Competition Gallery

 

Fan Chon Hoo

Article # 1, Butter Dish, from 'The Blue and White Collection'

Course: BA Photography, London College of Communication

 

This work responds to the 'Willow Pattern' invented by English craftsmen in the late eighteenth century. Fan Chon Hoo is interested in how a foreign cultural form can be appropriated and translated into an exotic collectible.

Here he creates a set of paper earthenware printed with cyanotype and embellished with imaginary landscapes made comprised of oriental architectural structures found within the UK. This process challenges cyanotype’s association with the ‘blueprint’ by positing the question of origin, within a fluid set of cultural references.


Article # 7, Gravy Pot, from 'The Blue and White Collection'

Course: BA Photography, London College of Communication

 

This work responds to the 'Willow Pattern' invented by English craftsmen in the late eighteenth century. Fan Chon Hoo is interested in how a foreign cultural form can be appropriated and translated into an exotic collectible.

Here he creates a set of paper earthenware printed with cyanotype and embellished with imaginary landscapes made comprised of oriental architectural structures found within the UK. This process challenges cyanotype’s association with the ‘blueprint’ by positing the question of origin, within a fluid set of cultural references.


Article # 3, Teacup, from 'The Blue and White Collection'

Course: BA Photography, London College of Communication

 

This work responds to the 'Willow Pattern' invented by English craftsmen in the late eighteenth century. Fan Chon Hoo is interested in how a foreign cultural form can be appropriated and translated into an exotic collectible.

Here he creates a set of paper earthenware printed with cyanotype and embellished with imaginary landscapes made comprised of oriental architectural structures found within the UK. This process challenges cyanotype’s association with the ‘blueprint’ by positing the question of origin, within a fluid set of cultural references.


Article # 4, Teapot, from 'The Blue and White Collection'

Course: BA Photography, London College of Communication

 

This work responds to the 'Willow Pattern' invented by English craftsmen in the late eighteenth century. Fan Chon Hoo is interested in how a foreign cultural form can be appropriated and translated into an exotic collectible.

Here he creates a set of paper earthenware printed with cyanotype and embellished with imaginary landscapes made comprised of oriental architectural structures found within the UK. This process challenges cyanotype’s association with the ‘blueprint’ by positing the question of origin, within a fluid set of cultural references.


Article # 5, Serviette Holder, from 'The Blue and White Collection'

Course: BA Photography, London College of Communication

 

This work responds to the 'Willow Pattern' invented by English craftsmen in the late eighteenth century. Fan Chon Hoo is interested in how a foreign cultural form can be appropriated and translated into an exotic collectible.

Here he creates a set of paper earthenware printed with cyanotype and embellished with imaginary landscapes made comprised of oriental architectural structures found within the UK. This process challenges cyanotype’s association with the ‘blueprint’ by positing the question of origin, within a fluid set of cultural references.


Article # 10, Bath from 'The Blue and White Collection'

Course: BA Photography, London College of Communication

 

This work responds to the 'Willow Pattern' invented by English craftsmen in the late eighteenth century. Fan Chon Hoo is interested in how a foreign cultural form can be appropriated and translated into an exotic collectible.

Here he creates a set of paper earthenware printed with cyanotype and embellished with imaginary landscapes made comprised of oriental architectural structures found within the UK. This process challenges cyanotype’s association with the ‘blueprint’ by positing the question of origin, within a fluid set of cultural references.


Article # 9, Cake Stand from 'The Blue and White Collection'

Course: BA Photography, London College of Communication

 

This work responds to the 'Willow Pattern' invented by English craftsmen in the late eighteenth century. Fan Chon Hoo is interested in how a foreign cultural form can be appropriated and translated into an exotic collectible.

Here he creates a set of paper earthenware printed with cyanotype and embellished with imaginary landscapes made comprised of oriental architectural structures found within the UK. This process challenges cyanotype’s association with the ‘blueprint’ by positing the question of origin, within a fluid set of cultural references.


Article # 11, Chamber Pot, from 'The Blue and White Collection'

Course: BA Photography, London College of Communication

 

This work responds to the 'Willow Pattern' invented by English craftsmen in the late eighteenth century. Fan Chon Hoo is interested in how a foreign cultural form can be appropriated and translated into an exotic collectible.

Here he creates a set of paper earthenware printed with cyanotype and embellished with imaginary landscapes made comprised of oriental architectural structures found within the UK. This process challenges cyanotype’s association with the ‘blueprint’ by positing the question of origin, within a fluid set of cultural references.


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