Doggy Love
2016 - Drawing & Print (Drawing & Print)
94 x 69.5 cm
Wong Ping
This selection of poster prints of Wong Ping’s animations includes the films Jungle of Desire, Doggy Love, Slow Sex, An Emo Nose, and Stop Peeping . They serve as a glimpse into the discourse and intricacy of the artist’s imagined, yet responsive approach to his realities. The series of posters echoes the once-vibrant aura of movie posters, when they were designed by artists and designers to encapsulate the tone, story, and visual style of a film in one large image, and were often as iconic as the movie itself. Like much of Wong Ping’s work, these posters reflect on the anxiety and aggressions of Hong Kong’s younger generations, presenting a somewhat dystopian prognosis. His narratives tell strange tales that might be difficult to watch, were they not rendered in animated form. The visual and auditory narrations often explicitly touch upon sex, lust, eroticism, politics, and broader social relations. Wong’s video discusses his observations of a society with repressed sexuality, personal sentiments, and political limitations, using a visual language that sits on the border of shocking and amusing. In Jungle of Desire (2015) follows a grown man’s self-loathing as he is incapable to fulfill his wife sexually, and who ultimately succumbs to at-home prostitution and is taken advantage of by a cop. Depressed and incapable, he speaks of taking his own life. While in Doggy Love (2015) Ping tells the story of a repressed male teenager who becomes crazy about a girl who has breasts on her back. The animation follows his incapacity to control himself sexually till they fall in love and he ultimately understands the concept of the heart. Such humor laced with weariness is also found in An Emo Nose (2016) that tells the story of a man’s heart-shaped nose that moves away in distance from his face with every negative thought. Akin to Pinocchio’s ‘lying nose’, the man starts off as one with his friend: socializing, enjoying the small things in life from watching movies to meeting women. The nose moves away, however, with every damaging thought till the point where the narrator can no longer see it, just vicariously smells and thereby ‘lives’ through it, leaving him behind to be a social outcast or ‘emo’.
Obscenity and profound issues of contemporary society are not mutually exclusive in Wong Ping’s video works. His neon-hued animations imagine salacious narratives based on the artist’s real life encounters and observations, tapping into our deepest desires, fantasies, and repressed sentiments. Wong’s work forces its audiences to reassess their internalized standards of decency in its razor sharp critiques and existential inquiries. Teetering between perverse honesty and vulgarity, complex vignettes of individual relations in contemporary society are delivered as lurid, visually vibrant representations in an 8-bit video game aesthetic. Wong’s signature visual language is especially effective in masking social taboos packed with observations on repressed sexuality, obsession, social relations, political limitations, and cultural etiquette. Wong’s work carefully considers immense proposals concerning control structures, desire, sexuality, shame, masculinity, Hong Kong society, and digital ontologies in a way that is neither indexical nor allegorical. Rather, Wing’s work poses an uncomfortable middle ground, equally filled with the uncomfortable dialectic between smut and criticality.
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