How did the landscape end up influencing your process?ĪK: I experienced the natural landscape as quite visually extreme – almost like magical realism. Photo courtesy of the artist.ĬR: You mentioned in your project proposal that you were interested by the contrast between China’s natural landscapes and the prominence of its top-tier cities like Beijing, Shanghai and even Hong Kong. I also developed a new electro-magnetic work incorporating neon balsa yin yang symbols levitating above electronic bases - exploring the relationship between technology and spirituality - a seemingly timeless circular connection.Īlicia King, 2015, Hi-tech dream world series (Psychic levitation). This mythology of the ‘future’ seems quite relevant in this space of intense growth and development, amidst a vast disparity of resources. Simultaneously utopian and dystopian, these works explore the complexity of technological promise and reality. How did you hear about the open call?Īlicia King: I found it through looking at a residency at Red Gate in China.ĬR: Can you describe what your final project at Organhaus was?ĪK: During my residency, I developed new neon-balsa (balsa refers to a kind of light-weight wood) text works, incorporating English and Mandarin characters, that were placed throughout the neighborhood as temporary 'signs' on local shopfronts and building facades. Read on to learn more about her time working with neon-balsa signs and her reflections about our technological future after experiencing Chongqing.Ĭhina Residencies: You first applied to Two to Three in 2014. King is an interdisciplinary artist exploring perceptions of technology and biology her practice has examined tools of biological technologies, as a way to explore contemporary perspectives of the human body as a conceptually loaded, transformative, raw material. We've caught up with Alicia King who participated in our Two to Three Residency at Organhaus on 2015.
0 Comments
Leave a Reply. |