Anything, but Transparent is a tongue-in-cheek title extracted from Massot’s writing on photography, and a reference to the dominant exhibition material – 35mm transparent positives, commonly known as slides. Selected from thousands of dis- carded slides, the multiple projections are set within music composition made by sound artist Chong Li-Chuan who responds to Massot’s practice and his love for Roxy music. Running parallel on the wall is Massot’s early work Pillar (1991) brings back the ephemeral nature of image and time passes.
The exhibition invites curious minds to reconsider images as fragments of memories and to embark on a journey of serendipity or a mysterious one in time and space encapsulated within photographs. Set within the room are over 1000 rejected 35mm slides which the audience is invited to browse and to create your own visual composition on the transparent holders.
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Gilles Massot (b. 1955) studied architecture and photography in Marseille, France. In 1981 he moved to Singapore to work in advertising. The 1980s saw him involved in seminal arts events, including the first Singapore Festival of Arts Fringe and the 1987 Ying Yang Festival. In the 1990s, travel editorial work done around Asia resulted in numerous exhibitions for which he used a wide range of mediums. In 2000, his focus turned to research with the 2003 book “Bintan, the phoenix of the Malay Archipelago”, followed by an MA-FA completed in 2006 with LASALLE, where he currently teaches. In 2007, he started the photo history course for ADM that led him to in-depth research on Jules Itier, the main finding of which was to identify Itier’s view of the Tian Hock Keng temple as the oldest extant photograph of Asia. He is a member of the artist collective The Artists Village.