This text is a part of Hyperallergic’s Satisfaction Month sequence, that includes an interview with a distinct transgender or nonbinary rising or mid-career artist each weekday all through the month of June.
Singaporean trans nonbinary artist Aki Hassan’s sculptural installations and experimental comics invite us to think about how the collective presence of our our bodies can forge unseen bonds and connections. What does it imply to occupy area, in all of the bodily, figurative, and radical senses of the phrase? And what does it imply to occupy area collectively? In a poetic new sequence of works, Hassan identifies cases of visible resonance between distinct varieties and supplies — light-weight three-dimensional metallic rods that stand gracefully like flower stems and flat metallic sheets which have the stoic authority of an indication or placard — and in so doing emphasizes what these numerous components have in widespread moderately than what units them aside. Hassan describes these works fantastically within the interview under, sharing their idea of “quiet resistance” and their hopes for a gentler understanding of ourselves.
Hyperallergic: What’s the present focus of your inventive observe?
Aki Hassan: At present, my work is fueled by my reflections on the various dependencies that advanced inside fictive kinship. My instant experiences typically inform the majority of my analysis and core concepts. I meditate on the complexities of care work that floor inside the framework of queer kinship which transcends the bounds of blood ties and cis-heteronormative constructions. It’s a area that permits for fixed change and flux, which complicates the alternate of care. I take into consideration queer survival — the suppressions and weight that we already carry as people — and the way this influences the methods by which we rely on and maintain onto each other.
In my latest solo exhibition, Entangled Attachments at Yeo Workshop, I suggest the potential of expressing care by being close by — in proximity to — each other. I imagine that kinship may be constructed from the primary second of recognition and a way of solidarity. By means of what I confer with as “quiet resistance,” I imagine that we alternate gestural vocabularies unknowingly, a few of that are acquainted and proceed to reside inside us. By putting drawings and objects that share the same strand of visible varieties in a single area, I urge the viewer to learn into the refined pulses of traces and marks in relation to 1 one other. One of many works I offered, titled “Notice For My Kin” (2023), is a skinny metal rod that’s held up by a heavy sheet of metal. The phrases “technique work is just not care work, expensive” was evenly written on it, as I ponder the restrictions and limits we draw out for ourselves.
This present displays the situations of my survival in a spot the place entry to queer gatherings might not at all times be granted. Finally, I hope to convey to gentle how nuanced queer labor and micro-actions may be, even when it isn’t instantly seen in our line of sight.
H: In what methods — if any — does your gender id play a job in your expertise as an artist?
AH: The visible language of my drawings and sculptures is knowledgeable by methods the queer physique orients itself — the way in which it stands and falls into edges and surfaces, the way in which it adjusts and postures. These bodily encounters don’t really feel representational; they really feel affectual, thus it feels apt to visualise the gestures by way of traces and marks. I discover consolation within the non-representational type because it doesn’t demand the visualization of 1 singular, particular physique and embraces the fluid nature of trans*. This refusal comes from a spot of respecting the character of embodied data. How do I depict experiences which might be typically intangible and immaterial to the attention?
I work with metallic rods specifically because it is ready to seize the paradox of getting energy in a state of vulnerability. There’s a resilience seen on this lanky medium, particularly when it has been bent right into a drained posture — one which persistently holds itself up. I resonate rather a lot with that.
H: Which artists encourage your work immediately? What are your different sources of inspiration?
At this second, I consider these in my instant queer circles, specifically Rifqi Amirul Rosli, nor, Khairullah Rahim, Diva Agar, Taufiq Rahman, my collaborators from Bussy Temple (Zenon, Jo Ho, Bruce, Minsoo Bae, and Nydia), and everybody else I’ve met alongside the way in which inside my queer networks. I imagine that there’s a lot energy within the work that they do to maintain their practices. I’m impressed by their rigour and the continuing encouragement that I obtain from them.
H: What are your hopes for the LGBTQIA+ group on the present second?
I want for us to be gentler with ourselves, each other, everybody, and every little thing else. We shouldn’t disgrace ourselves for being slower, if that’s the case.
Permit your self to settle into identities at your individual tempo.