Fragmentary Blues of Dances Between Men • Fragmentary Blues of Dances Between Men • Fragmentary Blues of Dances Between Men • Fragmentary Blues of Dances Between Men • Fragmentary Blues of Dances Between Men • Fragmentary Blues of Dances Between Men • Fragmentary Blues of Dances Between Men • Fragmentary Blues of Dances Between Men • Fragmentary Blues of Dances Between Men • Fragmentary Blues of Dances Between Men • Fragmentary Blues of Dances Between Men • Fragmentary Blues of Dances Between Men • Fragmentary Blues of Dances Between Men • Fragmentary Blues of Dances Between Men • Fragmentary Blues of Dances Between Men • Fragmentary Blues of Dances Between Men • Fragmentary Blues of Dances Between Men • Fragmentary Blues of Dances Between Men • Fragmentary Blues of Dances Between Men • Fragmentary Blues of Dances Between Men • Fragmentary Blues of Dances Between Men • Fragmentary Blues of Dances Between Men • Fragmentary Blues of Dances Between Men • Fragmentary Blues of Dances Between Men • Fragmentary Blues of Dances Between Men • Fragmentary Blues of Dances Between Men • Fragmentary Blues of Dances Between Men • Fragmentary Blues of Dances Between Men • Fragmentary Blues of Dances Between Men • Fragmentary Blues of Dances Between Men •

Fragmentary Blues of Dances Between Men

Kevin Tew Zhi Jie

Singapore

Kevin is an aspiring creative director and fashion stylist who believes that fashion lies within a spectrum of beauty and art. He is inspired by feelings and emotions. By translating them, he gives the visual outcome a sense of relatability and soul.

Kevin Tew Zhi Jie perceives fashion as an insight into a world of fantasy and make-believe, one that is not necessarily bounded by reality. Fashion garments act as a vehicle to translate stories of people who wear them.

Inspired by Arthur Rimbaud’s ‘A Season In Hell’, ‘Illuminations’ and ‘The Drunken Boat’, as well as James Baldwin’s ‘Giovanni’s Room’, this is a narrative digital publication and film project which investigates the objectification of male subjects through the male gaze for the conservatives in Singapore. It explores the tension between the dichotomy of censorship and autonomy in Singapore society. The visual aspect of the project centres itself around fragmented memories of the creator’s relations with men; memories that are episodic and spun out of proportions in dream scenarios. It aims to envision a world that is grounded in reality, while speculating a certain degree of fantasy.

This is a narrative digital publication and film project which investigates the objectification of male subjects through the male gaze for the conservatives in Singapore by exploring the tension between the dichotomy of censorship and autonomy.

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