Human usually have recurring images that reside vaguely in their brains. An image has at least a shape at first, but one keeps repeating itself with a limited meaning until it loses its own values, becomes merely a shape that call upon a perplexity. In her practice Xiuching Tsay wants to reconnect with her intimate images by accessing their inner world through paintings, resurrect their essences and rediscover their hidden characters through an ecstatic quality of vision.
Tsay’s practice engages with the concept of hallucinatory fluidity in order to unleash her own perceptions towards the unconscious objects. Fluidity like water has both symbolic and substantial qualities that unfold infinite visions. The power of water melts all the restricted meanings and the original characters of the images. Instead, it introduces different possibilities to interpret. Through the process of painting, Tsay follows relentless and unpredictable movement of water. Each water movement imply the mood of the image. Whirlpool movement for example, implies a confusion and an eternity as spiral water brings to the concept of unity. It’s spiral pattern that blurs the boundaries between the main figure and other elements, gives a painting an open-ended narrative.
Tsay (b. 1993, Thailand) lives and works in Bangkok and London. She has studied BA Fashion Illustration at the London College of Fashion (2016) and recently completed a MA in painting at the Royal College of Art (2019). Her solo exhibitions include A Haze in their gaze at the Daniel Benjamin Gallery, London, UK (2019); Discovery of the ‘I’s at Ne’Na Contemporary Art Space, Chiangmai, Thailand (2018) and at 3331 Art Chiyoda, Tokyo, Japan (2018). Her recent group exhibitions include Soft Bodies, Castlefield Gallery, Manchester, UK (2020); Borderlinking, High Art, Paris, France (2020); Crowd, Hannah Barry Gallery, London, UK (2020); The End of Expressionism, Jan Kaps, Cologne, Germany (2019); Bloomberg new contemporaries, Leeds Art Gallery, Leeds, UK (2019); Bloomberg new contemporaries, South London Gallery, London, UK (2019).
Tsay’s practice engages with the concept of hallucinatory fluidity in order to unleash her own perceptions towards the unconscious objects. Fluidity like water has both symbolic and substantial qualities that unfold infinite visions. The power of water melts all the restricted meanings and the original characters of the images. Instead, it introduces different possibilities to interpret. Through the process of painting, Tsay follows relentless and unpredictable movement of water. Each water movement imply the mood of the image. Whirlpool movement for example, implies a confusion and an eternity as spiral water brings to the concept of unity. It’s spiral pattern that blurs the boundaries between the main figure and other elements, gives a painting an open-ended narrative.
Tsay (b. 1993, Thailand) lives and works in Bangkok and London. She has studied BA Fashion Illustration at the London College of Fashion (2016) and recently completed a MA in painting at the Royal College of Art (2019). Her solo exhibitions include A Haze in their gaze at the Daniel Benjamin Gallery, London, UK (2019); Discovery of the ‘I’s at Ne’Na Contemporary Art Space, Chiangmai, Thailand (2018) and at 3331 Art Chiyoda, Tokyo, Japan (2018). Her recent group exhibitions include Soft Bodies, Castlefield Gallery, Manchester, UK (2020); Borderlinking, High Art, Paris, France (2020); Crowd, Hannah Barry Gallery, London, UK (2020); The End of Expressionism, Jan Kaps, Cologne, Germany (2019); Bloomberg new contemporaries, Leeds Art Gallery, Leeds, UK (2019); Bloomberg new contemporaries, South London Gallery, London, UK (2019).
www.xiuchingtsay.com
︎@chyvenne