22/9/2024
The opening of "ART COLLECTIVE: From the One to the Many" at Saatchi Gallery was a layered celebration of artistic expression, focusing not only on visual art but also on live performance as a medium for collective experience. With a theme centred on the power of individual voices within a communal setting, the exhibition highlighted artists who navigate complex intersections of identity, culture, and sound. Among the standout contributors were Betty C. Fan and Suley, two artists whose live performances at the opening engaged audiences with immersive and thought-provoking works. Each artist presented a unique perspective on collectiveness, using sound, movement, and interactivity to build an experience that resonated with the exhibition’s themes.
Suley’s performance at "ART COLLECTIVE: From the One to the Many" drew directly from his sculptural work Behind Enemy Lines, an intricate piece constructed from acrylic, nylon string, and yarn. This work explores the tension between language and power, echoing James Baldwin’s quote, “To be born into the English language is to realize that the assumptions by which the language operates are your enemy.” The structure of the piece itself reflects Baldwin’s critique, presenting words and letters in a fragmented arrangement that hints at barriers and restricted perception, as though language itself becomes a maze to navigate.
For his live performance, Suley brought this conceptual depth to life by remixing Baldwin’s words with a DJ mixer, layering spoken words with rhythmic beats and sound effects. This act of remixing transformed Baldwin’s language into a dynamic soundscape that reinforced the themes present in Behind Enemy Lines. Using the DJ mixer as both an instrument and a symbolic tool, Suley reclaimed and recontextualized Baldwin’s message in real time, creating a space where the limitations and power dynamics embedded in language could be critically examined.
Through the fusion of Baldwin’s voice with his own musical composition, Suley invited the audience to engage actively with the message of Behind Enemy Lines, experiencing the ways in which language can both confine and empower. His performance served as an auditory extension of the visual experience, encouraging viewers to confront the societal frameworks within language while feeling the rhythm and energy that underscores cultural resilience and resistance.
Betty C. Fan’s performance in Unknown on Play – Episode 4 drew the audience into a deeply introspective experience, one that seamlessly integrated sound and physical form. Fan’s work centres on the idea that sound is the “lifeblood” of her sculptures, transforming them from static objects into responsive entities. Performed live at the exhibition, Episode 4 continued her series’ exploration of interaction and resonance, using her voice and touch to activate the sculpture’s dormant qualities and create a dialogue between artist and object.
In earlier episodes of the series, Fan generated sound through interactions with materials like metal rods, walnuts, and wax, producing unexpected auditory effects. By Episode 3, she had evolved the sculpture into a more interactive form, resonating with two base notes triggered by touch and vibration. For Episode 4, Fan layered her own vocals with the sculpture’s distinct sounds, using these layers to create a multisensory experience that allowed the sculpture to become a “felt presence” in the space. This interplay of human voice and sculpture’s response blurred the boundary between organic and inanimate, crafting an environment where identity and form continuously shift.
Fan’s deliberate movements and the intentional ambiguity of her gestures invite viewers to engage with the performance on their own terms. By leaving room for interpretation, she turns the audience into participants, each bearing witness to her evolving exploration of self and sound. Her performance symbolises the fluidity of identity and the permeability of personal boundaries, suggesting that each interaction can redefine the self. This approach aligns with the exhibition’s theme of collectiveness, reflecting the ways in which identity is shaped by—and contributes to—the surrounding social environment.
Together, the performances by Fan and Suley provided distinct yet complementary perspectives on the exhibition’s theme of individual expression within a communal framework. Suley’s performance created an atmosphere of cultural resilience, exploring the power of language in shaping identity, while Fan’s sound-based exploration of form invited a meditative reflection on the evolving boundaries of self. Through sound, movement, and audience engagement, both artists contributed to a layered dialogue on identity, unity, and the transformative potential of art.
By merging individual narratives within a shared space, the two performances underscored the exhibition’s emphasis on diversity within collectiveness. "ART COLLECTIVE: From the One to the Many" offered the gallery audience an opportunity to experience these live works as extensions of the communal spirit, where each artist’s unique voice became part of a larger conversation, blending introspection and collective resonance into a cohesive experience. Fan and Suley’s contributions illustrate how performance art can deepen the experience of visual art, creating an immersive, sensory journey that resonates with both individual viewers and the shared space of the gallery.
Suley is a British artist of Jamaican, Nigerian, and Polish heritage, holding degrees from the University of Leeds and Harvard Law School, and a Sir Frank Bowling scholar in Painting at the Royal College of Art. His work explores optical illusions to confront viewers and investigate themes of impermanence and change. Inspired by his background in human rights and law, Suley’s art combines performance, painting, and sculpture to question identity and community, drawing influence from artists like Bridget Riley and the writings of Octavia Butler.
Betty C. Fan is a London-based artist whose work in sculpture and performance draws from the sounds of urban life to explore cultural identity and space. Having lived in Taipei, Hong Kong, and the United States, Fan’s art reflects the transient nature of place and identity, merging digital environments and physical sculptures. In her performances, she incorporates soundscapes and her own voice to create immersive experiences, using sound as a bridge between cultures and as a tool for connection and familiarity.