Adeline Kueh
  • BIOGRAPHY
    • CV
  • WORKS
    • Does love have texture?
    • Roadside beauties
    • Everything But Gold
    • A thousand half-loves
    • Through Love
    • In Your Hands
    • Umbra
    • I'll leave the light on for you
    • En Passant
    • Love Hotel
    • Don’t you see, baby, this is perfection
    • Lavenda Health Spa (An Eminent Takeover)
    • Club de Bosses KTV, Eminent Plaza Street Level & Kings ARI
    • 100% Linen (Edition 1)
    • After You (Jeanette I & II)
    • The Button Project
    • Playsky
    • Runaway Objects
  • OTHER PROJECTS
    • Hermes Summer 2016 Windows (Singapore)
    • Hermes Spring 2016 Windows (Singapore)
    • Mirage by the Lake
    • Double Happiness
    • Gravity Zero
    • The Sustainable Shop >
      • Wish Belt
    • Button in Exchange with Sol LeWitt
    • The Penis Show >
      • Solution 1.2 & More Solution 1.2
    • MatriXial Technologies >
      • The Silver Capsule
    • Cloudwalk (Tanjong Pagar Rail Corridor proposal)
    • Dream Promenade
    • Manama Lagoon
    • Wangz Hotel
    • The Waves
  • PRESS
  • CONTACT
Picture







Our struggle is also a struggle of memory against forgetting.
…
 
Thinking again about space and location, I hear the statement ‘our struggle is also a struggle of memory against forgetting’; a politicization of memory that distinguishes nostalgia, that longing for something to be as once it was, a kind of useless act, from that remembering that serves to illuminate and transform the present.  
 
- bell hooks, “Choosing the Margin as a Space of Radical Openness”, 1989.

The focus of the works made during the STPI VAP Residency (2021) is about the transformative acts against forgetting. Ideas around intimate/invisible labour within the home are used as departure points. 
 
Within the context of the explorations in the residency, the opening quotes by bell hooks serve as a reminder of the conscious effort on my part to position myself to speak from within the margin, or specifically the margin as what she defines as “a liminal position” that is full of possibility, difficulty, difference and self-criticality.
 
One of the key questions that I was obsessed with is whether love has texture. The forms of circle, squares (the grid) and triangles (from the patchwork & table runner) are unpacked and put together afterwards to examine the tensions between the gaps or the limits of language (visual or otherwise), and the question of belonging. One set of works are more formal in terms of material, textual elements, whereas another set of craft-based (fabric and paper) ones highlights the everyday act of repair and the medium of storytelling. 
 
The complex relationship as simultaneously an outsider-looking-in and an insider-looking-out, being a Sarawakian who has spent half my life away from my hometown as well as in Singapore is also being considered.
 
Equally significant is the ambivalent relationship I have with my mother in terms of having the voice to speak about things around them due to the lack of vocabulary or language. Some of the works also embody and look into the struggles between us and the (im)possibility of finding common grounds. For the newer production of parts of the works, I am also taking care to mediate between the flows of capital and labour, and the various persons and communities that were engaged as crafters.

​
Image: I Love You (Pear), Laser-etched acrylic, 30 x 70 x 6cm, 2021.

Picture
Detail of The big and small of things (with Ariyana Samuji), 2021, Handstitched rosettes, 187 x 143 cm, Unique. © Adeline Kueh / STPI. Image courtesy of the Artist and STPI.
Picture
Detail of Forgetting and Remembering (Orange), 2021, Silk thread stitching and screenprint on artist's handkerchiefs, Framed: 54.2 x 84 x 3.8 cm, Unique. © Adeline Kueh / STPI. Image courtesy of the Artist and STPI.

Picture
One cool evening (I), 2021, Screenprint on fabric, 185.5 x 182 cm, Unique. © Adeline Kueh / STPI. Image courtesy of the Artist and STPI.
Powered by Create your own unique website with customizable templates.