Unfolding Matters brings the BA (Hons) Fine Arts graduating cohort between the animate and inanimate, the present and the residual, the formed and the forming. Rather than positioning works as fixed states, the exhibition approaches artistic practice as a living condition, shaped through material encounters, temporal shifts and ongoing processes of becoming.
Drawing from Susan Sentler and Glenna Batson’s proposition that “the fold is the figure of the labyrinth, or more precisely the shape of its vertigo… an impossible recounting of how the parts connect to the whole.” Instead, it follows the flow of the fold itself: “there are never parts, just more folding… a fold is always folded within a fold.” Meaning does not separate into discrete elements, but deepens through layers of relation, repetition and return.
The works presented address the unstable relationships between bodies, objects and spaces. Materials are treated not as passive carriers of meaning, but as active participants that hold memory, resistance, and potential. What unfolds is not a singular interpretation, but a mix of encounters shaped by proximity, duration and attention.
Multiplicity is central to the exhibition’s structure. The in-between, where certainty gives way to ambiguity and form remains provisional, becomes a productive site of inquiry. Here, unfolding persists as continuity rather than opposition, following “the fold up to the following fold.”
As a graduating exhibition, Unfolding Matters marks a moment of passage—the works remain unresolved, folded within further possibilities and continue unfolding beyond the exhibition space.
Image: October Bong Man Won (2026)
