A Horror to the Eyes of All Men Seeking Faith
Installation view GG-EWERK, photos Marc Doradzillo ©
Oscar Chan Yik Long
A Horror to the Eyes of All Men Seeking Faith
Site-specific installation for the group exhibition Homeland in Transit | Artist from Hong Kong, Taipei and the Diaspora
Galerie für Gegenwartskunst, E-werk, Freiburg im Breisgau, Germany
Curated by Angelika Li and Heidi Brunnschweiler
Artists: Oscar Chan Yik Long, Isaac Chong Wai, Leung Chi Wo, Hedy Leung, Anson Mak, Musquiqui Chihying, Winnie Soon, Angela Su
'A Horror to the Eyes of All Men Seeking Faith' is a line from the script of the 1990 film 'The Exorcist III,' which was both written and directed by William Peter Blatty, as part of the antagonist the Gemini Killer’s speech before he tries to kill the exorcist Father Paul Morning. This line also serves as the inspiration for the title of Chan's newly commissioned ink installation, created in situ for this exhibition. The topic dives into deep psychological and ethereal dimensions, accentuating the film's core message—faith and will—that the artist believes is more relevant than ever.
As one descends into the underground gallery, an immediate sense of an uncanny and eerie atmosphere takes hold, captivating visitors and drawing them into Chan's phantasmagorical ink installation, which completely reshapes the spatial energy. Based on the artist’s interpretation of mythology, populated by fallen angels, monsters, and souls, tension is elaborately woven into a cycle of enigmatic activities across murals, textiles, and canvases, constructing a temple. Each element contributes to the atmosphere, fostering an immersive environment that incites the contemplation of the ways our beliefs and desires can both liberate and constrain us, shaping our experiences and perspectives of the world.
The notion of decadence and distortion takes centre stage in this cycle of work. The artist portrays the twelve fallen angels, alongside the demonic creatures, with a particular interest in depicting their degeneration process. Chan believes that the origin of this is from human greed and desire, often manifesting as acts of devouring other beings, creating disasters, and disregarding harmony or nature's course—all driven by underlying fear.
The painting ‘Fallen Angels: Eve’ reveals a complex interplay between gesture and psychology as Eve eliminates the creature from her own body. It portrays a gesture where the figure appears to cover others with her long hair, but simultaneously, also concealing a part of her voice, indicating a desire for dominance – a fear of not having enough power.
Ambiguous lines in societies often breed fear – 'the unknown' often drives one to silence their thoughts and actions. This is expressed in 'Fallen Angels: Adam,' where a blindfolded figure is depicted with the function of his throat disabled. Despite this, an eyeball in the mouth continues to observe, yet the vibration of fear continues to extend.
In the ending of the film ‘Exorcist III’, the demonic soul was expelled successfully by faith and will as the artist furthers the question as how faith can take a dark turn, evolving into horror when one strays down the wrong path, entangled by distracting noises and the blinding experiences of the world. This exploration leads to the ultimate existential question: 'Who am I?' This question might offer a guiding light, preventing individuals from being misled, lost, or disappearing into the shadows. It is within this polarity of light and darkness that the artist raises profound inquiries about balance and the potential for personal evolution or rebirth. These inquiries invite viewers to contemplate the intricate interplay between faith, adversity, self-discovery, and transformation, which are at the heart of Chan's thought-provoking work.
Text: Angelika Li
A Horror to the Eyes of All Men Seeking Faith
Site-specific installation for the group exhibition Homeland in Transit | Artist from Hong Kong, Taipei and the Diaspora
Galerie für Gegenwartskunst, E-werk, Freiburg im Breisgau, Germany
Curated by Angelika Li and Heidi Brunnschweiler
Artists: Oscar Chan Yik Long, Isaac Chong Wai, Leung Chi Wo, Hedy Leung, Anson Mak, Musquiqui Chihying, Winnie Soon, Angela Su
'A Horror to the Eyes of All Men Seeking Faith' is a line from the script of the 1990 film 'The Exorcist III,' which was both written and directed by William Peter Blatty, as part of the antagonist the Gemini Killer’s speech before he tries to kill the exorcist Father Paul Morning. This line also serves as the inspiration for the title of Chan's newly commissioned ink installation, created in situ for this exhibition. The topic dives into deep psychological and ethereal dimensions, accentuating the film's core message—faith and will—that the artist believes is more relevant than ever.
As one descends into the underground gallery, an immediate sense of an uncanny and eerie atmosphere takes hold, captivating visitors and drawing them into Chan's phantasmagorical ink installation, which completely reshapes the spatial energy. Based on the artist’s interpretation of mythology, populated by fallen angels, monsters, and souls, tension is elaborately woven into a cycle of enigmatic activities across murals, textiles, and canvases, constructing a temple. Each element contributes to the atmosphere, fostering an immersive environment that incites the contemplation of the ways our beliefs and desires can both liberate and constrain us, shaping our experiences and perspectives of the world.
The notion of decadence and distortion takes centre stage in this cycle of work. The artist portrays the twelve fallen angels, alongside the demonic creatures, with a particular interest in depicting their degeneration process. Chan believes that the origin of this is from human greed and desire, often manifesting as acts of devouring other beings, creating disasters, and disregarding harmony or nature's course—all driven by underlying fear.
The painting ‘Fallen Angels: Eve’ reveals a complex interplay between gesture and psychology as Eve eliminates the creature from her own body. It portrays a gesture where the figure appears to cover others with her long hair, but simultaneously, also concealing a part of her voice, indicating a desire for dominance – a fear of not having enough power.
Ambiguous lines in societies often breed fear – 'the unknown' often drives one to silence their thoughts and actions. This is expressed in 'Fallen Angels: Adam,' where a blindfolded figure is depicted with the function of his throat disabled. Despite this, an eyeball in the mouth continues to observe, yet the vibration of fear continues to extend.
In the ending of the film ‘Exorcist III’, the demonic soul was expelled successfully by faith and will as the artist furthers the question as how faith can take a dark turn, evolving into horror when one strays down the wrong path, entangled by distracting noises and the blinding experiences of the world. This exploration leads to the ultimate existential question: 'Who am I?' This question might offer a guiding light, preventing individuals from being misled, lost, or disappearing into the shadows. It is within this polarity of light and darkness that the artist raises profound inquiries about balance and the potential for personal evolution or rebirth. These inquiries invite viewers to contemplate the intricate interplay between faith, adversity, self-discovery, and transformation, which are at the heart of Chan's thought-provoking work.
Text: Angelika Li