GENARCHA

Andrew Ooi, Daemon, 2017 | 18 x 11.5 x 7 inches, 46 x 29.5 x 18 cm | 376 Folded Gampi-paper paintings with acrylic, ink and lithography

Andrew Ooi, Drop, 2017 | 12.5 x 9.75 x 1.75 inches, 32 x 25 x 4 cm | 170 Folded Gampi-paper paintings with acrylic and ink

Andrew Ooi, Drop, (side) 2017 | 12.5 x 9.75 x 1.75 inches, 32 x 25 x 4 cm | 170 Folded Gampi-paper paintings with acrylic and ink

In 2017, the guest-of-honour seated at the table of the twentieth-century is the genarcha, or family head, of modern art. Guernica, artist Pablo Picasso’s seminal painting, is commemorating a milestone birthday: an indefatigable 80! The fêted artwork still functions as a symbol of political and polemic opposition just as it did since its conception. From the civil factions of 1930s Spain to present-day Syria, to the shift of contemporary art from Europe to America, Picasso’s canvas maintains putting a human face to what being at war feels like personally, universally. A world turned upside-down, inside-out and apart; where everyone and everything are treated equally as objects–the restructuring of which, reprising their significance as an expression of life, much like an anniversary, or a formal placement in the history of art.

Andrew Ooi, Abyss Minerals 1, 2017 | 6 x 5.5 x 7 inches, 15.5 x 14 x 18 cm | 80 Folded Gampi-paper paintings with acrylic and ink

Andrew Ooi, Abyss Minerals 2, 2017 | 5.5 x 5 x 4 inches, 14 x 13 x 10 cm | 57 Folded Gampi-paper paintings with acrylic and ink

Andrew Ooi, Abyss Minerals 3, 2017 | 5 x 4.5 x 3.25 inches, 13 x 11.5 x 8.5 cm | 85 Folded Gampi-paper paintings with acrylic ank ink

Genarcha–an exhibit of ordinary objects as paper-made sculptural subjects–demonstrates life reordered from chaos as regarded in Pablo Picasso’s Guernica.

Andrew Ooi, Temple (front) 2017 | 17 x 14.5 x 2.5 inches, 43 x 37 x 6.5 cm | 210 Folded Gampi-paper paintings with acrylic and ink

Andrew Ooi, Temple (back) 2017 | 17 x 14.5 x 2.5 inches, 43 x 37 x 6.5 cm | 210 Folded Gampi-paper paintings with acrylic and ink

Creating the paper -folded and -painted artworks around the Exhibition allowed for the exploration of several ideas. The occupation of time and space–mentally, emotionally and physically–in destroying and transforming–in this case, a sheet of paper–beyond its original state.

Andrew Ooi, Enlightenment, 2017 | 16 x 5.5 x 5.5 inches, 41 x 14 x 14 cm | 236 Folded Gampi-paper paintings with acrylic and ink

Andrew Ooi, Splitting Atoms, 2016 | 6.5 x 15 x 6 inches, 16.5 x 38 x 15.5 cm | 180 Folded Gampi-paper paintings with acrylic and ink

The incorporation of properties about objects in chaos–the form of a light, the build of a piece of furniture–into an artwork as part of its theme, and consequently, becoming a reinterpretation of the object rather than a reconstruction.

Andrew Ooi, Equal, (coiled side) 2016 | 6 x 7.5 x 7 inches, 15.5 x 19 x 18 cm | 240 Folded Gampi-paper paintings with acrylic and ink

Andrew Ooi, Equal, (side) 2016 | 6 x 7.5 x 7 inches, 15.5 x 19 x 18 cm | 240 Folded Gampi-paper paintings with acrylic and ink

Andrew Ooi, Equal, (side alt) 2016 | 6 x 7.5 x 7 inches, 15.5 x 19 x 18 cm | 240 Folded Gampi-paper paintings with acrylic and ink

The utilization of a subject manner now, to reveal the “discarded finds,”* Picasso describes as material to the finished artwork and the process underwent in its re-visioning. (* “When you begin a picture, you often make some pretty discoveries. You must be on guard against these. Destroy the thing, do it over several times. In each destroying of a beautiful discovery, the artist does not really suppress it, but rather transforms it, condenses it, makes it more substantial. What comes out in the end is the result of discarded finds. Otherwise you become your own connoisseur. I sell myself nothing.” Picasso in conversation with Christian Zervos: published in “Conversations avec Picasso,” Cahiers d’Art 10 (1935), pp 173-78.)

Andrew Ooi, Chair 1, (side) 2016 | 9 x 8 x 6.5 inches, 23 x 20.5 x 16.5 cm | 212 Folded Gampi-paper paintings with acrylic and ink

Andrew Ooi, Chair 1, (top) 2016 | 9 x 8 x 6.5 inches, 23 x 20.5 x 16.5 cm | 212 Folded Gampi-paper paintings with acrylic and ink

Andrew Ooi, Chair 2, 2016 | 9 x 12 x 6.5 inches, 22.9 x 30.5 x 16.5 cm | 261 Folded Gampi-paper paintings with acrylic and ink

Andrew Ooi, Chair 2, (apart) 2016 | 9 x 12 x 6.5 inches, 22.9 x 30.5 x 16.5 cm | 261 Folded Gampi-paper paintings with acrylic and ink

Andrew Ooi, Chair 3, 2016 | 9 x 8 x 6.5 inches, 23 x 20.5 x 16.5 cm | 494 Folded Gampi-paper paintings with acrylic and ink

A treatment of Cubism in reverse: starting from the abstract, like paper pieces and planes, to the real, apparent in artworks Chair 1, 2, and 3.

Andrew Ooi, Spectre, 2017 | 4.5 x 2 x 2 inches, 11 x 5 x 5 cm | 420 Folded Gampi-paper paintings with acrylic

Andrew Ooi, Maximus’ Heart, 2017 | 4 x 2 x 2 inches, 10 x 5 x 5 | 320 Folded Gampi-paper paintings with acrylic

Andrew Ooi, Brain 3, 2017 | 18 x 18 x 3 inches, 46 x 46 x 8 cm | 600 Folded Gampi-paper paintings with acrylic and ink

And altogether, the glory of life and survival–emphasized by colour and pattern across sculptures at once differentiated and integrated in reality–where humanity converges.

Andrew Ooi, Kimberlite, 2016 | 11 × 16 × 10 inches, 27.9 × 40.6 × 25.4 cm | 376 Folded Gampi-paper paintings with acrylic and ink

Andrew Ooi, True Reflection (front) 2017 | 13 x 13.5 x 4 inches, 33 x 34.5 x 10 cm | 448 Folded Gampi-paper paintings with acrylic and ink

Andrew Ooi, True Reflection (back) 2017 | 13 x 13.5 x 4 inches, 33 x 34.5 x 10 cm | 448 Folded Gampi-paper paintings with acrylic and ink

Andrew Ooi, Spring Garden (front) 2017 | 16 x 16 x 1.5 inches, 41 x 41 x 4 cm | 356 Folded Gampi-paper paintings with acrylic and ink

Andrew Ooi, Spring Garden (back) 2017 | 16 x 16 x 1.5 inches, 41 x 41 x 4 cm | 356 Folded Gampi-paper paintings with acrylic and ink