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“On the top floor is the astonishing ‘At Fifty, I Don’t Know the Mandate of Heaven’. Fifty identical dolls with porcelain heads intended to represent Song himself, and referencing a favourite childhood toy, are engaged in every activity imaginable: reading, cooking, eating, driving, peeing and sleeping, even lying face down in a playful reference to Song Dong’s 1996 performance, ‘Breathing, Tiananmen Square’…”
Dong Yuan loves Da Vinci and Duchamp equally. In these works, we see the results of such an apparently unlikely juxtaposition: Dada’s love of the absurd and playful meets the beauty and virtuoso technique of the old master.
Metropolis Experiment is Clement’s third recent body of work which responds to the vivid prognostications of JG Ballard’s 1962 post-apocalyptic sci-fi novel, The Drowned World.
“He didn’t have the money to buy a ticket to enter the gallery, but stood entranced in front of the posters, absorbing their structures, colour, line and form, their use of the Modernist grid.”
“My sculptural abstractions investigate the vicissitude of landscape. Etched marks and cast forms, renegotiate terrain. Fluid, yet unrestrained gestures explore earthly forms and spiritual longing. Observations, consider not only physical topography. The significance of psychological and emotional connection to
“Together they turn the gallery into a ‘Loading Bay’ of science fiction’s past; the jumping off point for a generation of science fiction obsessed kids.”
Serve the people
My art practice is a symbolic and figurative exploration of the female subject. Allusions to literature, art history and mythology punctuate my paintings and sculpture. My work tips into memoir and flirts with fiction.
“Is it only a week since Hong Kong?”
“I have an ongoing fascination with the outsider position, where many of us unintentionally find ourselves. For an immigrant culture such as Australia’s, there is an implicit sense of liminality that derives from not only the unknown future but also the uncertain past.”