Untitled (Still Life With Fruits)
In the project, the artist focuses on the power of brand to represent the commodity fetishism - an illusion arising from the product to overrate itself, enchanting people to buy it. In our everyday life, we can find a bike from Hermes cost £2300, and a tennis-racket from CHANEL cost £450. What is the uniqueness about those products from famous designer brands? Fruits, as a natural product, without artificiality, are ridiculously labeled with Louis Vuitton, GUCCI…etc. Without any other difference, do people believe
that ‘The Fruit’ is better than others?
In ‘Invisibility’, Ting-Ting Cheng’s photographs of found objects celebrate the banality of everyday
life. She collected a number of insignificant objects that were discarded on the streets and placed
them on sculpture plinths.
Cheng is working in a long artistic tradition that stretches back to Surrealism. She is more directly
inspired by contemporary artists such as Martin Creed and Fischli and Weiss, whose absurdist
treatment of the everyday raises fundamental questions as to the nature and materiality of art.
At the same time the images raise environmental issues concerning the huge amounts of waste
generated by our society much of which appears to be invisible to consumers.
Things We May Never Know
In ‘Things We May Never Know’, Cheng combines texts with objects that belong to
international students from Asia to explore the isolation of being an outsider in a foreign land. The
displacement of these objects indicates the cultural barriers that these students are facing by
themselves, without the reassurance of family or a familiar setting. The texts, written in the native
language of the each owner, describe the relationship between the object and the person. It is
untranslated to force the owner’s position upon the viewer: their words are one of the many things
that, due to enormous cultural differences, we may never know.