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The work consists of three parts: the wallpaper per se, whose elegant motifs cover a purple background, a text written by the artist himself that relates the context of a court case which took place during Occupy Central in Hong Kong, and a photograph of the defendant taken from a video still of a local TV news report.The photographs depict two rainwater pools on an expanse of asphalt.A film about family, prejudice and otherness, Excessive combines dramatic acting and aspects of great artifice, recalling the aesthetics of Chinese TV dramas and movies.The second film, Talk About Body (2013), creates a scenario in which the words spoken by the central speaking figure—surrounded by several adults sitting or standing who face the person seated on a bed—function as sign of estrangement.



The exhibition will include film, sculpture and work on paper.Indebted to the formal traditions of ink calligraphy and 1970s monochrome art (known as Dansaekhwa), the artist forges thoughtful meditations on fragility and strength, chaos and order.With her process-oriented works that follow a series of formal and structural tropes—white monochrome, seriality of the gesture, semi-mechanical process, reliance on the grid—Meppayil inscribes a local and traditional practice in the heart of modernist paradigms.The title, The Mulberry Forest Becoming Ocean, is based on a Chinese proverb invoking the constancy of change brought by time.

All five artists included in the exhibitionaddress the notion of time with distinct philosophical and artistic voices that, while informed by globalized discourse, have developed formal and conceptual vocabularies specific to their respective traditions.

The social roles and living conditions of women is a recurring theme, part of his larger preoccupation with the politics and the psychology of suffering.