Genevieve Chua applies the ethos of transparency in the series produces for her solo show, Twofold, at STPI. In Pivot Point, where all parts of the work, washer, screws, sinker, line and state of wall are revealed, this manner of installation is even more apparent where fishing lines tautly secure a figure-8 at the fore. At the back, the brink of two irregular polygons are almost touching. She indicated the following questions came to her mind: If red advances and blue recedes, how would these shapes and lines be perceived in the apparent movement of colour? Are the boundaries of the work where the screws are, or where the colour begins? And described the work as a kind of thought experiment for herself. The exposure of materials – screws, eyelets, sinkers – are very much part of the material quality of the work, hinting at the mechanics behind the visual structure, which ties back to the artist’s interest in illusory optical effects. Chua has taken Twofold, her largest solo exhibition to date (which this work was produced for an included in), to explore fundamental questions of painting, particularly its perception and constituent materials. It arises not only from ideas of human vision and simulation, but experiences of interpretation, and observed behaviours of space, which unfold over time.
