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.


HUGGING PORTRAIT: INTIMACY / BOUNDARIES

This short film is the primary research of project ‘Compacted Life’. At the starting point of the project, I set up an experiment called ‘24h Red, Yellow and Green’, which lasted 3 days. In each 24 hours, I strictly followed a time schedule and was only in contact with objects in one of the colours and I filmed the whole process.


24h RED, YELLOW AND GREEN

Mixed-media hanging collection
 
This project is a reflection of my own experience: I grew up in mainland China, moved to Hong Kong in my twentieth. Even they share very similar cultural background, one is still very different from the other. The feeling of dislocation would come to me from time to time. Similar to items which are left on random shelves in supermarkets, he sense of belonging stands out when it’s not ‘where it’s supposed to be’. 


DISLOCATION

FEEL ME, PLEASE

Soft sculpture collection 

About 2 years ago, I began to suffer from cervical spondylosis.  Some nights, I even could not fall asleep without taking painkiller.  Unlike a wound, cervical joint deformity does not show on the skin. This project aims to use visual language to express the pain on the body. 



THE SHAPE OF PAIN 

Inspired by the discussion of the definition of happiness in the movie Lobster,which tells a story of a society requiring people’s absolute obey, this project is a representation of an absurddaily life pattern compacted in an urban environment. 


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Maë Chan