Alex Kwok (b. Hong Kong, 1991) received his BA in English Literature from Simon Fraser University in Vancouver, Canada. Hovering between painting, photography, and sculpture, his work is a continuous investigation of how photography complicates seeing and the experience of being through presence, appearance, and absence. Light is treated as both a source material and a point of departure. Nodding at the critical reflection on the photographic medium during the Conceptual Art Movement, this process involves translating light from the photographing of color gradients to the sculptural representation of light constructed from inkjet prints. Kwok’s work examines the points of intersection between image and object and where the photograph lies between those definitions. His work has been shown at the 15th Pingyao International Photography Festival, China; Tyler School of Art Temple University, PA; Auckland Festival of Photography, New Zealand and Photoville, NY.
My work takes in the form of tangible representation on paper in questioning the role of the photographic image in the contemporary art world. Through extensive research and informed instincts, my projects seek to articulate the tension created between dimensionality and pictorial understanding of a photograph. I am fascinated by the photographic representation of light and paper. This project attempts to explore the visual complexity of rudimentary geometric polygons through intertwining, lighting, and photographing a collection of hand-folded paper triangles. It seeks to explore the intersectionality between a three-dimensional sculpture and a two-dimensional print by questioning the nature of visual perception through scale and colour. The materiality of paper commentates upon how the medium of photography contextualizes reality. The photographs affirm the nature of paper; its fabrication, mistakes in cuts, bends, as well as the wears and tears from being exposed to reality.
Such tangible qualities distinguish the photograph from an otherwise computer generated image. The sense of randomness put forth by the seemingly chaotic nature of the sculptural pile of triangles articulate the process of construction. As such, each piece of paper has its own weight and therefore settles itself under the gestures of the artist’s hands and the force of gravity.
The recurring triangular shape, stacked, slipped, and intertwined, thus gives form through the effects of directional lighting. Through the use of lighting, and the lack thereof, the positions of individual pieces of paper exemplifies the way in which light wraps around objects. For every colour that was casted, it creates multiple tones when they intersect with one another as an aftereffect through the use of shadows. It is precisely the tonality and exposure of light on an irregular landscape that establishes these complex geometrical forms.