Through the works of Felix Bacolor, Yan Shan Chun, Wah Nu, Tozer Pak and Shirley Tse, group exhibition Slipping Transmission traces and magnifies the evasive and implicit line that slips in between performing states and still moments of the everyday life. With the aid of photography, video, painting, and sculptural objects, the exhibition at the same time aims to explore the imperfections of these mediums in preserving and recording the slippage of time.
Photography and all the other medium of representation can be considered to be a record that witnesses the passage of a living experience into a static and imprinted memory of a past and lived one. Nonetheless being a pure record, they fail in preserving that performative element. What was once a choreographed performance is now a mere static and passive “image”.
The “images” shown in Slipping Transmission thus are not only canonical photographs, paintings or videos, but also objects and structural entities. These images are a tentative representation of an experience, a leap of time that was framed and encapsulated into a passive stillness.
Almost on the verge to disrupt the inertia of the "image", the artworks in Slipping Transmission allude to an ever present feeling of incompleteness. Different in composition and subject matter, each one of these artworks have within themselves an element that disturbs the inertia of the image. Be it a bench as in Shirley Tse’s “Waiting at the Place Where America Parts from Eurasia Series No. 1393”or the horizon line in Yan Shan Chun’s “Su Causeway”, these factors epitomize the tension/friction between the movement and action that the image alludes to and the stillness of the image itself. They serve as spectacles that not only encapsulate the dualistic nature of the transmission between action into thoughts , presence and absence, but also question the incomplete and imperfect imposition that arises from the crystallization of an event from a fluid form into a still image.