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M+, Hong Kong, © Martin Parr and Blindspot Gallery
Martin Parr 馬丁．帕爾
Hong Kong(LON156438) 香港（LON156438）
2013
In Armoire, Zhu Jia brings a hand-held camera into a wardrobe full of hanging clothes. As the camcorder pans and draws in and out, the colours, textures, and patterns of the clothing sharpen, blur, and fall into shadow. The camera remains close to the clothes throughout the single take; the occasional appearance of a collar, button, or hanger is a reminder of their scale and use. The microphone picks up the sliding, knocking noises that accompany the camera’s lurching movements.
Zhu, who trained as an oil painter, began experimenting with video in the late 1980s. Armoire positions the camcorder as an extension of his body, a common theme for the artist. It also prolongs and intensifies an ordinary, relatable experience—deciding what to wear. At the same time, the immediacy of the framing strips the clothes of personal meaning, just as Armoire itself lacks a pointed narrative.
Zhu, who trained as an oil painter, began experimenting with video in the late 1980s. Armoire positions the camcorder as an extension of his body, a common theme for the artist. It also prolongs and intensifies an ordinary, relatable experience—deciding what to wear. At the same time, the immediacy of the framing strips the clothes of personal meaning, just as Armoire itself lacks a pointed narrative.
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