ADDRESS: 163 Sterling Road, Studio No.125, Toronto, ON, M6R 2B2, Canada
Click to send me an email!
TEL: +1 (647) 880-0140
FACEBOOK || INSTAGRAM || TWITTER
Jeremy Tsang W.H. (BFA, NSCAD University) is an interdisciplinary artist with a varied & cerebral practice based in Toronto. Tsang has exhibited in galleries, artist-run centres & art spaces including St. Mary’s University Art Gallery (SMUAG)
(Halifax, NS), John B. Aird Gallery
(curated by art critic Gary Michael Dault), Gallery 1313
and Toronto Evergreen Brick Works
(Toronto, ON), to Latitude 53
(Edmonton, AB). In 2015, he was featured in an issue of Concrete Flux Zine
His large scale public art installations have been exhibited across Canada, in Nocturne
(Halifax, NS), Lumiere Festival
(Cape Breton, NS), BIG on Bloor
& Junction Summer Solistice Festival
(Toronto, ON), W.A.V.E.S. Festival
(Windsor, ON), igNIGHT
(Ft. McMurray, AB), to Nuit Blanche
(Saskatoon, SK). He was recently profiled in Maclean’s Magazine
as “Art Star: NSCAD graduate Jeremy Tsang is the darling of the night-time installation crowd.”
Upcoming in Canada’s sesquicentennial (2017), two of Tsang’s newly commissioned large-scale works both exploring the Asian diaspora, the building of the Canadian Pacific Railway and Canada’s long welcoming policy for immigrants and refugees will displayed outdoors in Saskatoon’s Chinese community (with a Chinese “junk-boat”) for the Placemaker Program
and Calgary’s downtown core (with a Chinoiserie chandelier made of clear chopsticks) in the inaugural Glow Festival
Tsang’s work of photographs, videos, text, object-making, reinterpretation of found ephemera, and installations are included in the public collections of Sobey Art Foundation
and as well private collections around the world. Jeremy Tsang also divides his time running a boutique-sized digital printing studio, JEREMY DOES ART PRINTS
for artists and advice on various boards, concurrently with Gallery 1313
and NSCAD Alumni Association (NSCADAA)
Launching very soon this year sharing the space of Tsang's studio located in the Lower Junction, the newly minted gallery district of Toronto, Canada, directly across from the Museum of Contemporary Art Toronto Canada (MOCA)
, Double Happiness Projects (DHP)
, a gallery that seeks to support the projects of emerging artists, shining a light on alternative or underrepresented cultural makers and communities. In part, it is borne out of the belief that the Toronto art landscape is in need of a few more casual, yet critical spaces for discourse. With soaring real estate pricing out many galleries, it is hope that DHP provides the opportunity for experimental interventions by artists, collaborators, curators and the public.
//JEREMY DOES ART PRINTS (JDAP)
//DOUBLE HAPPINESS PROJECTS (DHP)
- Coming soon in 2017
Jeremy Tsang’s hybrid identity of being born in Hong Kong during the occupation of the British Colony, and then immigrating to Canada and raised as a Canadian, informs many aspects of his artistic practice. His exploration as a whole attempts to encapsulate the present day 21st century conditions and experiences. What it means to exist in this era during the mass spread of globalization, where most of us have a background of cultural diaspora, raised without religion in the suburbs and in the omnipresence of the virtual reality. There is a constant absence of the artist in his work even if the art is based out of his own personal experience. Although the medium in each work differs (from object-making, reinterpretation of found ephemera, to purely photographic or installation based), Tsang’s art is strongly rooted from a traditional documentary photography perspective.
Because of urban-globalization and the internet, we are in the era of the instantaneity. Where experiences that used to be special and one of a kind to their geographical existence is now readily available on the internet (i.e. through the use of Google Map/Street View, image search, live streams, and the news) or in the case of food or material items they travel great distances to be available in store locally. The use of suburbia, karaoke, Chinese lightbox signage, dim sum, and packing materials from various Asian supermarkets links together experiences that are synonymous in each and one of us today. And at the same time the work tries to question the levels of consumption and their authenticity.
In this era where everything is readily available and the common want to share anything regarding everything to everybody is ubiquitous. The game of news, censorship, surveillance and information collecting has evolved tremendously because of this. Through the advancements in technology have we gained more control on the self and autonomy or ever so much more lost hold? The collision of the public and private identities has occurred. While attempting to dissect these moments of impact, Tsang’s work seeks to examine the latter, where the deception of truth verses the real is unfailingly controlled, produced and altered. The playful juxtaposition between the imagined and the real, the strange and the familiar, the old and the new are common recurring aspects of his style. In his work, elements are often isolated (from ersatz building materials, personification of identity in a home, to being observed through the lens of today’s life) in order to focus in on the main issues clearly. In sum, Jeremy Tsang’s artistic practice uses an anthropological lens to project an honest reflection of modern life and offers a glimpse of a possible future.