The photographic sculpture Three Ginseng Roots is a commissioned artwork for River Park Place in Richmond, BC. Balancing modern materials and processes with natural forms and colours, the three glass panels are installed within the water feature to give the sense that the roots are floating.
Ginseng is a medicinal plant used by many cultures and especially in traditional Chinese medicine. Rare and precious specimens that have been found in the wild can be seen on display at the many herbal stores in Richmond. Ginseng is also grown on farms throughout Canada, including on the Fraser River. The artwork promotes good health, well-being and connection with nature.
It is said that the dried roots resemble human figures. These roots have been enlarged to the size of a person to make them come to life and so that viewers will imagined their own characters and personalities for them them
An ongoing archive of material generated from this in-progress project, including sketches, 3D renders, work documentation, installation views, research, and other related ephemera.
In 2009, the artist began a re-creation of a press image depicting the arrival of the Sri Lankan migrant ship, the MV Ocean Lady at the west coast of Canada. This work was realized in many different forms, but most notably as a 3D re-creation and 3D printed models. In addition to photographs, drawings, paintings and other works, there is a web archive of this project.
It is with this project that the artist began looking at how migration has been depicted in media and in history. This subject concerns the complexities and challenges of immigration and its history in Canada, some of which were experienced directly by the artist’s family and friends.
At the moment, numerous people from Africa and the Middle East are attempting to reach Europe by sea. Many Europeans view this as problematic, leading to a strong rise in nationalism and anti-immigration rhetoric and policy. These attitudes also exist closer to home: in 2009 and 2010, two ships arrived at the coast of BC carrying Tamil asylum-seekers from Sri Lanka. Canadian authorities seized these ships and detained their crew and passengers. There has been massive public debate and speculation over the legality of their refugee claims and the practice of human smuggling, and a climate of xenophobia has developed amidst accusations of immigration “queue-jumping” and fears of terrorism. This has been echoed many times in Canada’s history by the arrival of: Fujianese migrants in 1999, Jewish Europeans on the MS St. Louis in 1939 and Sikhs on the SS Komagata Maru in 1914. And it is difficult to separate this history from that of slavery and colonialization.
Nude and Draped Figure Studies by the artist and his father, c.1950/2008-09
Another pseudo-collaboration between the artist and his father, where nude studies made by the artist’s father in the 1950s are the source material for a period re-creation. In the finished installation of this work, the images made by the artist in the present were displayed with ones made by his father in the past, as if made by the same person at the same time and place. The artist’s intention was to create an anachronism. This project is the second time that the artists has used his father’s amateur photography and consider both projects to be collaborations with his father despite the 50-60 years difference and his very limited involvement. These projects follow a lineage of conceptual themes considered by artists such as Marcel Duchamp, Sherrie Levine, and Richard Prince probing the idea of originality and authorship in the work of art, but pushes further to consider the uncertain and unexpected roles that certain and unavoidable relations, such as those of family, time and history, might play.
Manual Labour is a video loop comprised of black and white still images depicting an elderly labourer at work and rest at a residential construction site in east Vancouver. The silent procession of images is interrupted briefly when the homeowners arrive for a site visit. The video loop has been exhibited as a projection, and installed in the window of a door to a gallery that remained closed for the duration of the exhibition.