Xi’an Art Museum, China, 16 September – 3 October 2017

My work Choreograph is in the exhibition Silk Road: Portal to World Imagination at Xi'an Art Museum in China. I'm very excited to show the piece in such an amazing space alongside a great line up of artists from around the world.

Xi'an Art Museum is part of a relatively new arts complex built in 2009, home to the Xi'an Symphony Orchestra, Concert Hall, and the Art Museum which focuses on contemporary art.

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Choreograph, 2015
felt, 1.78 x 13.4m

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Wayang Malam 2, Singapore, 4 August 2017

For one night only, Wayang Malam 2: short films, videos and animations. Very pleased that my short video Through was selected for this open air event in Singapore, using the side of a white truck as the projector screen. After dark moving images... turns out Wayang Malam means nightmare in Malay!

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Through, 2015

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Enduring Reality Part 3, Hong Kong, 4-26 March 2017

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My solo show, Enduring Reality Part 3, was the final part of a trilogy of shows at Hidden Space, Hong Kong. The installation featured felt wall/floor pieces and video.

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Man-made by Nature, Hong Kong, 14-15 January 2017

Man-made Talk

My turn to give the artist talk in our four person show, Man-made by Nature at Hong Kong City Hall. The show also featured Katie Ho, Lawrence Lee and Matthew Tsang Man Fu.

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Transience 1-12, 2017
inkjet prints, each 80 x 80 cm

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IMAF 2016, Serbia, 2-4 September 2016

My Amplification series of photographs was selected for the 2016 edition of IMAF, a multi media installation and performance art festival in Serbia. This series had just been incorporated into the installation, Carapace, on show in Melbourne so these prints are seeing more of the world than me this year!

The Museum of International Connectivity, Australia, 26 April – 20 June 2016

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Carapace, 2016, 5 C-type prints each 35 x 35cm, felt, overall dimensions variable

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My piece Carapace has been included in The Museum of International Connectivity, a group show curated by Dr. Phil Edwards in The Dirty Dozen space in Melbourne. The show brings together 16 artists from Hong Kong, Thailand, Australia and Korea to explore the themes of identity, locality and temporality.

Carapace is a sequence of five photographs and the husk left behind by a discarded outsize garment.

The Dirty Dozen is an underground exhibition space in Campbell Arcade in Melbourne, part of the maze of laneways with interesting things to discover. If you're in Melbourne before the end of June drop in, or rather drop down.

Crossing Border | Border Crossing, Hong Kong, 1-7 February 2016

Schism

Schism, 2016, felt, muslin, 7.82m x 4.21m

Crossing Border Poster

The year started with an international multidisciplinary show in Hong Kong: Crossing Border/Border Crossing

I was given the opportunity to go big and create a site specific work covering three stories of the internal courtyard at JCCAC. The resulting piece is called Schism. The fracture in Schism is actually a hugely magnified version of a video still. It shows the space visible for an instant between a hip and an arm during a choreographed movement while wearing oversized garments that obscure the body's shape.

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Enrobed III, 2014, ink on 300 gms paper, 76.2 x 393.5 cm, (186 individual 12.7 x 12.7 cm squares)

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Mantle, 2014, video, 05:10

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Endless Singularity 3, 2016, felt, 2.65m x 7.2m

Shenzhen Biennale, China, 14 November – 5 December 2015

Two of my artworks were selected for the inaugural Shenzhen Biennale: Through, a video installation, and Endless Singularity, an ongoing series of site specific pieces made from felt.

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This Time, Hong Kong, 11-20 September 2015

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This Time, my MFA graduate show is on at the Pao Galleries, Hong Kong, until 20 September.

 

 

Choreograph

Choreograph 2, 2015, felt, dimensions variable

 

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This time show
Class 11

Class 11: Any other, unclassified, exotic, e.g. Lone Star, 2014, acrylic on canvas, 91.5 x 122cm

 

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A short story about gardening and time travel, 2015, installation, framed 18th C botanical print, armchair, headphones, mp3 player, audio 08:51, overall dimensions variable

 

Tropical Lab 9: Island, Singapore, 6 August – 10 September 2015

Tropical Lab is an annual summer residency at LASALLE College of the Arts in Singapore. This year I was one of 26 artists brought from around the world from as far afield as Indonesia, Japan, Serbia, Australia the UK and USA. We were invited to respond to the notion of island and the resulting show, Tropical Lab 9: Island, runs until 10 September at the ICA. If you're in Singapore drop in.

 

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Terrain, 2015

felt, dimensions variable

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The Remembering Body, Hong Kong, 9-20 July 2015

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Endless singularity, 2015

 

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Enrobed II, in Still here, still, moving, 2015

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The Remembering Body, 2015

After two years of research and art making I've completed my Masters. I put on three separate shows as part of my finals. The first, Endless Singularity was an installation made from felt that filled the space, carpeting the entire floor and with semi abstract shapes based on amplified body movements rising up the walls. Still here, still, moving brought together works in a wide range of media, including print, ink drawing, video and installation, with an emphasis on both duality and aspects of drawing. The final assessment show was The Remembering Body. In this selection the focus was on embodied identity and the representation of the complexity of a dual narrative.

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Through, 2015

looped video 02:44, looped muslin screen, acrylic rods, monofilament, projector, projector housing, dimensions variable

Peripheral, Australia, 21 April – 3 August 2015

My solo exhibition Peripheral is part of the Lightscape Projects series in Melbourne, Australia. The project utilises purpose built light boxes installed in public spaces around the city. Peripheral brings together related artworks from my interdisciplinary practice: a detail from a painting on canvas, ink drawings on paper, a mixed media felt on canvas piece and three stills from a video performance.

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Cloak, 2015

felt and acrylic on canvas, 122 x 91.5 cm

Passageway, Hong Kong, 25-27 April 2015

Recently, I had the chance to curate a pop-up show with artist Katie Ho in the Gallery of Hong Kong Art School at the Hong Kong Arts Centre. Curated, assembled and installed in a day - there's nothing like a deadline for getting organised and finishing work! The show itself, Passageway, was fleeting, but the experience gave us a whole new insight into the complexity of curating a coherent show.

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Artworks from Passageway (clockwise from top left): Anna Chung, Roof Top, 2015, paper, wood, metal wire, thread, dimensions variable; Katie Ho, Skull, 2015, newsprint, masking tape, 70 x 70 cm; Tina Choi, Untitled, 2015, clear tape, plastic wrap, 16 x 8.5 x 13 cm; Chi Wong, Passage, 2015, looped video, 05:00; Matthew Tsang, Smoke, 2015, aluminium foil, dimensions variable; Kay Mei Ling Beadman, Swathe, 2015, felt, dimensions variable.

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Swathe, 2015

felt, dimensions variable

BURNING, Hong Kong, 14-20 December 2014

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My installation Pyriscence will be shown in BURNING, a group exhibition by 12 Hong Kong artists. The works range from video installation, drawing, lightscape and performance, linked through both the burning theme and being developed on site in relation to each other. The venue is not a traditional white cube but an alternative space; a lowrise rooftop in the heart of the city overshadowed by towering skyscrapers.

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Asia Contemporary Art Show, Hong Kong, 2-5 October 2014

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Some of my paintings will be featured by BZ Art Studio at the Asia Contemporary Art Show in Hong Kong, 2 - 5 October. Galleries from around the world will be taking over four floors of the Conrad Hotel in Hong Kong and turning it into an art fair showcasing painting, prints, photographs and sculpture. We'll be on the 40th floor, Rm 4008.

For more information about the event go to www.asiacontemporaryart.com

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SIX, Lightscape Projects, Australia, 17 June – 28 September 2014

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My painting Ancestor II has been selected for the exhibition Lightscape Projects: SIX in Melbourne, Australia. Lightscape Projects are thirteen purpose built light boxes installed in three lanes around the city. This is an initiative that provides an alternative to the traditional gallery space, bringing contemporary artwork into the urban environment and making it accessible to the wider community.

Mine's the sliver on the far left of the flyer.

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This Must be the Place, Australia, 18-27 June 2014

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Stills from Through

Two of my videos, Through and How to take a passport photo, have been selected for the show This Must be the Place at the RMIT School of Art Gallery, Melbourne, Australia. The exhibition includes work by current Melbourne and Hong Kong students and alumni of the School of Art Master of Fine Art programme and is curated by Katie Paine in collaboration with Coalesce ARI. If you can't make it to Melbourne, take a look at the videos here.

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Still from How to take a passport photo

Repetition

Grace repeat

Grace repeat, 2013, pencil on paper, 110 x 79cm

I've been exploring aspects of identity and individual experience. Here I was trying to find a way to represent a subtle physical and mental change. We talk about how we are different people at different times in our lives, or we say something was a lifetime ago, or in another life, or that we're older and wiser, and so on. And who isn't acutely aware of the changes that become inscribed on our bodies over time? Together age and experience may reap change in both obvious physical ways and less overtly in shifting attitudes or expanded knowledge but I was also thinking about how on a molecular level cells die from second to second and we are literally different from moment to moment.

In this pencil drawing, I drew the figure on the right first then tried to redraw another version alongside as identically as I could, but inevitably they are minutely different.

Scaling up

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Reproduced on their own, you can't tell whether these paintings are any bigger than a passport photo, so I'm in this shot to give a sense of scale. I was looking at unadorned, head-on, identifying  photos - passports, ID cards and closer to home, old family photos where relatives are standing to attention and looking unsmilingly straight ahead, from a generation where a camera was a luxury and a photograph was to be taken very seriously. In the first of these paintings the face started life in colour but became black and white to emphasise the link to old photographs. A recently published article described the passport photograph as "the most universal and democratic form of portraiture" as well as the "brutality of the photo booth." I wanted to appropriate the ID format with its harsh rigour but scaled up to alter the relationship with the viewer, make it more assertive. These works are less concerned with a literal identification and more with the idea of the image challenging the viewer to ask "Who is this person? What do we know about them? What can we know about them?"

Hand Signals

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Nothing entirely by itself (detail)

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Everything built upon another thing (detail)

The choreographer Pina Bausch famously observed that she was “less interested in how people move than in what moves them.”  There is a sequence in her work Nelken, where a lone man stands and signs along to a sentimental recording of Gershwin's The Man I Love. The sign language is perfectly synced to the song but apart from the moving hands the man seems otherwise impassive. As the tempo increases, the gestures remain fluid but become increasingly frantic. There seems to be a disjoint between the words and what we see. Gestures have taken centre stage in these recent paintings, with obviously posed hands confined within the backdrop of the model’s clothes, and the clothes reduced to a flat unmodelled area. The hand signals have become very specific, deliberate but are they intended to communicate or obfuscate? I’m not sure this person, or any person, is truly knowable. Hand signals, semaphore, code – what are we trying to say?

My model posted a facebook photo of herself in the studio next to one of the paintings in progress. She titled her post Me visiting myself. Literal but nicely psychological too. Giving autonomy to the hands, one of her friends commented, “Your hands seem ready to do some tricks. Like a magician.” And maybe they are, and maybe she is.

Images in full here.

Stripes

Equilibrium-(detail)

Equilibrium (detail)

It’s been a busy start to 2013 and there are new works in the Paintings gallery, including a few more self-portraits. Here’s a detail from Equilibrium where I’ve added another element in the clothing by defining the body through the stripes of the jersey alone rather than with any shading. Initially, the striped top was actually chosen because of its shape rather than the pattern. However, as the work developed, the stripes became a transition area between the flat picture plane background and the realism of the rest of the figure.

The downside is that after a day of focusing on stripes when I look away I can still see them for hours afterwards. Just a small step in this direction has given me a whole new level of respect for the tenacity required to do op art.

Self Portraits

Self portrait 1

Self portrait I

There was a long holiday weekend in Hong Kong recently and both of my regular models were out of town. It was a good opportunity to make a start on a series of self portraits.  I've had this project in mind for some time and the stack of same size canvases have been primed but gathering dust in a corner. Perhaps close scrutiny of oneself is not always that welcome and so becomes easy to put off.

Anyway here's the first, prosaically named Self portrait I. On the site it looks large in relation to the other work, but in fact it's quite tiny, just 25.5cm square. An introspective exchange, a mirror image, a face to the world.

New Work

Men in exile feed on dreams

Men in exile feed on dreams, 2013

acrylic on canvas, 122 x 91.5 cm

Over the summer I started a new series of paintings featuring figures without obvious narrative context. They're not intended to be portraits per se, instead I'm interested in how the physical poses evoke an emotion or suggest an otherwise unarticulated reality.

So far, I've asked people with a noticeable ease of movement to model, none of whom had done so before. Luckily for me they agreed and have turned out to be particularly versatile. As I tend to work in series, I expect (and hope) the same people will be populating my canvases for some time to come.

Press for Stepping Out

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Featured in Daily Mirror (Sri Lanka), Hi!! LiFE Section, 19 April 2012.

"Kay Beadman's paintings based on the nuances of the shoe,                 Stepping Out, ... is a treat not to be missed."  

Featured in Ceylon TodayEscape Section, 16 April, 2012.

"The use of colour plays a significant role ... The leather Kohlapuri touching a deep saffron surface, the red shoe titled 'Siren' for its bold shade of scarlet and the boxed-out, bold backdrops capture the attention of the viewer."

 view complete article 

Featured in Sunday Island (SL), 15 April 2012.  "

"...the array of colours and shapes of our amazing country (Sri Lanka) have had an influence on her combinations and approach to colour."

Featured in Daily News (SL), Artscope Section, 11 April 2012.

"Stepping Out focuses on the mundane ... shoe. She has painted it in such a way that she challenges the viewer to examine and connect it to something in their own lives."  

Featured in Sunday Times (SL), PLUS Section, 8 April 2012

"Stepping Out is certainly good enough reason to step out of your home ... and head over to the Barefoot Gallery."

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Stepping Out Opening

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Here are some installation views of the show at the Barefoot Gallery as well as a few photos from the opening reception.

Many thanks to Gallery Director Nazreen Sansoni for hanging it so wonderfully and to the ever efficient Gallery Assistant, Rasika.

And thanks to everyone for coming and making it a lovely party under the stars in the courtyard.

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Stepping Out, Sri Lanka, 4–29 April 2012

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My solo show is now on at the Barefoot Gallery, Colombo, Sri Lanka, extended until 29 April.

This work takes the shoe as a motif that evokes a human presence; that may literally contain the imprint of the wearer. There are two distinct series that I worked on in parallel for the show. In both, the shoe substitutes for the absent human figure. In the still life series, the shoe is juxtaposed with objects to intentionally suggest a narrative, whereas in the single shoe series I was interested in abstracting areas of the painting to remove obvious narrative whilst allowing colour and the representation of a single object to evoke a reality without overtly defining it.

I chose shoes for both their physical variety and the associations that they provoke. Here is a man-made artifact that encompasses the mundane to the iconic, that may be workaday functional or an aspirational object of desire.

The poem The Broken Sandal, by Denise Levertov, was the starting point for both series. In it she dreams her sandal strap breaks leaving her barefoot and meditating on life’s direction: “Where am I standing, if I’m to stand still now?”