• Jason Wee, Labyrinths (Barriers Closer to Shore), 2017, galvanized steel, aluminium, C-print on PVC, marble laminate on plywood, 242 x 180 cm
  • Jason Wee, Labyrinths (Sungei Road), 2017, galvanized steel, mirrors, cotton, rubber-coated fencing, powder-coated steel, dimensions variable, 209 x 168 cm
  • Jason Wee, Labyrinths (Need Air), 2017, galvanized steel, printed cotton, emulsion paint, teak laminate, plywood, mirror, watercolour on cold press paper, acrylic panel, 200 x 143 cm
  • Jason Wee, Labyrinths (Wayfinding), 2017, galvanized steel, aluminium, chiffon print, C-print on PVC, teak laminate on plywood, watercolour on cold press paper, 200 x 183 cm
  • Jason Wee, Labyrinths (Open Fire), 2017, galvanized steel, watercolour on cold press paper, acrylic panel, chiffon print on plywood, coated steel, 200 x 164 cm
  • Jason Wee, Labyrinths (Living Rooms), 2017, galvanized steel, polyester print, C-print on PVC, teak laminate on plywood, watercolour on cold press paper, mirrors, etched aluminum, powder-coated steel, spray paint on cut wood, 253 x 187 cm
  • Jason Wee, Labyrinths (Obstacle Course), 2017, galvanized steel, watercolour on cold press paper, army rope in two shades, 253 x 120cm
  • Jason Wee, Labyrinths (Out of the Cl_s_t, Into the C_ge), 2017, galvanized steel, wool, 200 x 120 cm
  • Jason Wee, Labyrinths, galvanised steel, dimensions variable

Jason Wee

Labyrinths

17 Aug - 17 Sep 2017

Yavuz Gallery is proud to present Singaporean artist Jason Wee in Labyrinths, his highly anticipated first solo exhibition with Yavuz Gallery.

The exhibition Labyrinths takes its cues from the ways we navigate our varied physical and political geographies, and how the language and architecture of walls and fencing become signs of authority and power. Walls and fences offer security as well as entrapment, privacy but also control, navigation as well as punishment. In these works, Wee recalls the fence that shape the line on the Padang for Lee Kuan Yew’s wake, the cage that is the emergent sign of new regulations around Hong Lim Park, as well as the extensive fencing of Singapore’s beaches and shores against illegal landing.

The exhibition will comprise of a sequence of eight mixed-media panels, and an installation that will direct the viewer through the gallery space. Wee’s panels rework the familiar municipal green fence as written pages filled with the signs and the affect of our current polarized polity. Simultaneously sculptures and paintings, these panels incorporate photographs, prints, paintings as well as text-based material, each panel forming a legible page that can be read. The artist is particularly interested in the signs of polarization as well as the poetics of powerlessness and impasse.