Inspired by the social implications of hugs among individuals, Maë Chan aims to present the emotions contained in the embrace through tactile exploration of dynamic forms. Through a series of installations using affect-driven materials, colors, and shapes, Chan dissects the denotative qualities of intimacy and boundary resulting from how our society defines “touch.”

Each installation enacts the carousel of emotions within every embrace, ranging from joy to disgust, politeness to fear. In particular, Chan is interested in conveying that which is socially correct but not always sincere, betrayed through the intimate gestures of wrapping and touching. Some pieces lock tightly in intimacy, whereas others exist in precarious tension with a gap between them. Some stand totally separated as an expression of boundary.

Chan’s work spans across multiple contexts -- from sculpture to conceptual furniture and spatial installations. The human body acts as a central aspect regardless of the context, as through an intimate interaction with the human form, a new form is created.


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HUGGING PORTRAIT: INTIMACY / BOUNDARIES