Unfolded Magazine were invited to the press night for Hin’s
“It’s Almost Painless” solo exhibition at Pyrus London's basement
galley, which took us through Hin's colourful yet dark and
traumatic “Contradiction” drawings, moving images, toys and thought
provoking stuffed animals. We spoke to the artist briefly about his
work, life and some of the exhibits on display.
Can you tell us about growing up, starting with Japanese
Manga and Chinese watercolour; how did that evolve into what you
are doing now?
I grew up in Hong Kong and all the kids used to draw Manga or
dragons. However, my parents were more traditional, so I learnt
Chinese watercolour also, using traditional techniques. It formed
the basis for what I do now I guess.
When you moved to the UK, from China, when you were 12, how
did that impact on your art?
My parents decided to send me over to a boarding school as I’d had
some bad experiences and Hong Kong never really suited me. As I
also loved sport and art, they thought it would be a good idea. It
was tough at first. I always have loved drawing, but when I
came here I grew to love painting also. Pencil, ink and poster
colour. I didn’t use much colour until I was 19. After that, it
just was an explosion of colour!
Was that a turning point in your work?
For the first 8 years here, I struggled to adapt, (regarding)
making friends and so on. But a new friendship, which I formed
at 19, gave me colour and I felt more at ease, more balanced.
I can see the struggle emanating from your work. In terms
of the message of contradiction, how important is
that?
Yes, my whole life has been a struggle. I believe with most people,
trying to find balance is the key to happiness. The contradiction
element is how, on one hand, you question what you should do with
your life based on what you feel. However there is, on the other
hand, what others tell you do, what path to follow and so on. I'm a
Gemini, a twin. I feel there are two extreme sides to me: a
conflict between my heart and my mind. In terms of my work, every
piece of my work used to be controlled, but now I'm trying to work
out of chaos and I do enjoy that freedom. There is, I guess, still
a small sense of control. Chaos with control, whilst trying to find
balance and freedom.
Looking at the exhibits, could you tell us about “Walk into
my life”?
It’s about modern animals: how they have been constrained by
capitalist ideals and objects. Stuck in a sweet packet and are
trying to work within it, as much as we are, trying to also find
help.
“Look how pretty you can be”?
Representative of death and happiness. A celebration of death if
you like, where things that seem finished (the skull) may not
be finished. If you look at the back of the head, you see
little people going against the wave, against the norm. To find joy
and happiness, you do sometimes have to go against the norm. To
learn from it and then rebel from it.
“It's almost painless”?
It's a very personal piece and is also the title to this
exhibition. It centres around a clown, which is smiling. People
find clowns dark and contradicting. A grown man with a mask shows
only joyfullness, excitement and no signs of sadness. We are all
like this at some point. This clown can be me... or you. On one
hand there is love and on the other aggression, with the knife. The
background represents death money, in China. This is money you burn
for the dead in the hope that they receive prayers for their safe
journey.
Lastly, what would you say to aspiring artists out
there?
Be true to yourself and your thoughts. Find a balance, find your
centre and you will be able to express yourself more clearly.
To see more of Hin’s work, visit:
www.hinstudio.com
As featured in Unfolded Magazine Issue 2