Chan Bee, Chan Ho Lok
Just as one bears the burden of inheriting a despicable body, one must also be its guardian; the body is simultaneously a liberation and confinement. The significance placed by Chan Ho Lok on the physical body is inspired by the works of Taiwanese poet Chen Ke Hua and Buddhist teachings, in which he finds vivid observations and blasé descriptions of the body’s obscenities, ailments, and scatology.
The corruption of our contemporary time has sometimes acted as a strange comfort for Chan Ho Lok, who suffers from depression. Used to the feeling estranged from the harsh realities of the world, it was a relief for him to be able to identify and empathise with strangers traversing the same path. It is perhaps his innate tendency for self destruction that allowed him to find resonance in the ‘whatever-it-takes’ mentality. To Ho Lok, the serendipity of walking together is so heartwarming, yet so easy to to fall into indulgence, because it fits neatly into his imagination of himself as a ‘damsel-in-distress’; that a perfect solution could be achieved by indefinite postponement.
Hence, the publication and exhibition of ‘Surviving Natality’ is on one hand a dialogue between Chan Ho Lok and Chan Bee, and on the other hand, a burial. A full stop, a period, to mark a milestone, in order to prepare for the next one. Chan Bee is a woman born on Earth. She hopes not to leave any trace of her work behind, but through this collaboration with Ho Lok, some have been allowed to remain, like a knot tying up a gaping seam. All seven paintings exhibited are inspired by his writings.
陳可樂 x 陳芘 雙人展