Pecah!
Many places like our cities, our neighbourhoods, and even our homes are loosely defined territories inscribed not merely by the laws of ownership but by also implicit and shifting inflections of presence, conspicuous or otherwise. Driven by his constant interest with the issues of spatial conflict between straightness and queerness, the artist confronts his own personal struggle of being “the other” at home. Here, the term “conceal” refers to the act of keeping from being seen, observed, or discovered, to a certain extent, to hide. Curry puff is a popular local snack. It is a small pie consisting of specialised curry with chicken and potatoes in a deep-fried or baked pastry shell, and it looks like the Portuguese stuffed bread called Empanada. Other common varieties include sardines and onions or sweet fillings such as yam. Pecah! playfully re-evaluates the views and expectations that have been imprinted towards these curry puffs. The artist uses iconography of this very familiar local delight to introduce an element of campiness and position them as the completely “other”.
Many places like our cities, our neighbourhoods, and even our homes are loosely defined territories inscribed not merely by the laws of ownership but by also implicit and shifting inflections of presence, conspicuous or otherwise. Driven by his constant interest with the issues of spatial conflict between straightness and queerness, the artist confronts his own personal struggle of being “the other” at home. Here, the term “conceal” refers to the act of keeping from being seen, observed, or discovered, to a certain extent, to hide. Curry puff is a popular local snack. It is a small pie consisting of specialised curry with chicken and potatoes in a deep-fried or baked pastry shell, and it looks like the Portuguese stuffed bread called Empanada. Other common varieties include sardines and onions or sweet fillings such as yam. Pecah! playfully re-evaluates the views and expectations that have been imprinted towards these curry puffs. The artist uses iconography of this very familiar local delight to introduce an element of campiness and position them as the completely “other”.