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Veneer & Visage
12 February–06 March 2022
Supper House
Singapore, Singapore
Curated by Weiqin Chay
Images Courtesy of Supper House
Related Artworks
Maybe, Just Maybe (2022)
12 February–06 March 2022
Supper House
Singapore, Singapore
Curated by Weiqin Chay
Images Courtesy of Supper House
Related Artworks
Maybe, Just Maybe (2022)
Description
Excerpt of Exhibition Text by Curator Weiqin Chay:
‘Veneer & Visage’ delves into the ways identities are projected when (un)covering the facade of one’s appearance. In attempting to peel away these layers on the surface, we explore how the veneer as an in-between space filters, obfuscates, and reshapes how one is perceived.
Featured exhibits include fashion, textile composition, sculpture, and digital painting by six multidisciplinary Singaporean artists who tap on their personal narratives to create artworks that reimagine the ‘face’. The works are aptly situated in the beautiful interior of the design house, Supper House which aims to be a point of congregation for diverse creative fields.
Excerpt of Review by Writer Weiqi Yap:
‘Veneer and Visage’ is an art and fashion exhibition staged at Supper House, an interdisciplinary space for creatives nestled in an industrial building on Tagore Lane in Singapore. Curated by Weiqin Chay, the exhibition seeks to explore “the ways identities are projected when (un)covering the facade of one’s appearance.” The exhibition’s premise is a topical one, as masking and concealing one’s face continues to be a mandatory safety measure in many places around the world. It is not uncommon for fashion exhibitions to respond to cultural events—galleries and museums have long drawn on historical events as points of curatorial germination. Most recently, the ICOM Costume Committee unveiled ‘Clothing the Pandemic’, a virtual exhibition of Covid-19 face masks curated by museums worldwide, including masks from the collections of Singapore’s Asian Civilisations Museum.
‘Veneer and Visage’ takes this timely—and now universal—act of masking, and extrapolates it by asking: what other ways do we veil ourselves, metaphorically or otherwise? Upon entry, one is greeted by what appears to be the wooden exteriors of a black box structure. This intervention forms a space within a space, and conveniently functions as an interesting subversion of the white cube. Ideas of protection, concealment and identities come into play through the works of two fashion designers, Esther Choy of Esh by Esther, and Rachael Cheong of Closet Children, and four artists, Hafizah Jainal, Y A, Phua Juan Yong and Samuel Xun. This multidisciplinary assembly of practitioners falls in step with the nature of Supper House. Envisioned as a crossroads for creatives to collaborate and create, the space has the potential to serve as a natural host to such an exhibition.
Excerpt of Exhibition Text by Curator Weiqin Chay:
‘Veneer & Visage’ delves into the ways identities are projected when (un)covering the facade of one’s appearance. In attempting to peel away these layers on the surface, we explore how the veneer as an in-between space filters, obfuscates, and reshapes how one is perceived.
Featured exhibits include fashion, textile composition, sculpture, and digital painting by six multidisciplinary Singaporean artists who tap on their personal narratives to create artworks that reimagine the ‘face’. The works are aptly situated in the beautiful interior of the design house, Supper House which aims to be a point of congregation for diverse creative fields.
Excerpt of Review by Writer Weiqi Yap:
‘Veneer and Visage’ is an art and fashion exhibition staged at Supper House, an interdisciplinary space for creatives nestled in an industrial building on Tagore Lane in Singapore. Curated by Weiqin Chay, the exhibition seeks to explore “the ways identities are projected when (un)covering the facade of one’s appearance.” The exhibition’s premise is a topical one, as masking and concealing one’s face continues to be a mandatory safety measure in many places around the world. It is not uncommon for fashion exhibitions to respond to cultural events—galleries and museums have long drawn on historical events as points of curatorial germination. Most recently, the ICOM Costume Committee unveiled ‘Clothing the Pandemic’, a virtual exhibition of Covid-19 face masks curated by museums worldwide, including masks from the collections of Singapore’s Asian Civilisations Museum.
‘Veneer and Visage’ takes this timely—and now universal—act of masking, and extrapolates it by asking: what other ways do we veil ourselves, metaphorically or otherwise? Upon entry, one is greeted by what appears to be the wooden exteriors of a black box structure. This intervention forms a space within a space, and conveniently functions as an interesting subversion of the white cube. Ideas of protection, concealment and identities come into play through the works of two fashion designers, Esther Choy of Esh by Esther, and Rachael Cheong of Closet Children, and four artists, Hafizah Jainal, Y A, Phua Juan Yong and Samuel Xun. This multidisciplinary assembly of practitioners falls in step with the nature of Supper House. Envisioned as a crossroads for creatives to collaborate and create, the space has the potential to serve as a natural host to such an exhibition.