Description

In the vast expanse of the universe, we find ourselves in an infinitesimally small space, encountering endless mysteries that defy our understanding. Throughout history, artists and scientists alike have been captivated by the idea of parallel realities. Drawing inspiration from quantum mechanics, string theory, and avant-garde art movements, Neverwhere delves into the uncharted territories of the imagination, transcending conventional norms and questioning the limitations of our perception. The exhibition brings together six visionary artists – Nadege David, Cian Duggan, Sandrine Llouquet, Ngô Đình Bảo Châu, Trong Gia Nguyen, and Võ Trân Châu – who invite us on a mesmerizing journey through the intersections of art, science, and spirituality. The title Neverwhere borrows from the eponymous novel by Neil Gaiman that depicts an unseen world beneath the sewers – London Below – where strange destinies await, suggesting the idea of a physical space that does not yet exist in time. Challenging the traditional notion of a white cube space and defying gravitational shackles, the exhibition propels us into a surreal dimension where otherworldly beings exist in parallel to our own reality. Here, half open doors float weightlessly in a state of flux, as beings seek to reveal their visible form. Time is not linear but coexists with back-forth and up-down movements. As truth eludes us, the blending of the flat, the illusory, and the dimensional intertwines without hierarchy, while time challenges our perceptions, shaping memories into fragments of endurance.

Võ Trân Châu weaves found fabrics and used clothes into mosaic patterns, meticulously reconstructing historical sites and photographic images. Her practice sheds light on the nature of memory and the intricate complexities of the past, capturing the emotional resonance of textiles while recognizing and healing generational wounds . Cian Duggan opens that same door to another dimension where ghostly figures in mysterious, fanciful settings, blur the line between reality and imagination. These figures act as portals to uncanny realms. They guide us to the enigmatic storytelling pages of Ngô Đình Bảo Châu where faded tales are portrayed through her peculiar imagery: empty stages and ethereal flowers suggest yearning for pageantry; a school child stands behind a barbed wire fence with a looming monument in the distance; silhouettes of human figures are disproportionately situated in vast natural landscapes in some kind of mental struggle. Simultaneously, in a parallel dimension, Nadege David explores the multifaceted connections between humans, animals, and nature through opulent paintings. Alongside intricate ink drawings, she uses acrylic, pastels, glass paint, and ceramic paint on canvas to evoke surreal landscapes teeming with ambiguous and shapeless life forms.

In this realm, Sandrine Llouquet merges traditional symbols with contemporary themes, reflecting the evolving nature of culture, identity, and memory. Through a powerful exploration of religion and beliefs, she seeks to find common connections that hold enduring significance in the human psyche. Inspired by her experiences in diverse countries, including Vietnam, she adds a cross-cultural dimension to her examination of time, space, and the human condition. Rewinding into the painful history of war ruins, Trong Gia Nguyen’s Mom and Dad, Meadowlake Park, circa 1980 oil pastel painting as well as his series of barbed wire work, inspired by the Côn Đảo archipelago notorious for its prisons from 1862–-1975, delves into memory and displacement.

Description is excerpted from "Neverwhere" Exhibition Catalog, 2023, p.4.