Hana Earles: Edition for Memo

Derek Jarman’s Blue (1993) is a film without images—just a luminous ultramarine field and an evocative soundtrack. Made as he was dying of AIDS-related illness, Blue resists spectacle, embracing abstraction, memory, and loss. Thirty years on, it continues to evolve, expanding across artists, mediums, and generations.

Liang Luscombe’s artful syntax of pastiche and puppetry interrogates the objectification of Asian femininity, collapsing Cartesian boundaries between human, artefact, and cinematic stereotype.