2018.7.27 - 2018.8.30 | Opening: 7.27 6-8 pm
During the preparation for the show, by chance we realized that the same material for secure enclosures are also used for the strict confinement of people. This violent contrast between a kindergarten and an interrogation room drew our awareness to the fact that security always goes hand-in-hand with strict forms of surveillance. In Ke Peng’s work, these contradictions regularly come to the surface through a subtle situation. She often captures these scenes inadvertently, seemingly by drifting without specific aim through these different settings. The artist neither adheres to the rigid documentation of reality nor does she base her methodology on a voyeuristic gaze. Rather, she situates herself somewhere between a loose and formal approach to image-making, relying on a detached way of looking in order to respond to a specific moment in time. Her photography retains a precocious, innocent, and curious gaze, which shines through a nostalgic light that radiates between her images. Against the backdrop of an ever-changing urban landscape, the corner of a living room steeped in a domestic Chinese aesthetic, or the scene of a public playground in the park – these images and perspectives are extracted from scenes to highlight the different levels of comfort and security that can be found in certain environments. These images also function as a mirror to reflect the incongruous or detached ambivalence that can be felt within these spaces.
The Secured at Salt Projects is Ke Peng’s debut solo exhibition in China and marks her first attempt to expand her photography work towards the creation of a setting within the space. Behind this warm and intimate environment, Ke Peng veils a critical gaze in her work, which in turn underscores a suppressed feeling of tension throughout the exhibition.
Ke Peng (b.1992, Changsha) lives and work in Los Angeles and Shenzhen. She graduated from the Photography Department of Rhode Island School of Design in 2015, and recevied the Abigail Cohen felllowship from Magnum Foundation and ChinaFile in 2017. Published Jiazazhi Press, her first photobook will launch in fall 2018. Ke Peng’s work embraces the individual experience in rapidly developing cities, especially how children attain self-cognition in an ever-changing environment. She believes the dynamic energy in observation, a static motion, as well as self-projection and the potential of psychology in photography.
Her solo and group exhibitions include: "Underneath the Tree Where I Buried All My Childhood Pets"(Gallery 50, Toronto, 2017), "Leaky Logic and a Fugitive Fish" (Red Eye Gallery, Providence, 2015). Her work has been exhibited as part of Over the Influence, LeRoy Neiman Gallery at Columbia University, Aperture Foundation, NARS Foundation, Filter Photo, Gallery Kayafas, Pingyao International Photography Festival. She was granted scholarship as a resident artist in the Center for Photography at Woodstock, ACRE and The Lighthouse Works.
2018.7.27 - 2018.8.30 开幕：7.27 6-8 pm
彭可（b. 1992，长沙）现工作生活于洛杉矶和深圳。2015毕业于罗德岛设计学院摄影系。2017年获得马格南基金会和中参馆颁发的Abigail Cohen基金。由假杂志出版，她的第一本摄影书将在2018年秋天发布。彭可的作品围绕高速发展的城市中的个体经验，尤其是身处无尽变化中的孩童如何确认自我。她相信“观看”这一静止行为中的动态力量，和摄影媒介里的自我投射和心理学潜能。
个展与双人展包括：Underneath the Tree Where I Buried All My Childhood Pets（Gallery 50，多伦多，2017），Leaky Logic and a Fugitive Fish（Red Eye Gallery，普罗维登斯，2015）；作品还曾出现于：Over the Influence，LeRoy Neiman Gallery at Columbia University，Aperture Foundation，NARS Foundation，Filter Photo，Gallery Kayafas，平遥国际摄影节等。曾获学术奖金，作为驻地艺术家前往美国伍德斯托克摄影中心，ACRE和The Lighthouse Works创作.