Terence Koh
Artist Statement

Originally known as Asianpunkboy, Terence Koh has been prolifically productive in the queer-core underground for over a decade, producing art-porn zines and websites as well as art. His work is about the moment of seduction and the pain/pleasure of desire. Koh's materials are punk-nasty, but his approach to them is classicist. In one recent show a row of self-portraits cut across the floor with perfect cum-chocolate circles obscuring the faces; in another, a room was filled with white butterflies and dusted with mounds of white powder: a sublimely coked-out, crystal winter wonderland, as pretty as a love song.

Mike Bouchet
Artist Statement

I work in a traditional manner. I make representations of objects in the world. These objects usually are part of our everday life. I tend to deal with objects that I see other people are interested in, although sometimes it is just what I am personally interested in.
My work usually comes out of an „attempt“ at something. I tend to undertake projects with an illogical approach, but also as a way of proposing something about the world we live in. I like the gesture of deliberately failing at something. These pieces are often an attempt to test or resolve a social hypothesis. These projects are closely linked to making objects. The physical result of my work often manifests in objects. Sometimes the objects spur a development in my reasoning, and sometimes my reasoning spurs a new development in my objects. I take pleasure in presenting the things I make, and I like to make things that can be displayed in a number of different configurations. What is important to me in artmaking is that there is a level of absurdity and a level of the real world represented. The line that divides these two things fluctuates, and it tells us something about our times.

Robin Rhode
Artist Statement

My focus is to try and reoccupy spaces with a presence previously excluded. As a reminder of the persistent battle to occupy terrain, I insert the body into fictive spaces that also functions as the real. Relationality, contribution and concern are issues pervading my working process while remaining committed to local issues and sites. My work reflects how personal history can be connected/linked to objects and experiences that could imply degradation or corruption. A value system is confronted by performance as monologue. Actions, are filled with political, rhetoric and anarchic energy, reflecting the fragility of memory and art engaging such rememberence, illuminating a common heritage of marginalisation. My scenarios speak of trying to fit into standards and frameworks that are devised by others, situations devised for exclusions, set up‘s for failure. I use humour and play to destabilise and admit the unseemly, expressing the desire to analyse, change, fictionalise and create alternative solutions for situations that are totally dominated by politics and market strategies.

My practice examines the notion of the everyday becoming a tool for unfolding a resistance - without being necessarily and explicitly oppositional, but rather playful, seductive and fantastical. Introducing narrative and storytelling as a means to build a bridge between diverse communities and audiences. Fantasy and narrative are suggesting a social practice, and they contribute to the layering of a social experience, beyond an exclusively cultural or artistic one. My art functions as a subtle suggestion that the subverse potential of art is as fragile, as ephemeral, as the lines of a chalk drawing.