✷ Sundry AiR: The Gift That Keeps on Giving (2023)
✷ I’m Exhausted, Where is He? (2022)
SELECTED GROUP EXHIBITIONS
✷ Lady Dior As Seen By (2024)
✷ Of placebos that sing sweet in the... (2024)
✷ Between The Lines (2024)
✷ ASEAN ON PAPER (2023)
✷ Serving Thots (2023)
✷ Diverse Visions (2023)
✷ Nature and Now: Asian Art in Focus (2023)
✷ There Are Flowers in the Morning Mist (2022)
✷ State of Play (2022)
✷ It’s my party and I’ll if I want to, you’ll... (2022)
✷ only losers left alive (love songs for... (2021)
✷ The Foot Beneath the Flower: Camp... (2020)
SERIES & CATEGORIES
✷ Untitled (Chocolate Boxes) (ongoing)
✷ Who Knew I’d Be the Stable One (ongoing)
✷ Untitled (Radial Sculptures) (ongoing)
✷ Installation
✷ Print & Drawing
✷ Text
I’m Exhausted, Where is He?
02 April–24 April 2022
Art Agenda S.E.A.
Singapore, Singapore
Images Coutesy of Art & Market
Related Artworks
Psycho Ornamental Ideal Boyfriend I (2022)
Psycho Ornamental Ideal Boyfriend II (2022)
Old Habits Cry Hard (2022)
That’s the Last Time I’m Watering Your Flowers (2021)
Everything Reminds Me of Him (2021)
I Hate You THVIS Much (2021)
Maybe That’s What It’s Supposed to Feel Like (2021)
02 April–24 April 2022
Art Agenda S.E.A.
Singapore, Singapore
Images Coutesy of Art & Market
Related Artworks
Psycho Ornamental Ideal Boyfriend I (2022)
Psycho Ornamental Ideal Boyfriend II (2022)
Old Habits Cry Hard (2022)
That’s the Last Time I’m Watering Your Flowers (2021)
Everything Reminds Me of Him (2021)
I Hate You THVIS Much (2021)
Maybe That’s What It’s Supposed to Feel Like (2021)
Description
Excerpt of Review by Writer Nicole Wong for Art & Market:
I’m Exhausted, Where is He? is a glorious explosion of meticulously balanced abstraction, ribbons, and glitter. It is immediately evident that Xun’s works play with ideas of campness. For the unacquainted, and against the contrary instructions from Susan Sontag to avoid defining it, camp is a sensibility that gravitates towards artifice and drama. Camp also began as a kind of unspoken code within communities that shared those same sensibilities.
Each of Xun’s pieces sport an aesthetic extravagance that leans into the exaggerated femininity, customary of drag culture. On first sight, the flamboyance of his works appear at odds with the emotional tenderness of their titles. For example, in That’s the Last Time I’m Watering Your Flowers, Xun’s flowers bloom in gold glitter and a technicolor palette of green, orange and purple. Instead of emphasising finality and loss, the visual electricity of the work gives the effect of a sly grin or a hair toss, as though reminding this nameless ex-lover, “You’re going to miss me when I’m gone.”
Through his work, Xun transfigures the rawness of his emotions and experiences into self-contained, decorative abstractions. In works such as Psycho Ornamental Ideal Boyfriend II and Maybe That’s What It’s Supposed to Feel Like, Xun blatantly gestures towards a romantic ideal while emphasising the artifice of these aspirations through his use of lush materials as well as mod-inspired geometric lines and shapes that contribute to the visual drama.
Every heartbreak is uniquely personal. Despite the many ways we can share them as stories of humour, grief, or at times, growth, each romantic entanglement and dissolution is individually experienced, even for those on either end of the break. To experience ‘I’m Exhausted, Where is He?’ is to be constantly aware of this distance while also relishing in the brief moments of community that come from commiserating over yet another bad date or sharing a wink over an inside joke.
Excerpt of Review by Writer Nicole Wong for Art & Market:
I’m Exhausted, Where is He? is a glorious explosion of meticulously balanced abstraction, ribbons, and glitter. It is immediately evident that Xun’s works play with ideas of campness. For the unacquainted, and against the contrary instructions from Susan Sontag to avoid defining it, camp is a sensibility that gravitates towards artifice and drama. Camp also began as a kind of unspoken code within communities that shared those same sensibilities.
Each of Xun’s pieces sport an aesthetic extravagance that leans into the exaggerated femininity, customary of drag culture. On first sight, the flamboyance of his works appear at odds with the emotional tenderness of their titles. For example, in That’s the Last Time I’m Watering Your Flowers, Xun’s flowers bloom in gold glitter and a technicolor palette of green, orange and purple. Instead of emphasising finality and loss, the visual electricity of the work gives the effect of a sly grin or a hair toss, as though reminding this nameless ex-lover, “You’re going to miss me when I’m gone.”
Through his work, Xun transfigures the rawness of his emotions and experiences into self-contained, decorative abstractions. In works such as Psycho Ornamental Ideal Boyfriend II and Maybe That’s What It’s Supposed to Feel Like, Xun blatantly gestures towards a romantic ideal while emphasising the artifice of these aspirations through his use of lush materials as well as mod-inspired geometric lines and shapes that contribute to the visual drama.
Every heartbreak is uniquely personal. Despite the many ways we can share them as stories of humour, grief, or at times, growth, each romantic entanglement and dissolution is individually experienced, even for those on either end of the break. To experience ‘I’m Exhausted, Where is He?’ is to be constantly aware of this distance while also relishing in the brief moments of community that come from commiserating over yet another bad date or sharing a wink over an inside joke.