They are growing up 他們是這樣長大的 Photo emulsion and mixed media on unstretched Canvas, 158x207cm, 1996.
Hongkongese as an Identity Series
This series worked from 1991 till 1998 in form of painting. The issue of 1997 in the matter of Handover of Hong Kong back to China from British rule stimulated the thought on Hongkongese as an identity. The series of work used photographic images of China and Hong Kong to rethink the relationship between two places especially in the issue of daily life and political power.The idea of painting as two-dimensional work was also a focus point. By using the idea of juxtaposition of images, text and layers as process of making, abstract marks in ways of spontaneous lines, the work is questioning the possible relationship between individuals and the political power; and at the same time, the two-dimensional painting as communicative and language platform are being recognized.
Works in this period included: We're Nice People (1991), Flesh, Blood and Love (1992), Hongkongese as Identity (1992), Land, Power and Love Series (1992), Memory and Identity Series (1993), In the Name of Power Series (1994), On Hong Kong: Story (1994), Beauty, Happiness and Intelligence Series/Power, Country and Citizenship/Celebrating Human Activities Series (1995-97) etc.
"Using photgraphic images of old Chinese temples (for example) and layering them with marks and overlays of colour, Ying Chi Tang has produced a provocative body of work that comments on her own experiences. Exploring through her art-making the overlaps between one's personal identity and the issues of one's cultural identity, Tang makes judicious use of many tools and devices of the visual artist:layering, scratching out, juxtaposition, the inclusion of text and numbers, and collage. Fascinated with the notion of political power, and the definitions of 'country' and 'citizenship', Tang is grappling with huge abstract concepts, yet in an immediate, visceral, and honest fashion. Through her directness and honesty, as well as in responding to the richness of her vocabulary, we come to understand some of her concerns and ideas."
Liz Wylie, curator of the exhibition of Ying Chi Tang: Power, Country and Citizenship at The Gallery, Scarborough Campus, University of Toronto, Canada in 1995.