Charlotte Parallel

Title: When do the trees sleep?
Year: 2017 Singapore
Length: 02:35
Credits: Asia New Zealand residency at A.I.R: Instinc Gallery Singapore. Videographer: Chin Wan Xuan

When do the trees sleep? is a poetic question that seeks to draw attention to the energetic forces that intersect within the streets of Singapore. When do the trees sleep? sound walk was part of a telematic performance with Jon He, held at INSTINC Gallery, 24th of March at 8pm. Singapore. Charlotte Parallel uses a DIY light-to-sound transducer/solar panel to amplifier, to play the ‘lumen noise’ as electrical networks in the block around Instinc Gallery.

Charlotte Parallel is a New Zealand artist based in Koputai Port Chalmers working in the fields of sculpture, sound, performance, collaboration and site responsive projects. Parallel completed her MFA at Otago School of Art Dunedin in 2016. She has exhibited throughout New Zealand and internationally since 2010.

Instagram: @charlotteparallel

Hanna Shim

Title: One day I’ll fly on the bird’s back
Year: 2014
Length: 00:18
Format: MOV video

Before soft sculpting became my major practice, I used to play with accessible and traditional art mediums such as clay and pencil drawing – which can instantly depict the rawer form of thoughts and ideas with my bare hands. The initial purpose of this experimental loop animation series was to adapt hand drawing to new media without losing the imperfect and fragile hand-drawn quality. During that time, I considered the qualities were parallel to the status of myself as to an artist. Distinct from happy and untainted animated figures – freely flying and skipping, the hazy background images remain static and quiet. The photographs were taken from my bedroom window the view of Totara Heights, which implies the state of the daydreaming – seesawing between dreams and reality; potentiality and hopelessness. The video invites and attracts audiences with its wittiness for the first glance yet connotes hollow limbo of endless loops with meaningless movements.

Thematic tags: Narrative, body, animation, sex and sexuality, new media

Title: One day I’ll skip naked
Year: 2014
Length: 00:30
Format: MOV video

Hanna Shim is an Auckland-based artist, born in Seoul, Korea and raised in New Zealand. Shim identifies herself as a maker, her practice contains certain qualities of playfulness and childishness both in her processes and visual outcome. It involves a mode of condensation and hybridisation of contradicted imageries, objects and stories. Her works talk about naivety with a sinister undertone. The works may seem cute, but at the same time, they imbue unexpected twists and irony. She uses the quality of cuteness as a functional device for the sublimation of cruelty. She is interested in creating a space that is saturated with awkwardness, discomfort, and dry laughter. By embracing two or more contradicting elements, she aims to blur down the borders and boundaries which exist among them. It is the point where she believes in her own utopia. Shim works across a range of media including watercolour to oil, and clay to fabric. Her earlier works involved much more intuitive and subconscious methods of making with hand-drawing, and hand-making; using generative materials like watercolour paint and clay. Her recent work has developed into a more moderated process of hand-making. Hanna creates more control by making patterns for her soft sculptures and creating distinct forms and lines that are reminiscent of hand-drawn qualities. This change of method has led Hanna to become an artist and a tailor. Through this process, her work brings hints of mass production which shows the breaking down of the border between high art and kitsch. Shim completed Elam School of Fine Arts BFA in 2012 at the University of Auckland and has continued into MFA. She has participated in numerous group shows with Elam attendees and alumni.


Laura Duffy

Title: Garden of Purity
Year: 2018
Length: Various
Format: Digital video
Garden of Purity considers how we read and ingest imagery, drawing links through history from art history to advertising. Duffy sees the works as being a layered conversation about Catholicism, advertising, abjection, and queerness. She uses edible materials as a starting point for the series of digitally manipulated photographs in the light boxes and online video works. The series intends to prompt questions about traditional notions of beauty and divinity by blurring the lines between repulsion and desire. 
Thematic tags: Performance, narrative, body, abstraction, new media, technology, sound, spirituality, indigenous methodologies.

Laura Duffy’s photographic and video works explore the objectification of the feminine body. Using food as a sculptural material, she draws on gestural techniques found within the world of modern advertising including dripping, dropping, pouring and slow motion. With reference to art historical still life, the work asserts positive identification of women and femmes as subject over object as well as exposing the abject treatment of the feminine image throughout history.


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