Por t folio2013 UBC M.ARCH

ANNI EONGH

1 pAINtINGI experimented with concepts of painting, with the desire to find new possibilities within the traditional medium. I want to create visual environments that extend beyond the painted surface to communicate its spatial and sculptural possibilities.

Fragments, 2010 Acrylic paint, fluid medium, nails

This work repositions painterly essence, found in constructed painterly methods, transforming it into sculptural form that in this instance resembles the bodily material of human scabs. It is no longer about brushstrokes or techniques of application; illusionistic and compositional space are threatened and find a new structure in chance. The placement of the work can be ad infinitum; there is no end to creation.

Rhythmic space2011Acrylic paint, latex

By using simple articulations and minimal gestures, these two works reconceptualise painting by reducing the painting surface, artistic labour, skills and materials into a transformable and almost transparent object.

The two horizontal lines create a spatial void between the two, incorporating the architectural space into the picture plane and framing the wall as opposed to the walls framing it.

The vertical lines are expressionistic. the undulations of the lines create an acoustic and rhythmic experience.

Abyss2011Acrylic paint, latex

2 pHOtOGRApHyBy manipulating the subjects, objects and lighting, I create environments to envision fabricated realities. Photography as a way to realize imaginations of the mind.

Odalisque 2012

The following images allude to historical paintings from the Romantic era that articulate the female form as sensual, vulnerable and passive. I reimagine these narratives to illustrate complexities and contradictions, the real and the surreal within the photographs.

the Nightmare2011

Ophelia2012

In an attempt to elevate the everyday experience of living in urban conditions of anonymity and apathy, I initiated idle banters with individuals on the SkyTrain. Each interaction lasted 10 seconds captured with a 10 second exposure on the camera. These blurry, anonymous individuals are phantoms of short-lived interactions in a fast paced society imposed by the productions of urban capitalist life. The images capture snapshots of the constantly changing and fluctuating modern life.

Small talk (portraits of the city) Series2009

MovIaTIon as a proposal for the new SUB SEEDS Project, we wanted to build a kinetic water installation that focuses on the global concern of fresh water scarcity.

InSPIRaTIon We wanted to capture a sense of depletion and urgency to address the concern that water is running out. Hence, the element of time is an important component of the project. DEScrIPTIon The proposed installation consists of two parts, a system of ramps embedded into the amphitheater like steps of the new SUB atrium, and a sculpture that is suspended from the ceiling. as participants walk up the ramps, a plunger mechanism pumps water through a pipe into the sculpture. The sculpture expands and contracts as water flows through it and serves as a visual marker of student participation. once the water has gone through the sculpture, it drips into a metal receptacle located on one of the steps and is channeled back into the water reservoir located by the ramp system.

3 cOllAbORAtIvE pRO jEct

the Hourglass2012 new Sub Interactive Installation ProposalAnnie Hong, Amandine Kaya, Mike nield, Samson Tam

MY DESIGn SKETcH Inspired by the complex geometric shapes created from origami, I designed a structure from two pentagonal pyramids to resemble the shape of an hourglass.

orIGInAl concEPT The imagery of an hourglass filled with water drove the early conceptualizations of the project. We imagined the visual power that a leaky container filled with water would have in the new SUB atrium.

FInAlIzED concEPT Four polyhedral armatures

distort fold x4

InSIDE MEcHAnISM Inside the suspended structure clear tubing links three receptacles. Each receptacle is connected to a spring, which is in turn suspended from the grid. Each receptacle is attached to the sculpture fragments at different points. As the first receptacle gets full, the weight of the water causes it to descend. as this receptacle sinks down, it moves the armature attached to it. As the first receptacle drains water into the subsequent receptacle, it rises back up, triggering a second set of movement. The water is drained from the first into the second and then the third receptacle, and the process repeats.

I created these sculptures from insubstantial materials and they are designed to last only a short amount of time. Meaning and significance can be found in the existence of transitory things. The works will eventually submit to the forces of nature and return to the larger system.

4 EpHEmERAl SculptuRE

45kg of borrowed Dirt 2011

The dirt was taken from the UBc Botanical Gardens in the weight of my own body. Dirt is a matter that suggests growth and an essence of life, but at the same time it also suggests filth and uncleanliness. The labour of digging and shaping the dirt suggests a process of growth and confinement, burial and excavation, and life and death. It is a personal dialogue about the relationship between the individual and the institution.

language is a fundamental aspect of every culture; it is a common ground in which meetings between cultures are possible. The chinese to English and English to chinese dictionaries signifies the coming together of two cultures to create an interstitial space where both co-exist. The minimalistic gesture of interleaving every single page alternatively creates enough friction that fastens the two books together, as if they are almost mating. Yet, translation from language to language creates irresolvable linguistic and perceptual differences. Where we come from, where we live, and how our environment affects us constitute who we are.

untitled (library books)2010

Thank you

annie HongUniversity of British columbia 11BFA Visual Arts and Art Theory

anniehongx@gmail.com604.842.5768902 E. 58 AvenueVancouver, Bc V5x 1W5