to establish my voice. The presentation of my work is often either through unexpected comfort or a testing of body limits – subtle but strong. The duality of tension and release, like ebb and flow in tides, is essential. It is with one that the experience of the other is brought into heightened consciousness.

The project I propose is a continuation of the investigation of sculpture-performance, which I began exploring a year ago with A Protest Against the Monumentaland body appendages. By placing myself inside a welded cocoon and refusing communication, not only did I response to the request to make something as big as my size, I also reverse the power dynamic between the audience and performer by reflecting their gaze back. While the work can be appreciated as sculpture on its own, it needs the body, the performance – the physical manipulation of the object to activate its full experience, to express tension and intimacy. The piece Viewing Point took a different approach from the previous work – instead of focusing on creating an experience, the work started with the action of finding an appropriate space and point of view for a found stone. As put by Tom Marioni, the action is directed at the material rather than at the audience. Springing off this new approach, I intend to create three categories of experimentations – one that place the found materials in their appropriate viewing point, one that uses the same motion but different materials, and one that relates to architecture and landscape. As a reflection of specific space and time, local and found materials will be used. In performance, the movements and lines drawn with the work will be organic and simple, drawing from observations of people’s actions in the surrounding environment. These experiments will be an exploration of time, scale and symbolism in movements in sculpture-performance. These are important aspects I will consider to understand the relationship between the body and the object. Quick exercises, informal performances within small groups and video recording will facilitate the exploration. On one hand, I will create tools to manipulate the placement of a material in space. Using different materials, I will find new ways to interact with and define the object. One the other hand, I will manipulate my body to conform to physical man-made and natural spaces. In part, such process and contrary mimics the tug of war, negate and gain of power in life. Quietness will be the common element in these experiments as it is in silence that we can listen to ourselves and our thoughts loud and clear. With delicate and quiet interactions, time is slowed, tension is charged, and emptiness emerges - an emptiness that makes room for a space, a potential for imaginations, new understanding and powerful perceptions.

The residency is also a time to explore my body of small works. The form of work started two years ago as a quick exercise to work more spontaneously, where I created objects in 10 minutes everyday. Since then, I repeat the exercise whenever I am in a new studio environment to orient and ground myself. My most recent set of small sculptures is made with wire and wax dipped paper, which I completed during a 2-week residency. Over the course of two weeks, the ephemeral material changed form and position with the wind and under the influence of gravity. Despite their small scale, these sculptures are complex in their form and how delicately they balanced on the surface. As opposed to treating these small sculptures as sketches, I intend to realize in situ the presentation of the sculpture and use them as a record of the progression of time and thoughts over the period of the residency.

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