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Winnie Yoe（尤穎儀 行為 女 中國香港）
[2015-12-26 20:04:28]
Winnie Yoe（尤穎儀 行為 女 中國香港）
1992年出生于香港，于2014年6月從美國達特茅斯學院獲得文學士學位，主修工作室藝術，輔修數字藝術。2013年1月到3月在英國中央圣馬丁藝術設計學院進修。
駐館經歷/榮譽：
2015年，紐約，Triangle Arts Workshop
2014年，國際雕塑中心，在當代雕塑獎項中獲得杰出學生榮譽
簡短自述：
我的作品探索的是個人和人與人之間情緒的旅程。通過觸覺和交互式的經驗，我向觀眾們提供一個能夠與自我對話的機會。雕塑和行為藝術的結合是一種以體感的方式來經歷和體驗空間的媒介。視覺感受和身體知覺被放在同等地位，用來創造新的經驗。正是這兩種經驗的結合使我們能夠獲得關于物理世界的經驗。
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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