Please Do not Touch
2016, NO.1 (ink jet, gum) ?x?x?cm
This series redistributes the public space, so that the creation and be created, invasion and be invaded are separated for the first time within the designated scope, and the legal ACTS and commercial models derived from the creation are visualized in a specific context.The position of an art act is dwarved as a subset of the position of an art work.The works add prohibition and inducement to the space with the action, and the creation is illegal invasion as well as the implication of the invasion.
Direction (no direction)
1998, NO.2 (Metal, acrylic) 15x15cm
The relativity of symbols doomed them to decay in history.Arrows, as symbolic representations, will be given different meanings throughout space and time.For buildings that conform to the existence of objective matter, the direction arrow marks the meaning of this scene and this place.Imagine a future in which the form of the building fades, or the structure changes, or the function shifts, as defined by the conventional symbolic symbol, in another space and time, and only the symbol survives in the continuous space and time.Is the direction symbolized by the symbol, or does the symbol lose its semantic function, and the arrow marks as the symbol of the extended symbol of the existing entity？
STAFF
2009-2018, No.1 (Metal, polyplastic) 35x23x25cm
This work was made in 2018. The empty chair indicates the example of existence but not the presence of physical. "STAFF" is the custodian of art. The absence of the custodian generalizes the context of the discussion of the work. Is the absence of "STAFF" implies the loss of authority of the institution, or is it just the proof of the existence of the authority? In the place where everyone watches works of art, Andy Freeberg captures the viewers of works of art in his photography works, but in this work the setting of image instead of ontology like a simple theater monologue, forming an elephant-in-the-room-like existentialism paradox.
NY, USA, 1974 ~
Arthur Stowe(Dominique Arthur Stowe) was born in southern Bangladesh. Living in a New York gallery at an early age, with his father as its manager, gave him a natural affinity for creativity and inspection. In 1990, Stowe graduated from Georgia Institute of Technology and then engaged in data work at public institutions. After resigning in 2000, he began to try to carry out group art practice through the New York Underground Art Group "If We Can Measure the City Tomorrow", whose early practice is mainly based on the archival records of the city's residual landmarks and irregular on-site investigation, to explore the lost cultural landscape in regional development and the sense of fragmentation that the city is erased by high-speed industries. In 2004, he gradually began to create independently, and the previous 30 years of data research provided an unconventional perspective for his creative blueprint. After 10 years of experimenting with many types of artworks, he finally narrowed his focus and returned to everyday contexts, trying to reconstruct the programmed perception of conventional landscapes from a voyeuristic perspective, and to explore the multiple interpretations of the lack of everyday bits.
