Collection: Paper Cages
'Engagement Ring' , 2019, hand cut paper
'Paper Cage', 2014, part of the Ingram Collection
'Paper Gown' 2021, Chinese Arts Now X Two Temple Place. Photo by Johan Persson.
'Paper Rings', 2020
'Paper Tag', 2020 - 'Walls' exhibition at Rich Mix, part of CAN 2020 festival.
'Paper Rings' by Chloe Wing. 'Walls' exhibition at Rich Mix, as part of the CAN festival 2020. (Video courtesy of Angelus Squid Marr.)
Installations / artworks
'Paper Gown' 2021Commission by Chinese Arts Now x Two Temple Place. In response to the 2TP building by the Thames, in Temple. This Gown was all hand cut & tailored. The symbols and motifs features in the gown are directly taken from 2TP as well as Blenheim Palace, Buckingham Palace, Tate Britain, The National Gallery and the V&A. These motifs are echoed in each building representing social status, prestige & hierarchy
photo by Johan Persson
'Paper Curtain' screen, 2015Being shown at Two Temple Place as part of the CAN x 2TP 2021 show.
For the Virtual exhibition go to:
photo by Johan Persson
Paper Cage, 2014A Cage, a prison, a safe haven, a house, a room, a mindset, a word, a trauma, an emotion, a memory...
Made for the MFA Degree Show, UAL Wimbledon College of Art. Paper Cage was seen at this show by Art Collector Chris Ingram and bought straight from the show...
It is part of a collection called 'Beautiful Cages', which is about isolation, fear, anxiety, struggle and safety within the familiar confines...
Engagement Ring, 2019This piece is a symbolic piece about the pressures of aesthetics and the status that can be attached to certain things that are a result of historical decisions.
Paper Stage, by Chloe Wing, Jan 2020Diorama layered piece with symbolic box and stand, LED lighting... a pretty scene, a snap shot of the present, a pretty surface...
Paper Tag, by Chloe Wing, 2020everything is inextricably linked, labelled and tagged to perfection... (photo courtesy of Lidia Crisafulli )
Paper Roof, 2016Paper and wood installation, 2016
Another suspended installation that can also be on the ground too.
This roof and tent-ice shape contains historical images that are dominating and familiar. Do we realise why they are around and where they came from?...
My Paper Cages....
My cut out installations are made for an audience, who are essentially important to the meaning of the artworks.
I hand cut all my work as this allows me to have a close relationship with it. This Expressionistic approach makes it personal and produces a narrative... a narrative that requires movement.
The works are immersive and atmospheric, decorative yet emotional. I would like the viewer to wonder... why things are the way they are... And by stripping away the physical and material appearances, and instead using words I seek to highlight the internal realm as opposed to the superficial. I look at how we can relate on a humane and human level, to shift the focus to feelings and thought rather than surface judgments. I take away specific identities and circumstances, so that what is left is words and interactions, often cruel and tortured, so that the viewer experiences these words themselves out of context. It is really about how we can all be alienated and isolated and feel hurt if such things were said to us, or if we felt these thoughts within us. What happens when you see the word 'weird', 'wrong' 'should' or 'freak'? How do you feel?
Themes of status symbols, humanity, community, psychology, isolation, fear and man-made ideas feature in my art as a trail of clues. What is it that we think exactly and where does it come from? Are our views and feelings towards ourselves and others fixed? Are they taught and illusory?... Can they be unlearned? I am concerned with the history of identity within established status' and hierarchies embedded into mainstream society.
I convey the struggle of being an individual in a world of 'the other'. This relationship between the individual and society can conflict and insists that we must define oneself. This complex situation is both protective and harmful and it facinates me how this is inevitably part of the need to belong and be. The inside (individual's 'space') and outside (social space) are separate yet try to relate somehow with difficulty.
I look at the universal experience of words, emotions and interactions, as well as people who feel they lack normalisation and autonomy.
The mind is controlled in so many invisible ways, by existing within an environment and with others... and the only way to connect and converse is to empathise and apply emotion. The only way to eradicate these social labels and standards is to relate on a deeper level with everyone.
'Paper Balcony', 2017
... in the studio
My latest installation Paper Windows is an adaptable piece from a curatorial stand point. These 4 window pieces can be arranged as an enclosure in a tight or open square shape. Or suspended higher up with two as a ground floor level and two as first floor level...
With cut outs such as 'Pretty Girl', 'Good Girl', 'Old Curtains' and 'Memory is my Disease', this piece comments on not only the pressures that women have today, but also how it is deeply engrained into the fabric of our society and deeply disturbs our thoughts of ourselves... How we do not realise the full implications of aesthetics and beauty... and how they are an inevitable part of being a woman today.
click on an image to scroll through or keep the mouse button down to move photos around...