Shu Lea Cheang

"A hi-tech aborigine tripping--walkabout on the WWWeb land in the long gone 90's. Accidentally I swallow my golf ball-size camera. Caught in my throat, dis-framed. Spit out the camera, I split my legs. Legs wide open at the end of the bowling lane, the ball runs toward me. . . . HACK THE CODE, BOWL ME OVER."--Shu Lea Cheang, 1995

"Overtime, I have been rethinking on the strategy of actual-virtual inter-action. Bowling Alley was commissioned as a work on public and private space. Bowling Alley remains a work of 1995 for me when I was so stuck with the idea of upload and migration and now I think a bit different."--Shu Lea Cheang, 1998

Cheang has emerged in the past decade as one of the most significant new voices in media arts through her distinctive embrace of art and technology, her interweaving of social issues and aesthetic concerns, and her commitment to viewer interaction and collaborative modes of production. A member of the Paper Tiger Television collective since 1981, she has also produced for Deep Dish TV (a national satellite public access network), created numerous gallery-based video installations, and moved to 35mm feature filmmaking.

Her most recent work is Brandon: A One-Year Narrative Project in Installments (1998-99), a year-long project with the Solomon R. Guggenheim Museum in New York and partners, and she is currently working on a sci-fi porno flick in Tokyo.

Walker Art Center Gallery 9, Shu Lea Cheang, November 1998.

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