© Cho, Hui-Chin
Tell us a bit about you…
My artist’s name is: Cho, Hui-Chin (my first name is Hui-Chin and Cho is my surname; I follow the East Asian name order as my artist pseudonym.)
Raised in a multicultural ambience, the Taiwanese ethnicity and the deep influences of the culture surrounding Japanese anime and manga, and Chinese aesthetics have shaped the enticing space, galvanising into my inspiration. I studied at Slade School of Fine Art (UCL) during the period 2014-2018, and currently live and work in London whilst I will be doing MA Painting at Royal College of Art from 2019 to 2021.
My works are sort of the experimentation which engage with deconstruction of the Binary opposition in terms of the relationship between life and death; generally speaking, human give superiority to life rather than death. My idea assumes that all materials, motifs or colours within binary oppositions could be analysed and criticised in all their manifestation, making alterities. The leathers would be deconstructed into the metaphor of zooming in the figurative iconography, and the iconography deconstructed into grotesque motif is transformed a new symbolisation. My intention is to create the perception of ‘a dream within a dream’ meaning that deconstruction is happening on the leathers whilst viewers analysing the works as a process is the action of deconstruction.
© Cho, Hui-Chin
What is your next creative project?
I have been working on collecting/searching the vintage/antique leathers as the crucial materials. Materiality is an important aspect in my works with animal by-products such as leather forming parts of the configurations, symbolising creatures as life which once existed namely the ambiguous existences in between life and death. However, I came across a few controversial questions doubting me that “would ‘using leathers’ encourage people to manufacture more brand-new leathers?” Absolutely I'm very much against the idea of using brand-new leathers/furs by hurting the innocent animals. This is why I insist on spending times collecting and using ‘vintage’ and ‘antique’ leathers/furs, which were sacrificed during the period of 1920s - 1960s, as the main materials in my works.
In my most recent works, I have been using the vintage leathers as the canvas which are considered as a concrete space or could be deconstructed into the metaphor of zooming in the figurative iconography as the skin. And the intention of my most recent works is to create the perception of ‘a dream within a dream’ which means that the patterns and images are being deconstructed on the leather which is being deconstructed whilst the behaviour of viewers who are thinking the arrangements of the works as a process is the action of deconstruction
© Cho, Hui-Chin
How would you describe your work?
I very often postulate that painting and sculpture are the same references as an ambiguity in the concrete dimensional presences, which expand from their dimensions with layers of symbolism and meaning conveyed through a variety of compositions and motifs; materiality is an important aspect in my works with animal by-products such as leather forming parts of the configurations, symbolising creatures as life which once existed namely the ambiguous existences in between life and death. As a result, my artworks approach the experimentation of deconstruction, establishing an inner equilibrium between rational analysis and sentimental interpretations. By exploring these, the processes of deconstruction ubiquitously form personal perceptions for the individual, unconsciously presenting intimate opinions namely the desire, fetish, ambivalence, sadism, obsession or authentic evocations.
I am happy to be participating in the 3-day-exhibition, which held by Portfoliobox and ImageNation, at Galerie Joseph Turenne in Paris on 9th-10th-11th November as a group show with a lot of talented photographers whilst there will be my personal exhibition as the feature included in this show!
In my personal exhibition, I am trying a new subject matter of ‘deconstruction’ in between the relationship of photography and the two-dimension and three-dimension; my works will be presented the most important idea ‘deconstruction’ of the Binary opposition in terms of the relationship between photography (the metaphor as ‘death’) and tactile works (symbolising ‘life’).
Who are your biggest influences in the industry?
There are lots of great artists and we would seek for various artists during different periods of time. Now I might say James Ensor, Joseph Cornell, Hannah Höch. I am often inspired by the collage artworks of Hannah Höch; the arrangement of spatial relationship in object/collage artworks of Joseph Cornell; the wallpaper of my mobile is the painting - The Bad Doctors (1892) by James Ensor, although he finished it ages ago, you can’t say this painting is not ‘ ontemporary’ either. I do enjoy the works which are chronological and narrative with grotesque human figures. With a variety of impacts, I have been unconsciously creating my own style as a result after being influenced by different style/year/materials of artworks/artists.
What is your favourite coffee space in London?
I am genuinely pleased to randomly grab a cup of coffee somewhere around my studio. So to speak, the ‘favourite coffee space’ will be my studio.
© Cho, Hui-Chin
What do you like about Portfoliobox?
I DO love Portfoliobox. This is because the flexibility of templates helps me organise massive images easily, and the support systems have done their job well; every single time I came across difficulty when I am sorting out the website, the Portfoliobox support staff always get back to me very soon and help me solve the issue. And I feel that Portfoliobox really cares what I am concerned about my website!