Jo-ey Tang CV | Thomas Fougeirol CV | Press | Exhibitions

Jo-ey Tang (b. 1978 Hong Kong) is an interdisciplinary artist, curator, and writer. Moving between sound, image, objects, text, paintings and exhibitions, Tang forms new material and technological genealogies to address philosophical and spiritual ideas about life and death, their commitments and their inevitabilities. He takes his exhibitions (and often curatorial projects) as source materials, moving between the status of a document and an artwork, as a generative platform to mediate shifts of consciousness, between subjectivities, towards a state of inextricable separation of past into future. Encompassing and confounding his various roles as artist, curator, and writer, Tang treats his practice as a series of intractable actions of contingencies, where the encounter of an artwork becomes “a state of inextricable separation, a selfextraction from the self.” He questions the status of a work of art by taking it apart materially and temporally, by treating it as a document in circulation, towards its past even as it approaches its future, where an artwork’s totality is forever denied. He often extends this investigation to the infrastructure of an exhibition as a means to activate the ever-shifting subjectivities of viewers as witness and accomplice. He has lived and worked in Paris since 2011.

Thomas Fougeirol (b. 1965, Paris, FR) is a French artist living and work between Paris, France, and New York. Fougeirol applies layers of gesso and oil paint on canvases, which takes months to dry, and on and into them he throws debris, trash, and assorted objects collected from the streets of New York, where the artist keeps a studio. Dried-up sedimentation of paint-cakes lodged in the bottom of the buckets are employed as both mark-making devices and self-referential paint-object. These deposits are re-deposited on and into the fresh layers of still-drying canvases. Dead paint meets fresh paint. Sometimes these paintings register gravitational pull, and sometimes they trick the eye into pulling them back up. They operate across multiple coordinates, pivoting between flatness and depth, between what they look like and what they might be.