A Glimpse Across The Fleeting Light
Julieanne Ng
11 January - 09 February 2025
Curated by
11 January - 09 February 2025

How Many Times Aroundthe Sun Must We
I.
Human life is all aboutcycles. Repetition, over and over, things happen. History repeats itself,mistakes we make, decisions, people, food we eat. All of it is on loop, but itis also on borrowed time. As gases burn, stars die and are reborn, we all end inone way or another.
Is humankind doomed? Asof October 2024, 5.22 billion people are social media users. That’s 63.8% ofthe global population trapped in a cycle of doom scrolling. In the digital era,it goes both ways. What we see imprints on us, and we over the decades havebuilt algorithms based on quasi-perpetual cycles of uploading, downloading,reuploading 360-degree views of our lives.
A candle once lit is acandle with the end in sight. While its flame extends to other purposes, say,lighting incense, the wick is eventually burnt to nothingness, and the waxdrips down the sides, as if tears that had borne witness to a fleetingexistence.
II.
What exactly isimprinting? As old as its Latin origin, (imprimere), it is to “press into” — toleave a mark. One can say that such is the role of an artist — the skilled one,that is — mark making. Applying pressure is the final act in printmaking thatproduces the image.
What then is the image?Perhaps fossils along the stretch of a white cliff that was once in the deepocean; or tree bark, undulating and repeating, lines and rings. A certain levelof decoding is necessary, for the image — mechanical as it appears — is asorganic and random as can be. Like the bas-reliefs lining the walls of ancient temples,history is documented as a muted landscape. In the Age of Aquarius, weendlessly scroll through our histories as it unfolds.
Wego back to the candle, or what’s left of it. Along the way, the artistintervened and documented the candle’s torment and existence.
III.
Asthe (doom) scrolling image is one that repeated (as well as the planet-passingspheres), perhaps we can turn to what Spanish writer and essayist EnriqueVila-Matas mused in his foray into “Insistence as Fine Art.” Here he quotes Kierkegaardwho himself claimed that “repetition and memory are the same movement inopposite directions,” and that because “repetition is remembered movingforward,” it is what makes humans happy.
Onthe other hand, being a practicing Buddhist, visual and performance artistZhang Huan harnesses simple, repetitive gestures akin to prayer. Easilymistaken for a meaningless chore, each movement becomes a part of a mantra.According to science, life is a cycle of repeating chemical processes. Chainsof atoms, molecules go on breaking down and making up, like a calming chanthumming throughout one’s life: “Om Mani Padme Hum.”
Inthe end, the candle disappears entirely, but not without allowing a glimpseacross its fleeting light.
Francisco Jin Sung Lee
About the Artist
About the Artists

JULIEANNE NG(b.1994) is a visual artist, painter, and cultural worker from Manila, Philippines. She graduated Magna cum laude with a degree in Fine arts(Painting) at the University of the Phililppines-Diliman in 2017. She was asemi-finalist in the Metrobank Art and Design Excellence (MADE) competition in2018. Her solo shows include: Found Rejects (Pablo Gallery, 2019), More | Less(Gravity Art Space, 2024), and From Ash We Came (Art Cube Gallery, 2024). In2022, she finished her 2 month residency at Linangan artist residency in Alfonso, Cavite. Currently, she is actively participating in different group show and solos in the Philippines.
Her practice investigates the materiality, physical form, and historical and cultural connotations of objects. These objects (i.e.plastic cups, paper, fabric, incense) are often “overlooked”, taken from her surroundings. She grew up and currently live in an industrial compound in Valenzuela City, where her family commercially manufactures household plastic products. The sensorial experience of heavy machinery and assembly lines of identical products influence her work, where she focus on and
question the construction of self-identity and art-making. Taking the inherent properties of these objects, she translate visual and performative form into patterns as a reflection on repetition and ideas of utility. These patterns express the macrocosm of production and transform in to the language that bridges the material and natural world, machine and man. She respond to the monotony of mass production with her own patient and mindful process, no less intense yet meditatively repetitive. These things that are overlooked transcend their origin into something worthwhile.
Related Exhibitions
About the Artists
About the Artist
JULIEANNE NG(b.1994) is a visual artist, painter, and cultural worker from Manila, Philippines. She graduated Magna cum laude with a degree in Fine arts(Painting) at the University of the Phililppines-Diliman in 2017. She was asemi-finalist in the Metrobank Art and Design Excellence (MADE) competition in2018. Her solo shows include: Found Rejects (Pablo Gallery, 2019), More | Less(Gravity Art Space, 2024), and From Ash We Came (Art Cube Gallery, 2024). In2022, she finished her 2 month residency at Linangan artist residency in Alfonso, Cavite. Currently, she is actively participating in different group show and solos in the Philippines.
Her practice investigates the materiality, physical form, and historical and cultural connotations of objects. These objects (i.e.plastic cups, paper, fabric, incense) are often “overlooked”, taken from her surroundings. She grew up and currently live in an industrial compound in Valenzuela City, where her family commercially manufactures household plastic products. The sensorial experience of heavy machinery and assembly lines of identical products influence her work, where she focus on and
question the construction of self-identity and art-making. Taking the inherent properties of these objects, she translate visual and performative form into patterns as a reflection on repetition and ideas of utility. These patterns express the macrocosm of production and transform in to the language that bridges the material and natural world, machine and man. She respond to the monotony of mass production with her own patient and mindful process, no less intense yet meditatively repetitive. These things that are overlooked transcend their origin into something worthwhile.
