"Identifiable in all my works is a certain ambiguous depiction of concrete dimension, and such ambiguities could be conveyed into a variety of compositions and motifs; my works establish a dialogue which is an inner equilibrium between rational analysis and sentimental interpretations."
Cho, Hui-Chin finished her Bachelor of Fine Arts degree at Slade School of Fine Art in 2018. She graduated with first-class honours and made the Dean's list. Having grown up in a multicultural country, she prefers to use an amalgam of materials, especially vintage or antique materials, to prompt philosophical dialogues about the distortion of subject matter and abstract motifs, especially the grotesque iconography of babies as the motif sustains her work.
Through a practice primarily consisting of painting and sculpture, Cho investigates vintage materials and the dilemma of using materials. Cho is interested in exploring how metaphors are overlaid and integrated into our ordinary perception of things, simultaneously depicting the manifestation of antique materials with ambiguous identities, and she insists on responding to the metaphors hidden in the materials. Her work is concerned with a miscellany of incongruous figures and motifs; fragments form a narrative that is grotesque but still compelling. Her inquisitive artistic approach leads to introspection and a reflection on humanity, desire, fetish, ambivalence, sadism, and obsession.
Cho, Hui-Chin currently lives and works in Paris.
“The contemporary artworks of Hui-Chin Cho are reminiscent of sculptural assemblage pieces in the sense that although the paintings exist within two-dimensional surfaces, the juxtaposed forms appear melded together in a sculptural fashion resulting in a complex visual landscape of intriguingly balanced shapes and colors.
The more you gaze at these vibrant compositions, the more intriguing elements you find in an imaginative journey into the artist's mind. The works may remind us of Daniel Spoerri's tabletop pieces or they could be interpreted as an architectural footprint showing a surreal, labyrinthic construction inhabited by Cho's signature surreal, baby-like characters.
These abstracted "landscapes" have Cubist references yet this melting pot of references cast them us undeniably postmodern. Cho has managed to create a unique and recognizable style, with a signature use of color and shape, building up intricate content which again in a post-modern way twists the context into itself resulting in pieces that are as visually interesting and pleasing as they are complex and philosophical.”
- Circle Foundation for the Arts, Director
This review was published by Circle Foundation for the Arts © CFA Press ∙ Images are courtesy of the artist