Untitled Art Miami Beach 2024
December 3–8, 2024
MOU PROJECTS is pleased to present "A common exile state of being," Huang Baoying's solo presentation at Untitled Art Miami Beach 2024. Featuring a curated collection of recent paintings that delve into the themes of longing and deep exploration of family history, the presentation unpacks the complex possibility of reconstructing the idea of homeland in a foreign place, probing a sense of neglected pain intertwined with the melancholy of the artist's diasporic experience living in the United States. Tightly intertwined with memories and personal history, Huang's works predominantly depict scenes unfolding in two cities—Shenzhen, where she was born, and New York, where she currently lives.
Huang's persistent inquisition of the idea of "hometown" and her attempt to project her presence into the distant, almost spectral fabric of her ancestral past pervade many pieces in the presentation. Some of the works record her visit to an old, dilapidated house owned by her family on the outskirts of Shenzhen. In Garden in Ruins (all works 2024), a mirror shrouded in dust found in the debris becomes the subject and carrier of nostalgic sentiments, as the artist wipes the dust with her fingers and outlines a favorite plant from her New York apartment on the mirror. Through the mirror's blurry reflection, one is able to spot the artist herself as an indistinct figure lurking behind the foliage, as if inscribing herself into a history with which she has never directly engaged, and further intertwining the temporal and spatial realms of past and present. In other works, through the depictions of objects that belong to her grandparents, she attempts to unearth the memories of her family. In Grandparents' Bedroom: Family, a mirror found in her home reflects a family portrait from a bygone era, a moment when her grandparents, father, and aunt visited Beijing for the first time in their life. Assuming the role of a detached observer, the artist paints the most venerated recollections of her grandparents through a nuanced filter.
Different from the linear narrative approach of the works depicting Shenzhen, fragmentary vignettes of quotidian existence compose Huang's New York-based paintings. Following her graduation and subsequent return to New York, the artist has undergone a seismic shift in her psyche—gradually cultivating a deep-rooted sense of belonging, as she reconciles with the prospect of the city as her long-term domicile. This transition, a gradual "settling" of both body and mind, is palpably reflected in her works. Proof of a Balcony I and II delineate the same subject at different temporal intervals: both render the view of the yellow tiger lilies in Huang's New York apartment, yet the former, captured in diurnal light, renders the external vista pronounced, with the glass door's reflection barely whispering the indoor settings; the latter, captured at night, amplifies the interior environment, crystallizing the apartment's decor. Among the numerous flowers the artist grows in her balcony garden, tiger lily is a common species often found in New York's street flowerbeds. In the works, the floral motif underscores a subtle yet decisive sense of home, identity, and settlement in the city, signaling her irrevocable commitment to a life here.
Beyond the fragmented tableaux of quotidian life, another salient motif in the presentation can be found in Winter Bamboo Shoots, No. 2. In the foreground of the composition, four bamboo shoots are poised upon a table, while, further afield to the right, a solitary armchair embroidered with a botanical pattern rests beside the window. For Huang, the bamboo shoot—a non-native, seasonal crop in the States, primarily reliant on Chinese imports—resonates as an emblem of her identity as a Chinese immigrant. Meanwhile, the verticality of the shoots evokes the relentless rise of skyscrapers in the urban sprawl, prompting Huang to name the series with the ubiquitous numerical nomenclature—a common practice in Chinese real estate development.
In this presentation, paintings exemplify Huang's gentle observations of plants and intimate objects in her daily life. From Shenzhen to New York, from the past to the present, she perpetually delves into her familial narratives as well as the meanings of identity and belongingness. Hinted at by its very title, "A common exile state of being," the presentation unveils Huang's nuanced contemplation and exploration of personal experience and a diasporic life straddling two distant countries, constructing multilayered imagery, symbols, objects, and stories that commemorate a home found in exile.
About the Artist
Huang Baoying (b. 1997, Shenzhen, China) captures the ephemeral moments that unfold in her mundane surroundings through her painting-centered practice. With meticulous attention to detail, she is keen on depicting purposeful and representational still lifes, delving into the bitterness, melancholy, and displacement that permeate her past experience. For Huang, painting serves as a conduit for her "nomadic" thoughts, allowing her to confront the conflicting emotions arising from both nostalgia for the past and estrangement in the present. As a Chinese diaspora living abroad, the experience of always residing in a transient state also contributes to the multi-layered sense of belonging embodied in her works. Through painting, Huang addresses the disconnected emotions and alienation deeply ingrained in her personal history, revealing her most introspective and authentic inner self.
Huang received her BFA in Illustration from the School of Visual Arts in 2019 and her MFA in Painting from Boston University in 2022. Her works have been exhibited in multiple places, including Hashimoto Contemporary, LATITUDE Gallery, and The Painting Center in New York, as well as Alpha Gallery in Boston and Stems Gallery in Brussels.
The artist currently lives and works in New York, US.
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2022
HK$180.00
Print | Park Voyage I (5'03'')
Florence Yuk-ki Lee, Park Voyage I (5'03''), 2022, giclée print on Hahnemühle German Etching paper, 29.5 × 62 cm, 35 × 68 cm (with frame), edition of 5 + 2 AP
US$700.00
Print | Park Voyage I (21'03'')
Florence Yuk-ki Lee, Park Voyage I (21'03''), 2022, giclée print on Hahnemühle German Etching paper, 35 × 45 cm, 40 × 50 cm (with frame), edition of 5 + 2 AP
US$700.00
Print | Park Voyage I (45'20'')
Florence Yuk-ki Lee, Park Voyage I (45'20''), 2022, giclée print on Hahnemühle German Etching paper, 29.5 × 62 cm, 35 × 68 cm (with frame), edition of 5 + 2 AP
US$700.00
Print | Park Voyage II (4'18'')
Florence Yuk-ki Lee, Park Voyage II (4'18''), 2022, giclée print on Hahnemühle German Etching paper, 35 × 45 cm, 40 × 50 cm (with frame), edition of 5 + 2 AP
US$700.00
Print | Park Voyage II (6'17'')
Florence Yuk-ki Lee, Park Voyage II (6'17''), 2022, giclée print on Hahnemühle German Etching paper, 35 × 45 cm, 40 × 50 cm (with frame), edition of 5 + 2 AP
US$700.00
Print | Park Voyage II (23'17'')
Florence Yuk-ki Lee, Park Voyage II (23'17''), 2022, giclée print on Hahnemühle German Etching paper, 35 × 45 cm, 40 × 50 cm (with frame), edition of 5 + 2 AP
US$700.00
Print | merry-go-round-like a lullaby: melting blaze
Florence Yuk-ki Lee, merry-go-round-like a lullaby: melting blaze, 2023, giclée print on Hahnemühle German Etching paper, 35 × 45 cm, 40 × 50 cm (with frame), edition of 5 + 2 AP
US$700.00
Print | a fading dream that leaves me: cold shoulder
Florence Yuk-ki Lee, a fading dream that leaves me: cold shoulder, 2023, giclée print on Hahnemühle German Etching paper, 35 × 45 cm, 40 × 50 cm (with frame), edition of 5 + 2 AP
US$700.00
Print | you build a home in my mind: lost in the naked light
Florence Yuk-ki Lee, you build a home in my mind: lost in the naked light, 2023, giclée print on Hahnemühle German Etching paper, 35 × 45 cm, 40 × 50 cm (with frame), edition of 5 + 2 AP
US$700.00
Print | you build a home in my mind: the pilot
Florence Yuk-ki Lee, you build a home in my mind: the pilot, 2023, giclée print on Hahnemühle German Etching paper, 35 × 45 cm, 40 × 50 cm (with frame), edition of 5 + 2 AP
US$700.00
Print | you build a home in my mind: the blissful defect
Florence Yuk-ki Lee, you build a home in my mind: the blissful defect, 2023, giclée print on Hahnemühle German Etching paper, 29 × 91 cm, 35 × 97 cm (with frame), edition of 5 + 2 AP
US$1000.00
Print | you build a home in my mind: two moons I
Florence Yuk-ki Lee, you build a home in my mind: two moons I, 2023, giclée print on Hahnemühle German Etching paper, 12 × 12 cm, 20 × 20 cm (with frame), edition of 5 + 2 AP
US$300.00
Print | you build a home in my mind: two moons II
Florence Yuk-ki Lee, you build a home in my mind: two moons II, 2023, giclée print on Hahnemühle German Etching paper, 12 × 12 cm, 20 × 20 cm (with frame), edition of 5 + 2 AP
US$300.00
Print | you build a home in my mind: a planet of darkness
Florence Yuk-ki Lee, you build a home in my mind: a planet of darkness, 2023, giclée print on Hahnemühle German Etching paper, 12 × 12 cm, 20 × 20 cm (with frame), edition of 5 + 2 AP
US$300.00
Print | Peep of Playscape I
Florence Yuk-ki Lee, Peep of Playscape I, 2022, giclée print on Hahnemühle German Etching paper, 35 × 45 cm, 40 × 50 cm (with frame), edition of 5 + 2 AP
US$700.00
Print | Peep of Playscape II
Florence Yuk-ki Lee, Peep of Playscape II, 2022, giclée print on Hahnemühle German Etching paper, 35 × 45 cm, 40 × 50 cm (with frame), edition of 5 + 2 AP
US$700.00
Print | Peep of Playscape III
Florence Yuk-ki Lee, Peep of Playscape III, 2022, giclée print on Hahnemühle German Etching paper, 35 × 45 cm, 40 × 50 cm (with frame), edition of 5 + 2 AP
US$700.00
Print | Peep of Playscape IV
Florence Yuk-ki Lee, Peep of Playscape IV, 2022, giclée print on Hahnemühle German Etching paper, 35 × 45 cm, 40 × 50 cm (with frame), edition of 5 + 2 AP
US$700.00
Print | Peep of Playscape V
Florence Yuk-ki Lee, Peep of Playscape V, 2022, giclée print on Hahnemühle German Etching paper, 35 × 45 cm, 40 × 50 cm (with frame), edition of 5 + 2 AP
US$700.00
Print | Peep of Playscape VI
Florence Yuk-ki Lee, Peep of Playscape VI, 2022, giclée print on Hahnemühle German Etching paper, 35 × 45 cm, 40 × 50 cm (with frame), edition of 5 + 2 AP
US$700.00
Print | Peep of Playscape VII
Florence Yuk-ki Lee, Peep of Playscape VII, 2022, giclée print on Hahnemühle German Etching paper, 35 × 45 cm 40 × 50 cm (with frame), edition of 5 + 2 AP
US$700.00
MOU PROJECTS is a Hong Kong-based contemporary art gallery established in 2019. Since its inception, the gallery has been dedicated to showcasing both local and international emerging artists working in all media and has held many of their first solo exhibitions in Hong Kong as well as in Asia. With an aim to facilitate artistic dialogues and conceptual innovations, the gallery supports artists whose experimental practices and boundary-pushing ethos reflect the current social reality and manifest alternative contemporary aesthetics.
Email: info@mouprojects.com
Tel: +852 3709 6884
Opening Hours: Tuesday–Saturday, 11 am–7 pm; closed on public holidays.
Address: 202, The Factory, 1 Yip Fat Street, Wong Chuk Hang, Hong Kong
Access:
· MTR: South Island Line, Wong Chuk Hang Station, Exit A1
· Bus: 78 or 48 at MTR Wong Chuk Hang Station stop
· Car/Taxi: Drop off at The Factory on Yip Fat Street
· Parking:
One Island South, 2 Heung Yip Road;
Southmark, 11 Yip Hing Street;
South Island Place, 8 Wong Chuk Hang Road;
Marina 8, 8 Heung Yip Road