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The assemblages are created on the artist's rooftop studio in China, which also serves as her husband’s studio and their daughters' play area. The piece incorporates large sheets of paper, sized to match the artist’s body, which accumulate marks and traces over time as they are left around the studio. These papers are then folded, unfolded, and shaped alongside various collected materials, including found origami cigarette packets, all bearing traces of the hand.

This Screen Grab collection features unique screen captures from Assemblage 1, printed on vellum. Each piece is individually scrunched by hand.

Screen Grab: Assemblage

16 x 22 x 8 cm

Printed on fine synthetic vellum

Primary Medium: Hand-scrunched digital still of video assemblage 1

Mutations of U,او, a large-scale textile and metal installation, explores what is visible and invisible, examining the often hidden aspects of the works and showing the opposite side of the image and how the artwork is made while the surface presents certain motifs and silhouettes.

#1 Mutations of U, او

2023

43 x 46 cm (W x H cm)

Digital Embroidery on silk 

#4 Mutations of U, او

2023

56 x 34 cm (W x H cm)

Digital Embroidery on silk

#9 Mutations of U, او

2023

40 x 60 cm (W x H cm)

Digital Embroidery on silk

#2 Mutations of U, او

2023

37 x 41.5 cm (W x H cm)

Digital Embroidery on silk

#5 Mutations of U, او

2023

57.5 x 38.5 cm (W x H cm)

Digital Embroidery on silk

#10 Mutations of U, او

2023

40 x 60 cm (W x H cm)

Digital Embroidery on silk

#3 Mutations of U, او

2023

33.5 x 48.5 (W x H cm)

Digital Embroidery on silk

#6 Mutations of U, او

2023

33 x 58.5 cm (W x H cm)

Digital Embroidery on silk

#11 Mutations of U, او

2023

38.5 x 63 cm (W x H cm)

Digital Embroidery on silk

#13 Mutations of U, او

2023

133 x 170 cm (W x H cm)

Woven Jacquard Piece made by Sally Holditch

196

2018

160x40x90cm

210x100x67cm

Welded metal

Drawing inspiration contextually from scientific papers, art, science fiction film and literature, I navigate the interplay between historical environmental spectres and futuristic mining technologies. Outputs are sculptures, prints and written extracts, highlighting potential disruptions to orbital dynamics, the consequences of unconventional energy forms and the formidable task of debris management under microgravitational conditions. 

EXTRACTION, 2022

Artist Book, 

20 x 8.5 x 4 cm (book) 16 x 36 x 126 cm (with stand)

REPURPOSED, 2023

 Sand, graphite, resin

119 x 84 cm 

ROTARY PROTOTYPE (ii), 2024

Sand, resin, wood and acrylic, 

85 x 70 x 45 cm 

ROTARY PROTOTYPE (i), 2024

Sand, resin, wood and acrylic,

125 x 70 x 45 cm

MINERAL DEPOSIT, 2022

Sand, carbon, soil, cement and metal, 

80 x 58 x 3 cm 

Viewers are invited to participate in this work by touching it. As you experience this piece. you will also take away the graphite on your hands and the experience in your heart.

As it’s being used it’s being changed. As the braille is being used it will be smudged and the image will become obscured. This is the ephemeral nature of the written word. 

The title ‘Non-Manual Features’ refers to the human part of produced communication such as body language. This imagery links to the that fact that non-manual features are obscured as sensory loss progresses. Lines blurred.  

Although many don’t understand the interweaving complexities of Braille and BSL they can still appreciate its production. 

The connection of the degrading braille and image mirrors the deterioration

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Non-manual features PRINTS, 2024

297 x 420 mm (A3) sized

Fine art 100% cotton matt archival Canson Photo Rag 210gsm

This poem begins ‘what remains of the library without any books’ - and is dedicated to PhD student Hamza Abu Nohza, whose library now lies under the rubble in Gaza. 

 

Designed to be performed on repeat as a perpetual inventory, this contribution seeks to find hope in the ruins by asking - What Remains? What Remains is a refrain with no end in sight.

Line by Line: each line of the poem has been debossed. As the paper is handled, the text becomes more visible through the dirt and fingerprints that remain on the page. Line by line can be purchased as a limited edition set or individually numbered pages. All purchase proceeds will be donated to ‘Doctors without Borders’ https://www.doctorswithoutborders.org/

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 What Remains (a poem)

What RemainsJenny Maxwell
00:00 / 19:46

"My language for communication focuses on embodied knowledge through dance, performance, and drawing. I look at how our senses, tactility, gaze, and the animal nature of human beings, interact with daily objects, people, and architecture through virtual and physical space. My works are usually presented collectively in open space with various audiences. 

I aim to visualise intangible realities: the inability of communication, the attempt of dialogue, and the unbalance between language, and body movements. By connecting the division between the realm of memory and the field of experience, I reflect on the closely related subjects of the body as archive and physical memories, and how they transform through movement. 

 

I consider movement as a bridge for a continuous loss. It presents as a transformation for human connection, as well as awkwardness, a humour that echoes our vulnerabilities. "

- V.T

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Bittersweet Hue: A Spongy Taste

Performance

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