Born in Hong Kong, Priscilla Yeung has been based in Vancouver since 1985, and this was her second solo exhibition. In Yeung’s word: “Each object that I make is a release and a personal documentation on thoughts, events, landscapes, and imaginations from the everyday reality. I bargain and play with the materials that I am working with… which are gathered from found objects, toy items, and household products. Yeung’s installation consisted of a variety of small, transitory sculptures on the themes of travel, cultural migration and the idea of home. Made of play-doh and surrounding a large fridge, visitors were encouraged to place the sculptures into the fridge to turn colour.

No Matter What – Catalogue

Once I managed to get inside the #375 minibus, I felt relieved. I had been standing and wandering all day. Inside the bus, the ceiling had been reworked. It was covered with a silver fabric with small shiny floral details. Soon the bus was full and we warted to moved. It was not just dark outside, but thick with cars, motorbikes, bicycles, vendors, and cooking steam. Because of the lack of streetlights, the lights from side-walk vendors and running street cars were reflecting inside the vehicle. whatever was shiny glowed, and the ceiling was flashing constantly. Shadows of dismembered pieces of the things were showing up on the ceiling fabric; and shattered light was reflecting on the skin of our faces to reveal parts of our features. In this heavy traffic, our cramped, privately subsidized bus was still rushing to get ahead of the public bus to arrive a car length earlier at each bus stop to pick up passengers. Looking around the interior, and out the windows, I thought of how much I was part of the design here.

7th November, 1998
translated on 24th May, 1999