SCULPTURE
SCULPTURE
PAINT & INK
PAINT & INK
PAINT & INK
CV
CV
CV
THE NATURE OF WANTING - ARTIST STATEMENT
‘The Nature of Wanting’ is a body of work that addresses the unsustainable consumption of the human race. As a species people continuously process resources of social, environmental and economic value with little regard for the future. Materials are extracted, refined and transformed into fleeting 'objects of desire'. Though a face-paced lifestyle only encourages a focus on the final product, their consumers have become detached from the process that created them. Resulting in a reduced appreciation between these 'objects of desire' and the methods used to create them. A disassociation that contributes to a wasteful attitude towards both labour and environmental resources.
This exhibition explores human body as a machine that seeks out and consumes through unsustainable resource gathering processes. Representing all 'objects of desire' is a small stepped pyramid that appears in several of the works. Whether through representation or suggestion, human presence provides context and narrative for this pyramid to generate discussion of humanity’s consumption habits.
THE NATURE OF WANTING - ARTIST STATEMENT
‘The Nature of Wanting’ is a body of work that addresses the unsustainable consumption of the human race. As a species people continuously process resources of social, environmental and economic value with little regard for the future. Materials are extracted, refined and transformed into fleeting 'objects of desire'. Though a face-paced lifestyle only encourages a focus on the final product, their consumers have become detached from the process that created them. Resulting in a reduced appreciation between these 'objects of desire' and the methods used to create them. A disassociation that contributes to a wasteful attitude towards both labour and environmental resources.
This exhibition explores human body as a machine that seeks out and consumes through unsustainable resource gathering processes. Representing all 'objects of desire' is a small stepped pyramid that appears in several of the works. Whether through representation or suggestion, human presence provides context and narrative for this pyramid to generate discussion of humanity’s consumption habits.
THE NATURE OF WANTING - ARTIST STATEMENT
‘The Nature of Wanting’ is a body of work that addresses the unsustainable consumption of the human race. As a species people continuously process resources of social, environmental and economic value with little regard for the future. Materials are extracted, refined and transformed into fleeting 'objects of desire'. Though a face-paced lifestyle only encourages a focus on the final product, their consumers have become detached from the process that created them. Resulting in a reduced appreciation between these 'objects of desire' and the methods used to create them. A disassociation that contributes to a wasteful attitude towards both labour and environmental resources.
This exhibition explores human body as a machine that seeks out and consumes through unsustainable resource gathering processes. Representing all 'objects of desire' is a small stepped pyramid that appears in several of the works. Whether through representation or suggestion, human presence provides context and narrative for this pyramid to generate discussion of humanity’s consumption habits.
Harrison Waed See
.jpg)
Dr Harrison W. See (b. 1990) is an artist, researcher and emerging curator interested in allegorical landscapes as means to explore cultural divergence and plurality—juxtaposing historical symbolisms with videogame tropes. See has undertaken 7 solo shows, 5 artist residencies, 3 curatorial projects and 8 collaborative exhibitions in Perth and Asia, as well as participated in multiple group exhibitions. Originally an industrial designer, See completed his Bachelor of Visual Arts at Edith Cowan University (ECU) in 2015 after receiving the Louise Macfie Painting Prize. In 2016, he was awarded a New Colombo Plan (NPC) scholarship that funded his honours research in Shanghai, after receiving 1st class honours, See extended his NPC funding and returned to China for a 3-month artist’s residency in Xiamen. In 2019, See returned to ECU after being awarded a Research Training Program Scholarship and completed his practice-led PhD on dialogic cross-cultural collaboration. See is currently a researcher and tutor at ECU, while working from his studio at the artist run initiative Holmes Studio Collective.
Artwork image: Harrison See (2023), Valley of Coasts and Beasts. Archival print on synthetic fibre (380 gsm) suspended from rod. 138m (H) x 103cm (W).
Exhibited: Paper Trails Between Lion and Swan [Phase 1] (curated by Harrison See, Desmond Mah, & Chee Kiong Yeo), Singapore Art Week (SAW), SCULPTURE2052, Singapore.
The flag-like artwork, Valley of Coasts and Beasts, is an allegorical response to the geographical and historical intersections between the numerous sea-bound cities of the Asia-Pacific region. The flow and erosion of water are explored as metaphors for the movement of culture and influence made possible by seas, rivers and oceans. Through an integration of videogame tropes and graphic devices, See imagines a discordant scene reflecting the pluralistic, and at times incommensurate, nature of cross-cultural spaces. It is the juxtaposition of videogame aesthetics with the materialities of textiles—specifically, banners, flags and tapestries—through which See depicts a tense duality of two horsemen. Neither horseman represents a particular culture, however, their duality is analogous to dualistic metanarratives, such as the East-vs-West binary, that often oversimplify past (and present) cross-cultural interactivity. Although these two figures dominate the landscape, the landscape simultaneously envelopes them in a constellation of subtler localised storytelling. While parts of this constellation corroborate the horsemen’s dominance, others serve as alternative, or even contradictory counternarratives.
Education
2022 PhD (Visual Arts), Edith Cowan University (ECU), The Australian Research
2017 Bachelor of Arts Honours (First Class), Edith Cowan University (ECU), WA
2016 Bachelor of Arts (Visual Arts), Edith Cowan University (ECU), WA
2011 Bachelor of Arts (Design), Majoring in Industrial Design, Curtin University, WA
Solo Exhibitions
2022 Far-Away Island, Spectrum Project Space (ECU Galleries), Mount Lawley, WA
2019 Hollow Flight, Spectrum Project Space (ECU Galleries), Mount Lawley, WA
2018 Weightless, Kent Street Gallery, Victoria Park, WA
2018 Urban Tree, The Lobby, Swanbourne, WA
2018 Physical Mindfulness of Painting, Mundaring Arts Centre (Gallery 2), Mundaring, WA
2017 Tower of Modern | 当潮之塔, Chinese European Art Centre | 中国欧洲艺术中心, Xiamen
2016 The Nature of Wanting, Studio 281, Maylands, WA
Curation
2024 Paper Trails Between Lion and Swan [Phase 2] (Yeo, C. K., Mah, D, & See, H. W.), Old Customs House, Artsource, Fremantle (June)
2024 Paper Trails Between Lion and Swan [Phase 1] (See, H. W., Mah, D, & Yeo, C. K.), Singapore Art Week (SAW), SCULPTURE2052, Singapore
2023 Crossroads and Convergences (H. See), Nyisztor Studio, Melville/Palmyra, WA.
2023 HERENOW23: In-Between-ness (H. See), Fringe World Festival, Spectrum Project Space (ECU Galleries), Mount Lawley, WA.
Artist Residencies
2021 Perth College, Mount Lawley, WA – 1 week(s)
2020 Fringe World Festival, Spectrum Project Space, Mount Lawley, WA – 4 week(s)
2018 Victoria Park Centre for the Arts, Victoria Park, WA – 10 week(s)
2018 Mundaring Arts Centre, Mundaring, WA – 6 week(s)
2017 Chinese European Art Centre | 中国欧洲艺术中心, Xiamen – 3 month(s)
Collaborative Exhibitions
2021 A Place We Call Home, Stala Contemporary, West Perth, WA
2021 Polyphony: CERAH Exchange Showcase, Fringe World Festival, Gallery 25, Mount Lawley, WA
2020 Intermission, Yagan Square Digital Tower, Perth, WA
2020 Nexus: A Group Show, Perth Fringe Festival, Spectrum Project Space, Mount Lawley, WA
2018 Paradise’s Parasite III | 寄生者 III, Spectrum Project Space, ECU, Mount Lawley, WA
2017 Passage Self Strange, Turner Galleries (Engine Room 2), Northbridge, WA
2017 Paradise’s Parasite II | 寄生者II, The Sino-British College | 英皇茶室, Shanghai
2017 Paradise’s Parasite | 寄生者, Hujiang Gallery | 沪江画廊, Shanghai
Selected Exhibitions
2024 Paper Trails Between Lion and Swan [Phase 2] (curated Chee Kiong Yeo, Desmond Mah, & Harrison W. See), Old Customs House, Artsource, Fremantle (upcoming, June)
2024 Paper Trails Between Lion and Swan [Phase 1] (curated by Harrison W. See, Desmond Mah, & Chee Kiong Yeo), Singapore Art Week (SAW), SCULPTURE2052, Singapore
2022 Divergent Terrain (curated by Kelsey Ashe), Old Customs House, Fremantle, WA
2022 City of Joondalup IAP | Invitation Art Prize (curated by Julia Robinson-White), Whitford City, Joondalup
2021 Nexus: A Group Show (curated by Lyndall Adams & Nicola Kaye), Gallery 25 (ECU Galleries), Mount Lawley, WA
2021 Industrial Mythos (curated by Greg Molloy), INTOO Studios, Northbridge, WA
2021 ION II | In Our Nature (curated by Monique Tippet), Lost Eden Creative ARI, Dwellingup, WA
2021 The Mandorla Art Award (curated by Lyn Di Ciero), Stala Contemporary, West Perth, WA
2020 Tenth International Exhibition of Traditional Fine Arts | 第十届国际传统艺术邀请展, Shanghai Art Collection Museum, Shanghai
2020 Tied Up With String (curated by Clare Stroud), Mundaring Arts Centre, Mundaring, WA
2019 Nexus: A Group Show (curated by Lyndall Adams & Nicola Kaye), Gallery 25, ECU, Mount Lawley, WA
2018 Sculptures on the Scarp (curated by Amy Pepper), Darlington Arts Festival, Darlington, WA
2017 Stations of the Cross (curated by Claire Bushby), Wesley Church, Perth, WA / Geraldton Regional Art Gallery, Geraldton, WA
2017 Extended Focus (curated by Gregory Pryor), Spectrum Project Space, ECU, Mount Lawley, WA
2017 34th Annual Sculpture Survey Exhibition (curated by R. M. Gomboc), Gomboc Gallery & Sculpture Park, Middle Swan, WA
2016 Third Space Project (curated by Clive Barstow), Hujiang Gallery | 沪江画廊, Shanghai
2015 IMPACT 9 International Printmaking Conference (curated by artists from Royal College of Art), China Academy of Art, Hangzhou
2015 32nd Sculpture Survey (curated by R. M. Gomboc), Gomboc Gallery and Sculpture Park, Middle Swan, WA
2014 31st Sculpture Survey (curated by R. M. Gomboc), Gomboc Gallery and Sculpture Park, Middle Swan, WA
Awards & Grants
2024 Arts Short Notice Activity grant, Department of Local Government, Sport and Cultural Industries (DLGSC), WA – $5,000 (co-curated project)
2023 Arts U-15k, Department of Local Government, Sport and Cultural Industries (DLGSC), WA – $15,000 (co-curated project)
2023 Innovative Application of Research Methods Award (co-recipient), DCAM, ARC Centre of Excellence for the Digital Child
2023 SAH Research Support Funding, School of Arts and Humanities (SAH), Edith Cowan University – $1,290
2023 Professional Development Award, Australian Research Council (ARC) Centre of Excellence for the Digital Child – $500.00
2021 Arts U-15k, Department of Local Government, Sport and Cultural Industries (DLGSC), WA – $14,980 (solo-curated project)
2021 Arts U-15k, Department of Local Government, Sport and Cultural Industries (DLGSC), WA – $4,050 (co-curated project)
2020 Ellenbrook Overall Prize, Ellenbrook-Swan Art Award, WA – $1000
2020 Yagan Square Digital Tower Screen Initiative (co-recipient), Metropolitan Redevelopment Authority, WA – $1,000 (co-recipient)
2020 Research Culture Grant (co-recipient), School of Arts and Humanities, Edith Cowan University, WA – $400 (co-recipient)
2019 Research Culture Grant (co-recipient), School of Arts and Humanities, Edith Cowan University, WA – $400 (co-recipient)
2018 Research Training Program Scholarship, Federal Government of Australia – $85,000
2015 The Louise Macfie Painting Prize, Edith Cowan University, WA – $2,000
2015 New Colombo Plan Scholarship, Federal Government of Australia – $35,000
2015 New Colombo Plan Student Mobility Grant, Edith Cowan University, WA – $1,200
2010 Design Award for Excellence, Curtin University, WA