These three 3D rendered images are part of a larger collaborative series with artist and illustrator Alex Weir. In this project, we reconsider creative image-making through a restrictive process of modular production and repetitive appearances of individual characters, feeding into a master narrative within the whole series. By creating each individual character through the 3D rendering tool Rhinoceros as singular modules in an almost industrial process, we then explore ways of composition that allows for relationships and meanings to emerge. The final image is almost a snapshot-like instance, taken from a specific angle of a 360 degree environment reminiscent of the square format of Instagram posts. 

Our interest in this series lies in examining the dematerialisation of communication on a day-to-day basis, taking into consideration the limitation of physical mobility and face-to-face interactions since earlier this year. Our real experiences are limited to within our very immediate environment, whereas we engage and communicate with the rest of the world through specific instances, carefully curated through digital means. 

The imagery from this series interpolate easily recognisable symbols of communication, both analogue and digital, that fabricate allusions to a complex network of spiel exacerbated through the repetition of conflict and resolution.


GENTLE MONSTERS

This body of largescale silk paintings take a perspective that is particular to experiences of anxiety, fear and loneliness that unclothe the fragility of organic bodies in physical and cultural displacement. Her eerie and humorous paintings convey an uneasiness through childlike imaginative subjects. The central theme of this body of paintings are intrinsically rooted in issues of cultural amnesia and lost identities.

FOREST

FOAM is an on-going series of work created in 2020. This expanding body of work experiments with textile reverse marbling on Habotai silk, and how the aesthetics of the marbling effect can be incorporated into the artwork's surface through a mixture of painting and screenprinting. The central theme of this series narrates tales of lost and rediscovered identities, dispositioned through a blurred line between artificial and organic landscape. They are stories of lust and love; they are warnings of betrayal and revenge - emblematically magnifying spirits of tension and release between vernacular motifs and digital fabrication.

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Shipei Wang

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