How
to
stand
out
among
from
those
eye-candy
liked
art
pieces
in
the
current
art
world?
Is
it
enough
for
artist
to
constantly
staying
in
monotonous
and
linear
style?
Michelle
Kuen
Suet
Fung
recent
solo
exhibition-
80/20
clearly
pointed
out
her
vision.
With
slightly
colorful
and
fantasy,
childish
painting
style
fusion
the
use
of
Chinese
rice
paper
brought
an
entirely
fresh
visual
presentation
to
life.
Every
piece
of
the
show
are
linked
to
the
appearance
of
animals.
It
is
an
obvious
highlight
of
this
exhibition.
Animals
relationship
with
humans
is
the
unbreakable
muse
in
local
artist,
Michelle
Kuen
Suet
Fungs
eyes.
The
shows
name,
80/20,
is
also
playing
around
with
this
concept:
80%
of
all
marine
waste
is
from
the
land.
Only
20%
is
from
the
ocean.
The
data
game
still
continued
further
more
in
questioning
humans
about
marine
lives
in
her
artist
statement.
Michelles
works
mostly
included
animal
element,
which
is
nearly
becoming
her
personal
signature.
The
gallery
space
turned
into
a
shelter
for
those
hurting
marine
lives.
Viewers
even
had
the
illusion
of
visiting
an
aquarium.
An
enormous
shark
surrounded
with
lot
of
colorful
flotsams
displayed
in
a
rectangular
frame.
These
flotsams
are
in
different
shapes,
some
like
balloon
while
some
reminded
me
of
jellyfish.
Details
of
painting
Disregarding
our
universal
impression
to
ocean
world,
the
tone
of
this
painting
is
unusually
dark
even
with
those
varieties
of
hued
objects.
Comparing
to
fine
art
painting,
Michelles
work
is
not
only
about
how
realistic
the
characters
are
painted,
further
more,
it
is
about
merging
her
unique
painting
style.
Another
series
of
painting
that
continue
with
the
hidden
dark
theme
spot
my
eyes.
They
are
all
together
four
separating
done
Chinese
painting
which
generate
the
same
theme.
If
you
are
expecting
any
traditional
Chinese
painting
from
Michelle,
this
may
disappoint
you.
However,
counting
on
the
innovation
of
blazing
Chinese
painting
technique
and
her
personal
style,
this
work
surely
deserves
a
credit
for
her.
Not
only
credit
for
her
skills,
but
also
for
her
idea
on
experimenting
the
possibility
of
shadow.
This
particular
work
can
be
read
critically
in
two
parts-
the
entity
and
shadow.
The
entities
of
marine
lives
have
beautiful
and
lovely
finish
touch.
This
just
like
represents
the
wonderful
side
of
lively
marine
lives
used
to
be.
While
for
the
shadow
part,
Michelle
is
daring
to
expose
the
cruel
dying
scene.
No
bleeding
blood,
no
horror
facial
expression,
rather,
they
died
in
a
fading
motion
with
highly
aesthetic
value.
This
juxtaposition
clearly
is
a
special
intention
of
the
artist-perfect
the
dying
process.
Putting
an
atrocious
happening
in
a
good-
looking
frame
seems
more
valuable
in
artists
eyes
than
straightforward
composition.
As
a
viewer,
contrast
is
no
doubt
playing
a
higher
level
of
presentation
role
than
any
too
candid
content.
thus
create
a
stronger
tension
to
the
viewers.
80/20
show
had
a
significant
role
to
Michelle;
in
fact,
this
is
her
first
show
in
Hong
Kong
after
staying
in
Vancouver
for
past
two
decades.
Despite
of
the
working
environment
encountered
from
a
big
switch,
her
works
still
revealed
and
continued
with
her
exclusive
style.
On
the
other
hand,
this
show
is
also
bridging
the
academic
institution
and
commercial
gallery.
(Michelle
is
currently
studying
for
a
Master
of
Visual
Arts.)
Merging
two
different
natures
of
art
exhibition-
academic
and
commercial
is
challenging
to
deal
with.
The
risky
point
is
artists
may
lose
their
own
color
so
as
to
satisfy
expectations.
Handling
struggle
between
avant-garde
and
commercial
art
can
be
an
overloading
task.
Being
a
young
artist
domain
in
Pop-Surrealism
genre,
experiencing
experimental
arts
is
a
must.
However,
this
requires
mature
art
practice
and
sense,
more,
defining
oneself
in
position
is
also
another
business.
Reviewing
Michelles
previous
exhibition;
comics
style
with
slightly
childish
touch
is
her
marking.
They
projected
more
on
graphic
aspect,
which
is
likely
to
be
her
talent
and
strength.
Going
back
to
80/20
show,
twists
on
style
and
technique
are
easily
found,
the
content
of
80/20
is
more
realistic
than
her
previous
works,
which
almost
remind
viewers
those
fairytale
we
used
to
listen
in
childhood.