Born in 1988 in Singapore, Weixin’s work is drawn from fascination with digital and organic memory systems, stylisation of natural elements and relationships between surface and perceived superficiality.
These are material metaphors for human social relationships and the psychology behind structures and projections of power, value, desire.
Through surfaces and objects, she looks at the constant construction of imposed and composed realities and reproductions that replace and represent. Interactions of the digital and the organic, effects and methods of reproducing and manipulating images across materials are core to her practice.
A recipient of the National Arts Council Overseas Postgraduate Scholarship, Weixin has shown extensively in venues across Singapore, including Institute of Contemporary Arts Singapore, The Substation and Post Museum. She has also exhibited in Seoul, Istanbul, Vienna and London.
In 2015 she took part in Art Stage Singapore as part of the South-East Asian Platform, and is/will be working in the Open Urbanism Singapore-France collaboration project in Paris, research residency in Carrara, Italy and an Artist in Residence at the NTU Centre for Contemporary Art, Singapore.
Exponential Taxonomies Specimens 2013
In this series of work, live plants are juxtaposed with reprinted copies of the botanical illustrations commissioned by William Farquhar in Singapore, to contrast the material qualities of both representative and real.
Coming from Singapore, a highly urban island state founded as a South-East Asian trade hub to connect East and West, the artist is fascinated with the relationship between interactions that resulted from colonial conquests, and the development of natural history archives and documentation in the tropics.
Depicting, naming and classifying unknown species of plants and creatures… a way to interact with the conquered foreign body of the colonised tropics, to understand or to own the unknown? The series explores the questions through looking at these unreal images, removing them from the settings of scientific documentation into the lush chaos of material life.
This series of giclee prints and sculptural objects is based on representations of animal forms and the ambiguity of scale. Stylised figures of sea-animals are cast from fragile wax, in silicon moulds with sculpted exteriors. Their translucent qualities are brought out with lighting and captured in the images of the giclee prints.
The high contrast of the lighting gives the objects a sense of clinical or theatrical drama. Along with the polished finishing of the images, it raises a possible and questionable monumentality.
Netsuke were delicate miniature carvings of Japanese and Chinese origin, often depicting creatures, objects and even scenarios- kept or carried on a wearer’s body for protection and luck. They were the opposite of monumental, yet contain a similar commemorative effect in a far more intimate form.