menu
WITH SILIA KA TUNG
Straying from my path the other night, I found myself in The Realm of the Green Hills.
Curiosity blooms like lotus flowers as I tiptoe into the unknown.
I feast on fungus, shamble through tangled moss, in search of a new romance.
Among the lush foliage, the breasts of Amazon-maidens blur my sight: trophies, brightly tattooed with their blades, shimmer with triumphant radiance.
Perching among sacred plants, a nine-tailed fox mimics my grace.
“1, 2, 3, 4, 5...” she counts and recounts her cherry sins. I blink and they turn into lotus fruits... fig-shaped fruits, enveloping radiance, marvellous. They gently tickle my pride as they cascade through the air.
A voice whispers, ‘take one.’ A serpent. Slithering down from The Wisdom Tree, hisses from the shadows and echoes in my ear, though we do not share a tongue...
On the Emerald rock, the serpent twirls and the fox swirls, round and round and round, mesmerising in their aura of orange and violet.
— Text by Silia Ka Tung
JF - Your work explores the mythic and mysterious, cosmic and concrete – what draws you to these liminal dreamscapes?
SKT - Green Rock and the Magic Mountain is part of the world I’ve been continuously creating since the beginning of my artistic journey. The title of the exhibition is inspired by the Green Hill from the “Classic of Mountains and Rivers” - 山海經, a Chinese ancient classic text and a compilation of mythic geography and beasts, and home to the nine-tailed fox.
My work is rooted in escapism, serving as a curated collection of wonders. I am captivated by the intricate marvels of nature, as well as myths and folklore from diverse cultures. I enjoy reimagining these elements through my own filters and experiences.
I've always found myself irresistibly drawn to the recreation of these seemingly invisible things, and the physicalisation of this invisible world. Green Rock and the Magic Mountain, is the essence of my private realm, a land where all things may grow and change and change again. An uncanny dreamscape, where you can observe it with fresh eyes and where our “human rules” no longer apply.
JF - While there is a fluidity and spontaneity to your painting and drawing, your three-dimensional work is layered in its sensory precision and meticulous in its research, what processes guide you through your art-making and the materials that you choose? What do you need to create?
SKT - Drawing marked the beginning of my artistic journey. It started as a subconscious act of mind-wandering out of boredom, as automatic drawings, a very instinctive approach. Over time, I incorporated more sources of interest, much like background music composed of diverse elements that juxtapose and integrate the seemingly unconnected particles of the universe. Gradually, these seemingly chaotic and fragmented parts come together, interlocking visually, much like a game of chance.
Painting serves as the coloured extension of my drawings, incorporating organic shapes in bright saturated colours, adding more playful forms and elements.
My progression from painting on the sides of canvases to painting on three-dimensional objects, and eventually creating soft sculptures, happened naturally as I felt the need to manifest my vision in multiple formats.
The soft sculptures often stem from a research-driven approach - thinking in advance, considering and planning - the size, shapes, and materials. I also collaborate with sewing professionals to develop the 3D patterns. After we develop the physical soft object, I then go back to the more instinctive approach - leaving room and freedom to decide on whether to paint or embroider it and what kind of base or plinth to fit it on.
They can stand independently or become part of larger installations, much like toys that invite interaction and belong to a broader universe. The exploration of different mediums has always felt natural to me as I seek to connect with various forms of expression.
I approach my art with a sense of adventure and discovery, consistently leading me to unexplored territories. I am open to experimenting with new formats, whether they involve traditional craftsmanship or emerging technologies. Ultimately, I consider myself a maker who derives immense joy from the process of creating art.
JF - Green Rock and the Magic Mountain is a fantastical dreamscape where the micro and macro collide into inter-dimensional portals. Do you have a dreaming practice and do your dreams inform your creative process? Would you describe a dream you’ve had that has influenced your waking life? Or, do you have a spiritual practice that aligns with or informs your work?
SKT - I haven't had a dream in decades, but I'm adept at daydreaming, where I can exert more control over the elements and content. As a naturally curious person born into a family steeped in Traditional Chinese Medicine practitioners (my father) and Buddhist monks (my grandfather), I'm very open to the seemingly abstract ideas of the spiritual world. I'm always fascinated by and continually seek knowledge in various forms of spiritual practice.
JF - Your work creates and navigates otherworldly spaces and their inhabitants. What is your relationship to the more-than-human and the invisible? Could you explain a little about the myth and folklore that inspired this exhibition, and the symbolism of the Nine-Tails Fox?
SKT - I come from a Traditional Chinese medicine household. My childhood was filled with insights into holistic healing, from herbal medicine to acupuncture, from Yin & Yang to balancing your Qi. This traces all the way to I Ching (易經) with reverence for the cosmos, nature and belief in the spirituality of all things.
For a long time, I have been fascinated by the stories of Chinese fox spirits. Beyond their fantasy elements, I see them as a narrative of the suppressed Divine Feminine.
The fox spirits are intelligent and mischievous. In Chinese culture, they symbolise fertility, peace, and prosperity. Long ago, temples dedicated to their worship were scattered across the land. The nine-tailed fox, a divine being thousands of years old, was revered as the "Queen Mother of the West," commanding respect, admiration, and a degree of fear.
However, over time, the perception of fox spirits became morally ambiguous. The demonisation began with their feminisation, followed by their eroticisation and humanisation. This eventually led to cycles of banning their cult, killing foxes, and destroying their temples.
Today, "fox spirit" is often used in a derogatory manner to describe women who are seen as attractive but disreputable. The traditional image of the fox spirit now primarily exists in the realms of fantasy, such as on screens and in artistic representations.
JF - What organic systems and languages inspire your work?
SKT - I am particularly drawn to plants that bridge the realms of nature and magic, as they connect me to my upbringing surrounded by healing herbs. Alongside the Chinese remedies I was raised with, my fascination has grown for ficus, fungi, lotus, and moss. These organisms spark my imagination and lead me to explore their intricate stories.
Beyond their ecological and healing benefits, these natural elements carry spiritual and cultural significance, filled with magic and wonder that constantly inspire me.
JF - What do you wish for people to feel from your art?
SKT - Through my art, I engage in a dialogue with various concepts and ideas, reinterpreting them and removing them from their original contexts. I aim to celebrate all forms of life and highlight the inherent "magic" that surrounds us.
I hope to inspire my audience to seek new adventures, expand their perspectives, and cultivate a deeper appreciation for the diversity in our world. I aim to offer a break from the monotony of daily life and encourage them to let their minds wander freely at times.
IMAGE CREDITS
1. Lotus Tears (embroidery) 2024, textile, metal, mirrors
2. Lotus Tears (embroidery) 2024, textile, metal, mirrors
3. M Foxy 67x33x32cm, 2023
4. Mr Reishi 2022 53x26x12cm, acrylic on canvas, fillings, wire and brick
5. String of raindrops 2024 204x40x40, Acrylic, embroidery on canvas, fillings & wire
6. Amazon's Ribbon, 25.5x14x4.5cm 2024, textile & wooden frame
7. Nepenthes, Acrylic on Canvas 114.5x80cm 2023
8.Windmill, Acrylic on canvas, 2024, 120x100cm
Straying from my path the other night, I found myself in The Realm of the Green Hills.
Curiosity blooms like lotus flowers as I tiptoe into the unknown.
I feast on fungus, shamble through tangled moss, in search of a new romance.
Among the lush foliage, the breasts of Amazon-maidens blur my sight: trophies, brightly tattooed with their blades, shimmer with triumphant radiance.
Perching among sacred plants, a nine-tailed fox mimics my grace.
“1, 2, 3, 4, 5...” she counts and recounts her cherry sins. I blink and they turn into lotus fruits... fig-shaped fruits, enveloping radiance, marvellous. They gently tickle my pride as they cascade through the air.
A voice whispers, ‘take one.’ A serpent. Slithering down from The Wisdom Tree, hisses from the shadows and echoes in my ear, though we do not share a tongue...
On the Emerald rock, the serpent twirls and the fox swirls, round and round and round, mesmerising in their aura of orange and violet.
— Text by Silia Ka Tung
JF - Your work explores the mythic and mysterious, cosmic and concrete – what draws you to these liminal dreamscapes?
SKT - Green Rock and the Magic Mountain is part of the world I’ve been continuously creating since the beginning of my artistic journey. The title of the exhibition is inspired by the Green Hill from the “Classic of Mountains and Rivers” - 山海經, a Chinese ancient classic text and a compilation of mythic geography and beasts, and home to the nine-tailed fox.
My work is rooted in escapism, serving as a curated collection of wonders. I am captivated by the intricate marvels of nature, as well as myths and folklore from diverse cultures. I enjoy reimagining these elements through my own filters and experiences.
I've always found myself irresistibly drawn to the recreation of these seemingly invisible things, and the physicalisation of this invisible world. Green Rock and the Magic Mountain, is the essence of my private realm, a land where all things may grow and change and change again. An uncanny dreamscape, where you can observe it with fresh eyes and where our “human rules” no longer apply.
JF - While there is a fluidity and spontaneity to your painting and drawing, your three-dimensional work is layered in its sensory precision and meticulous in its research, what processes guide you through your art-making and the materials that you choose? What do you need to create?
SKT - Drawing marked the beginning of my artistic journey. It started as a subconscious act of mind-wandering out of boredom, as automatic drawings, a very instinctive approach. Over time, I incorporated more sources of interest, much like background music composed of diverse elements that juxtapose and integrate the seemingly unconnected particles of the universe. Gradually, these seemingly chaotic and fragmented parts come together, interlocking visually, much like a game of chance.
Painting serves as the coloured extension of my drawings, incorporating organic shapes in bright saturated colours, adding more playful forms and elements.
My progression from painting on the sides of canvases to painting on three-dimensional objects, and eventually creating soft sculptures, happened naturally as I felt the need to manifest my vision in multiple formats.
The soft sculptures often stem from a research-driven approach - thinking in advance, considering and planning - the size, shapes, and materials. I also collaborate with sewing professionals to develop the 3D patterns. After we develop the physical soft object, I then go back to the more instinctive approach - leaving room and freedom to decide on whether to paint or embroider it and what kind of base or plinth to fit it on.
They can stand independently or become part of larger installations, much like toys that invite interaction and belong to a broader universe. The exploration of different mediums has always felt natural to me as I seek to connect with various forms of expression.
I approach my art with a sense of adventure and discovery, consistently leading me to unexplored territories. I am open to experimenting with new formats, whether they involve traditional craftsmanship or emerging technologies. Ultimately, I consider myself a maker who derives immense joy from the process of creating art.
JF - Green Rock and the Magic Mountain is a fantastical dreamscape where the micro and macro collide into inter-dimensional portals. Do you have a dreaming practice and do your dreams inform your creative process? Would you describe a dream you’ve had that has influenced your waking life? Or, do you have a spiritual practice that aligns with or informs your work?
SKT - I haven't had a dream in decades, but I'm adept at daydreaming, where I can exert more control over the elements and content. As a naturally curious person born into a family steeped in Traditional Chinese Medicine practitioners (my father) and Buddhist monks (my grandfather), I'm very open to the seemingly abstract ideas of the spiritual world. I'm always fascinated by and continually seek knowledge in various forms of spiritual practice.
JF - Your work creates and navigates otherworldly spaces and their inhabitants. What is your relationship to the more-than-human and the invisible? Could you explain a little about the myth and folklore that inspired this exhibition, and the symbolism of the Nine-Tails Fox?
SKT - I come from a Traditional Chinese medicine household. My childhood was filled with insights into holistic healing, from herbal medicine to acupuncture, from Yin & Yang to balancing your Qi. This traces all the way to I Ching (易經) with reverence for the cosmos, nature and belief in the spirituality of all things.
For a long time, I have been fascinated by the stories of Chinese fox spirits. Beyond their fantasy elements, I see them as a narrative of the suppressed Divine Feminine.
The fox spirits are intelligent and mischievous. In Chinese culture, they symbolise fertility, peace, and prosperity. Long ago, temples dedicated to their worship were scattered across the land. The nine-tailed fox, a divine being thousands of years old, was revered as the "Queen Mother of the West," commanding respect, admiration, and a degree of fear.
However, over time, the perception of fox spirits became morally ambiguous. The demonisation began with their feminisation, followed by their eroticisation and humanisation. This eventually led to cycles of banning their cult, killing foxes, and destroying their temples.
Today, "fox spirit" is often used in a derogatory manner to describe women who are seen as attractive but disreputable. The traditional image of the fox spirit now primarily exists in the realms of fantasy, such as on screens and in artistic representations.
JF - What organic systems and languages inspire your work?
SKT - I am particularly drawn to plants that bridge the realms of nature and magic, as they connect me to my upbringing surrounded by healing herbs. Alongside the Chinese remedies I was raised with, my fascination has grown for ficus, fungi, lotus, and moss. These organisms spark my imagination and lead me to explore their intricate stories.
Beyond their ecological and healing benefits, these natural elements carry spiritual and cultural significance, filled with magic and wonder that constantly inspire me.
JF - What do you wish for people to feel from your art?
SKT - Through my art, I engage in a dialogue with various concepts and ideas, reinterpreting them and removing them from their original contexts. I aim to celebrate all forms of life and highlight the inherent "magic" that surrounds us.
I hope to inspire my audience to seek new adventures, expand their perspectives, and cultivate a deeper appreciation for the diversity in our world. I aim to offer a break from the monotony of daily life and encourage them to let their minds wander freely at times.
IMAGE CREDITS
1. Lotus Tears (embroidery) 2024, textile, metal, mirrors
2. Lotus Tears (embroidery) 2024, textile, metal, mirrors
3. M Foxy 67x33x32cm, 2023
4. Mr Reishi 2022 53x26x12cm, acrylic on canvas, fillings, wire and brick
5. String of raindrops 2024 204x40x40, Acrylic, embroidery on canvas, fillings & wire
6. Amazon's Ribbon, 25.5x14x4.5cm 2024, textile & wooden frame
7. Nepenthes, Acrylic on Canvas 114.5x80cm 2023
8.Windmill, Acrylic on canvas, 2024, 120x100cm
A multidisciplinary artist, Silia Ka Tung uses different expressive mediums, including drawing, painting, sculpture and installation, each time constructing her own language always poised between the dreamlike and the real.
WITH SILIA KA TUNG
Straying from my path the other night, I found myself in The Realm of the Green Hills.
Curiosity blooms like lotus flowers as I tiptoe into the unknown.
I feast on fungus, shamble through tangled moss, in search of a new romance.
Among the lush foliage, the breasts of Amazon-maidens blur my sight: trophies, brightly tattooed with their blades, shimmer with triumphant radiance.
Perching among sacred plants, a nine-tailed fox mimics my grace.
“1, 2, 3, 4, 5...” she counts and recounts her cherry sins. I blink and they turn into lotus fruits... fig-shaped fruits, enveloping radiance, marvellous. They gently tickle my pride as they cascade through the air.
A voice whispers, ‘take one.’ A serpent. Slithering down from The Wisdom Tree, hisses from the shadows and echoes in my ear, though we do not share a tongue...
On the Emerald rock, the serpent twirls and the fox swirls, round and round and round, mesmerising in their aura of orange and violet.
— Text by Silia Ka Tung
JF - Your work explores the mythic and mysterious, cosmic and concrete – what draws you to these liminal dreamscapes?
SKT - Green Rock and the Magic Mountain is part of the world I’ve been continuously creating since the beginning of my artistic journey. The title of the exhibition is inspired by the Green Hill from the “Classic of Mountains and Rivers” - 山海經, a Chinese ancient classic text and a compilation of mythic geography and beasts, and home to the nine-tailed fox.
My work is rooted in escapism, serving as a curated collection of wonders. I am captivated by the intricate marvels of nature, as well as myths and folklore from diverse cultures. I enjoy reimagining these elements through my own filters and experiences.
I've always found myself irresistibly drawn to the recreation of these seemingly invisible things, and the physicalisation of this invisible world. Green Rock and the Magic Mountain, is the essence of my private realm, a land where all things may grow and change and change again. An uncanny dreamscape, where you can observe it with fresh eyes and where our “human rules” no longer apply.
JF - While there is a fluidity and spontaneity to your painting and drawing, your three-dimensional work is layered in its sensory precision and meticulous in its research, what processes guide you through your art-making and the materials that you choose? What do you need to create?
SKT - Drawing marked the beginning of my artistic journey. It started as a subconscious act of mind-wandering out of boredom, as automatic drawings, a very instinctive approach. Over time, I incorporated more sources of interest, much like background music composed of diverse elements that juxtapose and integrate the seemingly unconnected particles of the universe. Gradually, these seemingly chaotic and fragmented parts come together, interlocking visually, much like a game of chance.
Painting serves as the coloured extension of my drawings, incorporating organic shapes in bright saturated colours, adding more playful forms and elements.
My progression from painting on the sides of canvases to painting on three-dimensional objects, and eventually creating soft sculptures, happened naturally as I felt the need to manifest my vision in multiple formats.
The soft sculptures often stem from a research-driven approach - thinking in advance, considering and planning - the size, shapes, and materials. I also collaborate with sewing professionals to develop the 3D patterns. After we develop the physical soft object, I then go back to the more instinctive approach - leaving room and freedom to decide on whether to paint or embroider it and what kind of base or plinth to fit it on.
They can stand independently or become part of larger installations, much like toys that invite interaction and belong to a broader universe. The exploration of different mediums has always felt natural to me as I seek to connect with various forms of expression.
I approach my art with a sense of adventure and discovery, consistently leading me to unexplored territories. I am open to experimenting with new formats, whether they involve traditional craftsmanship or emerging technologies. Ultimately, I consider myself a maker who derives immense joy from the process of creating art.
JF - Green Rock and the Magic Mountain is a fantastical dreamscape where the micro and macro collide into inter-dimensional portals. Do you have a dreaming practice and do your dreams inform your creative process? Would you describe a dream you’ve had that has influenced your waking life? Or, do you have a spiritual practice that aligns with or informs your work?
SKT - I haven't had a dream in decades, but I'm adept at daydreaming, where I can exert more control over the elements and content. As a naturally curious person born into a family steeped in Traditional Chinese Medicine practitioners (my father) and Buddhist monks (my grandfather), I'm very open to the seemingly abstract ideas of the spiritual world. I'm always fascinated by and continually seek knowledge in various forms of spiritual practice.
JF - Your work creates and navigates otherworldly spaces and their inhabitants. What is your relationship to the more-than-human and the invisible? Could you explain a little about the myth and folklore that inspired this exhibition, and the symbolism of the Nine-Tails Fox?
SKT - I come from a Traditional Chinese medicine household. My childhood was filled with insights into holistic healing, from herbal medicine to acupuncture, from Yin & Yang to balancing your Qi. This traces all the way to I Ching (易經) with reverence for the cosmos, nature and belief in the spirituality of all things.
For a long time, I have been fascinated by the stories of Chinese fox spirits. Beyond their fantasy elements, I see them as a narrative of the suppressed Divine Feminine.
The fox spirits are intelligent and mischievous. In Chinese culture, they symbolise fertility, peace, and prosperity. Long ago, temples dedicated to their worship were scattered across the land. The nine-tailed fox, a divine being thousands of years old, was revered as the "Queen Mother of the West," commanding respect, admiration, and a degree of fear.
However, over time, the perception of fox spirits became morally ambiguous. The demonisation began with their feminisation, followed by their eroticisation and humanisation. This eventually led to cycles of banning their cult, killing foxes, and destroying their temples.
Today, "fox spirit" is often used in a derogatory manner to describe women who are seen as attractive but disreputable. The traditional image of the fox spirit now primarily exists in the realms of fantasy, such as on screens and in artistic representations.
JF - What organic systems and languages inspire your work?
SKT - I am particularly drawn to plants that bridge the realms of nature and magic, as they connect me to my upbringing surrounded by healing herbs. Alongside the Chinese remedies I was raised with, my fascination has grown for ficus, fungi, lotus, and moss. These organisms spark my imagination and lead me to explore their intricate stories.
Beyond their ecological and healing benefits, these natural elements carry spiritual and cultural significance, filled with magic and wonder that constantly inspire me.
JF - What do you wish for people to feel from your art?
SKT - Through my art, I engage in a dialogue with various concepts and ideas, reinterpreting them and removing them from their original contexts. I aim to celebrate all forms of life and highlight the inherent "magic" that surrounds us.
I hope to inspire my audience to seek new adventures, expand their perspectives, and cultivate a deeper appreciation for the diversity in our world. I aim to offer a break from the monotony of daily life and encourage them to let their minds wander freely at times.
IMAGE CREDITS
1. Lotus Tears (embroidery) 2024, textile, metal, mirrors
2. Lotus Tears (embroidery) 2024, textile, metal, mirrors
3. M Foxy 67x33x32cm, 2023
4. Mr Reishi 2022 53x26x12cm, acrylic on canvas, fillings, wire and brick
5. String of raindrops 2024 204x40x40, Acrylic, embroidery on canvas, fillings & wire
6. Amazon's Ribbon, 25.5x14x4.5cm 2024, textile & wooden frame
7. Nepenthes, Acrylic on Canvas 114.5x80cm 2023
8.Windmill, Acrylic on canvas, 2024, 120x100cm
Straying from my path the other night, I found myself in The Realm of the Green Hills.
Curiosity blooms like lotus flowers as I tiptoe into the unknown.
I feast on fungus, shamble through tangled moss, in search of a new romance.
Among the lush foliage, the breasts of Amazon-maidens blur my sight: trophies, brightly tattooed with their blades, shimmer with triumphant radiance.
Perching among sacred plants, a nine-tailed fox mimics my grace.
“1, 2, 3, 4, 5...” she counts and recounts her cherry sins. I blink and they turn into lotus fruits... fig-shaped fruits, enveloping radiance, marvellous. They gently tickle my pride as they cascade through the air.
A voice whispers, ‘take one.’ A serpent. Slithering down from The Wisdom Tree, hisses from the shadows and echoes in my ear, though we do not share a tongue...
On the Emerald rock, the serpent twirls and the fox swirls, round and round and round, mesmerising in their aura of orange and violet.
— Text by Silia Ka Tung
JF - Your work explores the mythic and mysterious, cosmic and concrete – what draws you to these liminal dreamscapes?
SKT - Green Rock and the Magic Mountain is part of the world I’ve been continuously creating since the beginning of my artistic journey. The title of the exhibition is inspired by the Green Hill from the “Classic of Mountains and Rivers” - 山海經, a Chinese ancient classic text and a compilation of mythic geography and beasts, and home to the nine-tailed fox.
My work is rooted in escapism, serving as a curated collection of wonders. I am captivated by the intricate marvels of nature, as well as myths and folklore from diverse cultures. I enjoy reimagining these elements through my own filters and experiences.
I've always found myself irresistibly drawn to the recreation of these seemingly invisible things, and the physicalisation of this invisible world. Green Rock and the Magic Mountain, is the essence of my private realm, a land where all things may grow and change and change again. An uncanny dreamscape, where you can observe it with fresh eyes and where our “human rules” no longer apply.
JF - While there is a fluidity and spontaneity to your painting and drawing, your three-dimensional work is layered in its sensory precision and meticulous in its research, what processes guide you through your art-making and the materials that you choose? What do you need to create?
SKT - Drawing marked the beginning of my artistic journey. It started as a subconscious act of mind-wandering out of boredom, as automatic drawings, a very instinctive approach. Over time, I incorporated more sources of interest, much like background music composed of diverse elements that juxtapose and integrate the seemingly unconnected particles of the universe. Gradually, these seemingly chaotic and fragmented parts come together, interlocking visually, much like a game of chance.
Painting serves as the coloured extension of my drawings, incorporating organic shapes in bright saturated colours, adding more playful forms and elements.
My progression from painting on the sides of canvases to painting on three-dimensional objects, and eventually creating soft sculptures, happened naturally as I felt the need to manifest my vision in multiple formats.
The soft sculptures often stem from a research-driven approach - thinking in advance, considering and planning - the size, shapes, and materials. I also collaborate with sewing professionals to develop the 3D patterns. After we develop the physical soft object, I then go back to the more instinctive approach - leaving room and freedom to decide on whether to paint or embroider it and what kind of base or plinth to fit it on.
They can stand independently or become part of larger installations, much like toys that invite interaction and belong to a broader universe. The exploration of different mediums has always felt natural to me as I seek to connect with various forms of expression.
I approach my art with a sense of adventure and discovery, consistently leading me to unexplored territories. I am open to experimenting with new formats, whether they involve traditional craftsmanship or emerging technologies. Ultimately, I consider myself a maker who derives immense joy from the process of creating art.
JF - Green Rock and the Magic Mountain is a fantastical dreamscape where the micro and macro collide into inter-dimensional portals. Do you have a dreaming practice and do your dreams inform your creative process? Would you describe a dream you’ve had that has influenced your waking life? Or, do you have a spiritual practice that aligns with or informs your work?
SKT - I haven't had a dream in decades, but I'm adept at daydreaming, where I can exert more control over the elements and content. As a naturally curious person born into a family steeped in Traditional Chinese Medicine practitioners (my father) and Buddhist monks (my grandfather), I'm very open to the seemingly abstract ideas of the spiritual world. I'm always fascinated by and continually seek knowledge in various forms of spiritual practice.
JF - Your work creates and navigates otherworldly spaces and their inhabitants. What is your relationship to the more-than-human and the invisible? Could you explain a little about the myth and folklore that inspired this exhibition, and the symbolism of the Nine-Tails Fox?
SKT - I come from a Traditional Chinese medicine household. My childhood was filled with insights into holistic healing, from herbal medicine to acupuncture, from Yin & Yang to balancing your Qi. This traces all the way to I Ching (易經) with reverence for the cosmos, nature and belief in the spirituality of all things.
For a long time, I have been fascinated by the stories of Chinese fox spirits. Beyond their fantasy elements, I see them as a narrative of the suppressed Divine Feminine.
The fox spirits are intelligent and mischievous. In Chinese culture, they symbolise fertility, peace, and prosperity. Long ago, temples dedicated to their worship were scattered across the land. The nine-tailed fox, a divine being thousands of years old, was revered as the "Queen Mother of the West," commanding respect, admiration, and a degree of fear.
However, over time, the perception of fox spirits became morally ambiguous. The demonisation began with their feminisation, followed by their eroticisation and humanisation. This eventually led to cycles of banning their cult, killing foxes, and destroying their temples.
Today, "fox spirit" is often used in a derogatory manner to describe women who are seen as attractive but disreputable. The traditional image of the fox spirit now primarily exists in the realms of fantasy, such as on screens and in artistic representations.
JF - What organic systems and languages inspire your work?
SKT - I am particularly drawn to plants that bridge the realms of nature and magic, as they connect me to my upbringing surrounded by healing herbs. Alongside the Chinese remedies I was raised with, my fascination has grown for ficus, fungi, lotus, and moss. These organisms spark my imagination and lead me to explore their intricate stories.
Beyond their ecological and healing benefits, these natural elements carry spiritual and cultural significance, filled with magic and wonder that constantly inspire me.
JF - What do you wish for people to feel from your art?
SKT - Through my art, I engage in a dialogue with various concepts and ideas, reinterpreting them and removing them from their original contexts. I aim to celebrate all forms of life and highlight the inherent "magic" that surrounds us.
I hope to inspire my audience to seek new adventures, expand their perspectives, and cultivate a deeper appreciation for the diversity in our world. I aim to offer a break from the monotony of daily life and encourage them to let their minds wander freely at times.
IMAGE CREDITS
1. Lotus Tears (embroidery) 2024, textile, metal, mirrors
2. Lotus Tears (embroidery) 2024, textile, metal, mirrors
3. M Foxy 67x33x32cm, 2023
4. Mr Reishi 2022 53x26x12cm, acrylic on canvas, fillings, wire and brick
5. String of raindrops 2024 204x40x40, Acrylic, embroidery on canvas, fillings & wire
6. Amazon's Ribbon, 25.5x14x4.5cm 2024, textile & wooden frame
7. Nepenthes, Acrylic on Canvas 114.5x80cm 2023
8.Windmill, Acrylic on canvas, 2024, 120x100cm
A multidisciplinary artist, Silia Ka Tung uses different expressive mediums, including drawing, painting, sculpture and installation, each time constructing her own language always poised between the dreamlike and the real.
WITH SILIA KA TUNG
Straying from my path the other night, I found myself in The Realm of the Green Hills.
Curiosity blooms like lotus flowers as I tiptoe into the unknown.
I feast on fungus, shamble through tangled moss, in search of a new romance.
Among the lush foliage, the breasts of Amazon-maidens blur my sight: trophies, brightly tattooed with their blades, shimmer with triumphant radiance.
Perching among sacred plants, a nine-tailed fox mimics my grace.
“1, 2, 3, 4, 5...” she counts and recounts her cherry sins. I blink and they turn into lotus fruits... fig-shaped fruits, enveloping radiance, marvellous. They gently tickle my pride as they cascade through the air.
A voice whispers, ‘take one.’ A serpent. Slithering down from The Wisdom Tree, hisses from the shadows and echoes in my ear, though we do not share a tongue...
On the Emerald rock, the serpent twirls and the fox swirls, round and round and round, mesmerising in their aura of orange and violet.
— Text by Silia Ka Tung
JF - Your work explores the mythic and mysterious, cosmic and concrete – what draws you to these liminal dreamscapes?
SKT - Green Rock and the Magic Mountain is part of the world I’ve been continuously creating since the beginning of my artistic journey. The title of the exhibition is inspired by the Green Hill from the “Classic of Mountains and Rivers” - 山海經, a Chinese ancient classic text and a compilation of mythic geography and beasts, and home to the nine-tailed fox.
My work is rooted in escapism, serving as a curated collection of wonders. I am captivated by the intricate marvels of nature, as well as myths and folklore from diverse cultures. I enjoy reimagining these elements through my own filters and experiences.
I've always found myself irresistibly drawn to the recreation of these seemingly invisible things, and the physicalisation of this invisible world. Green Rock and the Magic Mountain, is the essence of my private realm, a land where all things may grow and change and change again. An uncanny dreamscape, where you can observe it with fresh eyes and where our “human rules” no longer apply.
JF - While there is a fluidity and spontaneity to your painting and drawing, your three-dimensional work is layered in its sensory precision and meticulous in its research, what processes guide you through your art-making and the materials that you choose? What do you need to create?
SKT - Drawing marked the beginning of my artistic journey. It started as a subconscious act of mind-wandering out of boredom, as automatic drawings, a very instinctive approach. Over time, I incorporated more sources of interest, much like background music composed of diverse elements that juxtapose and integrate the seemingly unconnected particles of the universe. Gradually, these seemingly chaotic and fragmented parts come together, interlocking visually, much like a game of chance.
Painting serves as the coloured extension of my drawings, incorporating organic shapes in bright saturated colours, adding more playful forms and elements.
My progression from painting on the sides of canvases to painting on three-dimensional objects, and eventually creating soft sculptures, happened naturally as I felt the need to manifest my vision in multiple formats.
The soft sculptures often stem from a research-driven approach - thinking in advance, considering and planning - the size, shapes, and materials. I also collaborate with sewing professionals to develop the 3D patterns. After we develop the physical soft object, I then go back to the more instinctive approach - leaving room and freedom to decide on whether to paint or embroider it and what kind of base or plinth to fit it on.
They can stand independently or become part of larger installations, much like toys that invite interaction and belong to a broader universe. The exploration of different mediums has always felt natural to me as I seek to connect with various forms of expression.
I approach my art with a sense of adventure and discovery, consistently leading me to unexplored territories. I am open to experimenting with new formats, whether they involve traditional craftsmanship or emerging technologies. Ultimately, I consider myself a maker who derives immense joy from the process of creating art.
JF - Green Rock and the Magic Mountain is a fantastical dreamscape where the micro and macro collide into inter-dimensional portals. Do you have a dreaming practice and do your dreams inform your creative process? Would you describe a dream you’ve had that has influenced your waking life? Or, do you have a spiritual practice that aligns with or informs your work?
SKT - I haven't had a dream in decades, but I'm adept at daydreaming, where I can exert more control over the elements and content. As a naturally curious person born into a family steeped in Traditional Chinese Medicine practitioners (my father) and Buddhist monks (my grandfather), I'm very open to the seemingly abstract ideas of the spiritual world. I'm always fascinated by and continually seek knowledge in various forms of spiritual practice.
JF - Your work creates and navigates otherworldly spaces and their inhabitants. What is your relationship to the more-than-human and the invisible? Could you explain a little about the myth and folklore that inspired this exhibition, and the symbolism of the Nine-Tails Fox?
SKT - I come from a Traditional Chinese medicine household. My childhood was filled with insights into holistic healing, from herbal medicine to acupuncture, from Yin & Yang to balancing your Qi. This traces all the way to I Ching (易經) with reverence for the cosmos, nature and belief in the spirituality of all things.
For a long time, I have been fascinated by the stories of Chinese fox spirits. Beyond their fantasy elements, I see them as a narrative of the suppressed Divine Feminine.
The fox spirits are intelligent and mischievous. In Chinese culture, they symbolise fertility, peace, and prosperity. Long ago, temples dedicated to their worship were scattered across the land. The nine-tailed fox, a divine being thousands of years old, was revered as the "Queen Mother of the West," commanding respect, admiration, and a degree of fear.
However, over time, the perception of fox spirits became morally ambiguous. The demonisation began with their feminisation, followed by their eroticisation and humanisation. This eventually led to cycles of banning their cult, killing foxes, and destroying their temples.
Today, "fox spirit" is often used in a derogatory manner to describe women who are seen as attractive but disreputable. The traditional image of the fox spirit now primarily exists in the realms of fantasy, such as on screens and in artistic representations.
JF - What organic systems and languages inspire your work?
SKT - I am particularly drawn to plants that bridge the realms of nature and magic, as they connect me to my upbringing surrounded by healing herbs. Alongside the Chinese remedies I was raised with, my fascination has grown for ficus, fungi, lotus, and moss. These organisms spark my imagination and lead me to explore their intricate stories.
Beyond their ecological and healing benefits, these natural elements carry spiritual and cultural significance, filled with magic and wonder that constantly inspire me.
JF - What do you wish for people to feel from your art?
SKT - Through my art, I engage in a dialogue with various concepts and ideas, reinterpreting them and removing them from their original contexts. I aim to celebrate all forms of life and highlight the inherent "magic" that surrounds us.
I hope to inspire my audience to seek new adventures, expand their perspectives, and cultivate a deeper appreciation for the diversity in our world. I aim to offer a break from the monotony of daily life and encourage them to let their minds wander freely at times.
IMAGE CREDITS
1. Lotus Tears (embroidery) 2024, textile, metal, mirrors
2. Lotus Tears (embroidery) 2024, textile, metal, mirrors
3. M Foxy 67x33x32cm, 2023
4. Mr Reishi 2022 53x26x12cm, acrylic on canvas, fillings, wire and brick
5. String of raindrops 2024 204x40x40, Acrylic, embroidery on canvas, fillings & wire
6. Amazon's Ribbon, 25.5x14x4.5cm 2024, textile & wooden frame
7. Nepenthes, Acrylic on Canvas 114.5x80cm 2023
8.Windmill, Acrylic on canvas, 2024, 120x100cm
Straying from my path the other night, I found myself in The Realm of the Green Hills.
Curiosity blooms like lotus flowers as I tiptoe into the unknown.
I feast on fungus, shamble through tangled moss, in search of a new romance.
Among the lush foliage, the breasts of Amazon-maidens blur my sight: trophies, brightly tattooed with their blades, shimmer with triumphant radiance.
Perching among sacred plants, a nine-tailed fox mimics my grace.
“1, 2, 3, 4, 5...” she counts and recounts her cherry sins. I blink and they turn into lotus fruits... fig-shaped fruits, enveloping radiance, marvellous. They gently tickle my pride as they cascade through the air.
A voice whispers, ‘take one.’ A serpent. Slithering down from The Wisdom Tree, hisses from the shadows and echoes in my ear, though we do not share a tongue...
On the Emerald rock, the serpent twirls and the fox swirls, round and round and round, mesmerising in their aura of orange and violet.
— Text by Silia Ka Tung
JF - Your work explores the mythic and mysterious, cosmic and concrete – what draws you to these liminal dreamscapes?
SKT - Green Rock and the Magic Mountain is part of the world I’ve been continuously creating since the beginning of my artistic journey. The title of the exhibition is inspired by the Green Hill from the “Classic of Mountains and Rivers” - 山海經, a Chinese ancient classic text and a compilation of mythic geography and beasts, and home to the nine-tailed fox.
My work is rooted in escapism, serving as a curated collection of wonders. I am captivated by the intricate marvels of nature, as well as myths and folklore from diverse cultures. I enjoy reimagining these elements through my own filters and experiences.
I've always found myself irresistibly drawn to the recreation of these seemingly invisible things, and the physicalisation of this invisible world. Green Rock and the Magic Mountain, is the essence of my private realm, a land where all things may grow and change and change again. An uncanny dreamscape, where you can observe it with fresh eyes and where our “human rules” no longer apply.
JF - While there is a fluidity and spontaneity to your painting and drawing, your three-dimensional work is layered in its sensory precision and meticulous in its research, what processes guide you through your art-making and the materials that you choose? What do you need to create?
SKT - Drawing marked the beginning of my artistic journey. It started as a subconscious act of mind-wandering out of boredom, as automatic drawings, a very instinctive approach. Over time, I incorporated more sources of interest, much like background music composed of diverse elements that juxtapose and integrate the seemingly unconnected particles of the universe. Gradually, these seemingly chaotic and fragmented parts come together, interlocking visually, much like a game of chance.
Painting serves as the coloured extension of my drawings, incorporating organic shapes in bright saturated colours, adding more playful forms and elements.
My progression from painting on the sides of canvases to painting on three-dimensional objects, and eventually creating soft sculptures, happened naturally as I felt the need to manifest my vision in multiple formats.
The soft sculptures often stem from a research-driven approach - thinking in advance, considering and planning - the size, shapes, and materials. I also collaborate with sewing professionals to develop the 3D patterns. After we develop the physical soft object, I then go back to the more instinctive approach - leaving room and freedom to decide on whether to paint or embroider it and what kind of base or plinth to fit it on.
They can stand independently or become part of larger installations, much like toys that invite interaction and belong to a broader universe. The exploration of different mediums has always felt natural to me as I seek to connect with various forms of expression.
I approach my art with a sense of adventure and discovery, consistently leading me to unexplored territories. I am open to experimenting with new formats, whether they involve traditional craftsmanship or emerging technologies. Ultimately, I consider myself a maker who derives immense joy from the process of creating art.
JF - Green Rock and the Magic Mountain is a fantastical dreamscape where the micro and macro collide into inter-dimensional portals. Do you have a dreaming practice and do your dreams inform your creative process? Would you describe a dream you’ve had that has influenced your waking life? Or, do you have a spiritual practice that aligns with or informs your work?
SKT - I haven't had a dream in decades, but I'm adept at daydreaming, where I can exert more control over the elements and content. As a naturally curious person born into a family steeped in Traditional Chinese Medicine practitioners (my father) and Buddhist monks (my grandfather), I'm very open to the seemingly abstract ideas of the spiritual world. I'm always fascinated by and continually seek knowledge in various forms of spiritual practice.
JF - Your work creates and navigates otherworldly spaces and their inhabitants. What is your relationship to the more-than-human and the invisible? Could you explain a little about the myth and folklore that inspired this exhibition, and the symbolism of the Nine-Tails Fox?
SKT - I come from a Traditional Chinese medicine household. My childhood was filled with insights into holistic healing, from herbal medicine to acupuncture, from Yin & Yang to balancing your Qi. This traces all the way to I Ching (易經) with reverence for the cosmos, nature and belief in the spirituality of all things.
For a long time, I have been fascinated by the stories of Chinese fox spirits. Beyond their fantasy elements, I see them as a narrative of the suppressed Divine Feminine.
The fox spirits are intelligent and mischievous. In Chinese culture, they symbolise fertility, peace, and prosperity. Long ago, temples dedicated to their worship were scattered across the land. The nine-tailed fox, a divine being thousands of years old, was revered as the "Queen Mother of the West," commanding respect, admiration, and a degree of fear.
However, over time, the perception of fox spirits became morally ambiguous. The demonisation began with their feminisation, followed by their eroticisation and humanisation. This eventually led to cycles of banning their cult, killing foxes, and destroying their temples.
Today, "fox spirit" is often used in a derogatory manner to describe women who are seen as attractive but disreputable. The traditional image of the fox spirit now primarily exists in the realms of fantasy, such as on screens and in artistic representations.
JF - What organic systems and languages inspire your work?
SKT - I am particularly drawn to plants that bridge the realms of nature and magic, as they connect me to my upbringing surrounded by healing herbs. Alongside the Chinese remedies I was raised with, my fascination has grown for ficus, fungi, lotus, and moss. These organisms spark my imagination and lead me to explore their intricate stories.
Beyond their ecological and healing benefits, these natural elements carry spiritual and cultural significance, filled with magic and wonder that constantly inspire me.
JF - What do you wish for people to feel from your art?
SKT - Through my art, I engage in a dialogue with various concepts and ideas, reinterpreting them and removing them from their original contexts. I aim to celebrate all forms of life and highlight the inherent "magic" that surrounds us.
I hope to inspire my audience to seek new adventures, expand their perspectives, and cultivate a deeper appreciation for the diversity in our world. I aim to offer a break from the monotony of daily life and encourage them to let their minds wander freely at times.
IMAGE CREDITS
1. Lotus Tears (embroidery) 2024, textile, metal, mirrors
2. Lotus Tears (embroidery) 2024, textile, metal, mirrors
3. M Foxy 67x33x32cm, 2023
4. Mr Reishi 2022 53x26x12cm, acrylic on canvas, fillings, wire and brick
5. String of raindrops 2024 204x40x40, Acrylic, embroidery on canvas, fillings & wire
6. Amazon's Ribbon, 25.5x14x4.5cm 2024, textile & wooden frame
7. Nepenthes, Acrylic on Canvas 114.5x80cm 2023
8.Windmill, Acrylic on canvas, 2024, 120x100cm
A multidisciplinary artist, Silia Ka Tung uses different expressive mediums, including drawing, painting, sculpture and installation, each time constructing her own language always poised between the dreamlike and the real.
WITH SILIA KA TUNG
Straying from my path the other night, I found myself in The Realm of the Green Hills.
Curiosity blooms like lotus flowers as I tiptoe into the unknown.
I feast on fungus, shamble through tangled moss, in search of a new romance.
Among the lush foliage, the breasts of Amazon-maidens blur my sight: trophies, brightly tattooed with their blades, shimmer with triumphant radiance.
Perching among sacred plants, a nine-tailed fox mimics my grace.
“1, 2, 3, 4, 5...” she counts and recounts her cherry sins. I blink and they turn into lotus fruits... fig-shaped fruits, enveloping radiance, marvellous. They gently tickle my pride as they cascade through the air.
A voice whispers, ‘take one.’ A serpent. Slithering down from The Wisdom Tree, hisses from the shadows and echoes in my ear, though we do not share a tongue...
On the Emerald rock, the serpent twirls and the fox swirls, round and round and round, mesmerising in their aura of orange and violet.
— Text by Silia Ka Tung
JF - Your work explores the mythic and mysterious, cosmic and concrete – what draws you to these liminal dreamscapes?
SKT - Green Rock and the Magic Mountain is part of the world I’ve been continuously creating since the beginning of my artistic journey. The title of the exhibition is inspired by the Green Hill from the “Classic of Mountains and Rivers” - 山海經, a Chinese ancient classic text and a compilation of mythic geography and beasts, and home to the nine-tailed fox.
My work is rooted in escapism, serving as a curated collection of wonders. I am captivated by the intricate marvels of nature, as well as myths and folklore from diverse cultures. I enjoy reimagining these elements through my own filters and experiences.
I've always found myself irresistibly drawn to the recreation of these seemingly invisible things, and the physicalisation of this invisible world. Green Rock and the Magic Mountain, is the essence of my private realm, a land where all things may grow and change and change again. An uncanny dreamscape, where you can observe it with fresh eyes and where our “human rules” no longer apply.
JF - While there is a fluidity and spontaneity to your painting and drawing, your three-dimensional work is layered in its sensory precision and meticulous in its research, what processes guide you through your art-making and the materials that you choose? What do you need to create?
SKT - Drawing marked the beginning of my artistic journey. It started as a subconscious act of mind-wandering out of boredom, as automatic drawings, a very instinctive approach. Over time, I incorporated more sources of interest, much like background music composed of diverse elements that juxtapose and integrate the seemingly unconnected particles of the universe. Gradually, these seemingly chaotic and fragmented parts come together, interlocking visually, much like a game of chance.
Painting serves as the coloured extension of my drawings, incorporating organic shapes in bright saturated colours, adding more playful forms and elements.
My progression from painting on the sides of canvases to painting on three-dimensional objects, and eventually creating soft sculptures, happened naturally as I felt the need to manifest my vision in multiple formats.
The soft sculptures often stem from a research-driven approach - thinking in advance, considering and planning - the size, shapes, and materials. I also collaborate with sewing professionals to develop the 3D patterns. After we develop the physical soft object, I then go back to the more instinctive approach - leaving room and freedom to decide on whether to paint or embroider it and what kind of base or plinth to fit it on.
They can stand independently or become part of larger installations, much like toys that invite interaction and belong to a broader universe. The exploration of different mediums has always felt natural to me as I seek to connect with various forms of expression.
I approach my art with a sense of adventure and discovery, consistently leading me to unexplored territories. I am open to experimenting with new formats, whether they involve traditional craftsmanship or emerging technologies. Ultimately, I consider myself a maker who derives immense joy from the process of creating art.
JF - Green Rock and the Magic Mountain is a fantastical dreamscape where the micro and macro collide into inter-dimensional portals. Do you have a dreaming practice and do your dreams inform your creative process? Would you describe a dream you’ve had that has influenced your waking life? Or, do you have a spiritual practice that aligns with or informs your work?
SKT - I haven't had a dream in decades, but I'm adept at daydreaming, where I can exert more control over the elements and content. As a naturally curious person born into a family steeped in Traditional Chinese Medicine practitioners (my father) and Buddhist monks (my grandfather), I'm very open to the seemingly abstract ideas of the spiritual world. I'm always fascinated by and continually seek knowledge in various forms of spiritual practice.
JF - Your work creates and navigates otherworldly spaces and their inhabitants. What is your relationship to the more-than-human and the invisible? Could you explain a little about the myth and folklore that inspired this exhibition, and the symbolism of the Nine-Tails Fox?
SKT - I come from a Traditional Chinese medicine household. My childhood was filled with insights into holistic healing, from herbal medicine to acupuncture, from Yin & Yang to balancing your Qi. This traces all the way to I Ching (易經) with reverence for the cosmos, nature and belief in the spirituality of all things.
For a long time, I have been fascinated by the stories of Chinese fox spirits. Beyond their fantasy elements, I see them as a narrative of the suppressed Divine Feminine.
The fox spirits are intelligent and mischievous. In Chinese culture, they symbolise fertility, peace, and prosperity. Long ago, temples dedicated to their worship were scattered across the land. The nine-tailed fox, a divine being thousands of years old, was revered as the "Queen Mother of the West," commanding respect, admiration, and a degree of fear.
However, over time, the perception of fox spirits became morally ambiguous. The demonisation began with their feminisation, followed by their eroticisation and humanisation. This eventually led to cycles of banning their cult, killing foxes, and destroying their temples.
Today, "fox spirit" is often used in a derogatory manner to describe women who are seen as attractive but disreputable. The traditional image of the fox spirit now primarily exists in the realms of fantasy, such as on screens and in artistic representations.
JF - What organic systems and languages inspire your work?
SKT - I am particularly drawn to plants that bridge the realms of nature and magic, as they connect me to my upbringing surrounded by healing herbs. Alongside the Chinese remedies I was raised with, my fascination has grown for ficus, fungi, lotus, and moss. These organisms spark my imagination and lead me to explore their intricate stories.
Beyond their ecological and healing benefits, these natural elements carry spiritual and cultural significance, filled with magic and wonder that constantly inspire me.
JF - What do you wish for people to feel from your art?
SKT - Through my art, I engage in a dialogue with various concepts and ideas, reinterpreting them and removing them from their original contexts. I aim to celebrate all forms of life and highlight the inherent "magic" that surrounds us.
I hope to inspire my audience to seek new adventures, expand their perspectives, and cultivate a deeper appreciation for the diversity in our world. I aim to offer a break from the monotony of daily life and encourage them to let their minds wander freely at times.
IMAGE CREDITS
1. Lotus Tears (embroidery) 2024, textile, metal, mirrors
2. Lotus Tears (embroidery) 2024, textile, metal, mirrors
3. M Foxy 67x33x32cm, 2023
4. Mr Reishi 2022 53x26x12cm, acrylic on canvas, fillings, wire and brick
5. String of raindrops 2024 204x40x40, Acrylic, embroidery on canvas, fillings & wire
6. Amazon's Ribbon, 25.5x14x4.5cm 2024, textile & wooden frame
7. Nepenthes, Acrylic on Canvas 114.5x80cm 2023
8.Windmill, Acrylic on canvas, 2024, 120x100cm
Straying from my path the other night, I found myself in The Realm of the Green Hills.
Curiosity blooms like lotus flowers as I tiptoe into the unknown.
I feast on fungus, shamble through tangled moss, in search of a new romance.
Among the lush foliage, the breasts of Amazon-maidens blur my sight: trophies, brightly tattooed with their blades, shimmer with triumphant radiance.
Perching among sacred plants, a nine-tailed fox mimics my grace.
“1, 2, 3, 4, 5...” she counts and recounts her cherry sins. I blink and they turn into lotus fruits... fig-shaped fruits, enveloping radiance, marvellous. They gently tickle my pride as they cascade through the air.
A voice whispers, ‘take one.’ A serpent. Slithering down from The Wisdom Tree, hisses from the shadows and echoes in my ear, though we do not share a tongue...
On the Emerald rock, the serpent twirls and the fox swirls, round and round and round, mesmerising in their aura of orange and violet.
— Text by Silia Ka Tung
JF - Your work explores the mythic and mysterious, cosmic and concrete – what draws you to these liminal dreamscapes?
SKT - Green Rock and the Magic Mountain is part of the world I’ve been continuously creating since the beginning of my artistic journey. The title of the exhibition is inspired by the Green Hill from the “Classic of Mountains and Rivers” - 山海經, a Chinese ancient classic text and a compilation of mythic geography and beasts, and home to the nine-tailed fox.
My work is rooted in escapism, serving as a curated collection of wonders. I am captivated by the intricate marvels of nature, as well as myths and folklore from diverse cultures. I enjoy reimagining these elements through my own filters and experiences.
I've always found myself irresistibly drawn to the recreation of these seemingly invisible things, and the physicalisation of this invisible world. Green Rock and the Magic Mountain, is the essence of my private realm, a land where all things may grow and change and change again. An uncanny dreamscape, where you can observe it with fresh eyes and where our “human rules” no longer apply.
JF - While there is a fluidity and spontaneity to your painting and drawing, your three-dimensional work is layered in its sensory precision and meticulous in its research, what processes guide you through your art-making and the materials that you choose? What do you need to create?
SKT - Drawing marked the beginning of my artistic journey. It started as a subconscious act of mind-wandering out of boredom, as automatic drawings, a very instinctive approach. Over time, I incorporated more sources of interest, much like background music composed of diverse elements that juxtapose and integrate the seemingly unconnected particles of the universe. Gradually, these seemingly chaotic and fragmented parts come together, interlocking visually, much like a game of chance.
Painting serves as the coloured extension of my drawings, incorporating organic shapes in bright saturated colours, adding more playful forms and elements.
My progression from painting on the sides of canvases to painting on three-dimensional objects, and eventually creating soft sculptures, happened naturally as I felt the need to manifest my vision in multiple formats.
The soft sculptures often stem from a research-driven approach - thinking in advance, considering and planning - the size, shapes, and materials. I also collaborate with sewing professionals to develop the 3D patterns. After we develop the physical soft object, I then go back to the more instinctive approach - leaving room and freedom to decide on whether to paint or embroider it and what kind of base or plinth to fit it on.
They can stand independently or become part of larger installations, much like toys that invite interaction and belong to a broader universe. The exploration of different mediums has always felt natural to me as I seek to connect with various forms of expression.
I approach my art with a sense of adventure and discovery, consistently leading me to unexplored territories. I am open to experimenting with new formats, whether they involve traditional craftsmanship or emerging technologies. Ultimately, I consider myself a maker who derives immense joy from the process of creating art.
JF - Green Rock and the Magic Mountain is a fantastical dreamscape where the micro and macro collide into inter-dimensional portals. Do you have a dreaming practice and do your dreams inform your creative process? Would you describe a dream you’ve had that has influenced your waking life? Or, do you have a spiritual practice that aligns with or informs your work?
SKT - I haven't had a dream in decades, but I'm adept at daydreaming, where I can exert more control over the elements and content. As a naturally curious person born into a family steeped in Traditional Chinese Medicine practitioners (my father) and Buddhist monks (my grandfather), I'm very open to the seemingly abstract ideas of the spiritual world. I'm always fascinated by and continually seek knowledge in various forms of spiritual practice.
JF - Your work creates and navigates otherworldly spaces and their inhabitants. What is your relationship to the more-than-human and the invisible? Could you explain a little about the myth and folklore that inspired this exhibition, and the symbolism of the Nine-Tails Fox?
SKT - I come from a Traditional Chinese medicine household. My childhood was filled with insights into holistic healing, from herbal medicine to acupuncture, from Yin & Yang to balancing your Qi. This traces all the way to I Ching (易經) with reverence for the cosmos, nature and belief in the spirituality of all things.
For a long time, I have been fascinated by the stories of Chinese fox spirits. Beyond their fantasy elements, I see them as a narrative of the suppressed Divine Feminine.
The fox spirits are intelligent and mischievous. In Chinese culture, they symbolise fertility, peace, and prosperity. Long ago, temples dedicated to their worship were scattered across the land. The nine-tailed fox, a divine being thousands of years old, was revered as the "Queen Mother of the West," commanding respect, admiration, and a degree of fear.
However, over time, the perception of fox spirits became morally ambiguous. The demonisation began with their feminisation, followed by their eroticisation and humanisation. This eventually led to cycles of banning their cult, killing foxes, and destroying their temples.
Today, "fox spirit" is often used in a derogatory manner to describe women who are seen as attractive but disreputable. The traditional image of the fox spirit now primarily exists in the realms of fantasy, such as on screens and in artistic representations.
JF - What organic systems and languages inspire your work?
SKT - I am particularly drawn to plants that bridge the realms of nature and magic, as they connect me to my upbringing surrounded by healing herbs. Alongside the Chinese remedies I was raised with, my fascination has grown for ficus, fungi, lotus, and moss. These organisms spark my imagination and lead me to explore their intricate stories.
Beyond their ecological and healing benefits, these natural elements carry spiritual and cultural significance, filled with magic and wonder that constantly inspire me.
JF - What do you wish for people to feel from your art?
SKT - Through my art, I engage in a dialogue with various concepts and ideas, reinterpreting them and removing them from their original contexts. I aim to celebrate all forms of life and highlight the inherent "magic" that surrounds us.
I hope to inspire my audience to seek new adventures, expand their perspectives, and cultivate a deeper appreciation for the diversity in our world. I aim to offer a break from the monotony of daily life and encourage them to let their minds wander freely at times.
IMAGE CREDITS
1. Lotus Tears (embroidery) 2024, textile, metal, mirrors
2. Lotus Tears (embroidery) 2024, textile, metal, mirrors
3. M Foxy 67x33x32cm, 2023
4. Mr Reishi 2022 53x26x12cm, acrylic on canvas, fillings, wire and brick
5. String of raindrops 2024 204x40x40, Acrylic, embroidery on canvas, fillings & wire
6. Amazon's Ribbon, 25.5x14x4.5cm 2024, textile & wooden frame
7. Nepenthes, Acrylic on Canvas 114.5x80cm 2023
8.Windmill, Acrylic on canvas, 2024, 120x100cm
A multidisciplinary artist, Silia Ka Tung uses different expressive mediums, including drawing, painting, sculpture and installation, each time constructing her own language always poised between the dreamlike and the real.