Liang Luscombe: Co-Presence
Liang Luscombe’s artful syntax of pastiche and puppetry interrogates the objectification of Asian femininity, collapsing Cartesian boundaries between human, artefact, and cinematic stereotype.
Preview
I don’t remember exactly when I met Liang Luscombe, but it must have been around 2012, when she exhibited Bauhaus Fisher Price at TCB Art Inc. in Melbourne’s CBD. In classic awkward-Fine-Art-undergraduate fashion, I sped through the opening without acknowledging anyone—meaning I actually got a decent look at the work. Luscombe had constructed three imitation Ginger chairs, originally designed by Andrea Branzi for Studio Alchimia in 1980, and hand-painted them in bright, Memphis-style patterns. To complete the exhibition, she painted the lower half of the gallery’s interior a flat cadmium orange, framing the space with a bold, painted window in the centre of one wall. The result was a distinctly set-like quality.
