Express 快車

Ko Sin Tung

Express 快車, 201584 x 79cmSign in to view price
Details
Material
acrylic, washi tape on archival inkjet print
Description
Human-crafted. AI-refined.

The artwork features a vibrant yellow horizontal band spanning the lower portion of the image, contrasting with the hazy, blurred background of trees and greenery. The bold, repetitive lines within the yellow band create a sense of rhythm and movement, while the soft, out-of-focus scenery behind it suggests a tranquil, contemplative atmosphere. The artist's use of a minimalist, abstract composition and muted color palette evokes a serene, meditative quality, inviting the viewer to pause and reflect on the relationship between the natural and the constructed elements within the frame. This work likely explores themes of the intersection between the built and natural environments, encouraging the audience to consider the interplay between order and organic forms. ...

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Artist
Ko Sin Tung
B.1987

In recent years, Ko Sin Tung has been creating project-based, site- specific artworks and exhibitions in series, systematically dealing with social, architectural and quotidian themes. From a post-conceptual, post- minimal and seemingly detached perspective, Ko represents via installation, sculpture, painting, photography and video the process and means through which the contemporary society disciplines human bodies, critiquing the veiled, concealed and manipulated conditions of reality. Emphasising the internal dynamics in dichotomies — construction– destruction, development–ruination, exteriority–interiority — Ko’s artistic practice balances borderline imagery that appears ambiguous, and political discourses that are lucid and polemical. In her early practice, Ko Sin Tung investigates the impact of things through a myriad of mediums and materials, the psychological influences private objects continuously project, and the non-utilitarian functions they have been personally channelled to fulfil. She observes the city’s inhabitants and their close-quarters, slowly questioning the ways in which their personal objects reflect life, revealing the existentialist abyss between the real and the simulacrum opened by bad images. ...

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