Hybridization, appropriation and identity: Moving images of Singapore artists Ho Tzu Nyen and Ming Wong

While increased emphasis on experimentation has seen more contemporary Asian artists incorporating time-based elements in their artistic practice, studies of the relationship between film and visual arts have only been sporadic. Drawing upon the film installations of Singaporean visual artists Ho Tzu Nyen and Ming Wong, this article looks into the methodological and theoretical intersections of art and film in their practice. Ho and Wong are recognized for their wide-ranging artistic approaches, blending disparate genres into interdisciplinary installations. Forms of the moving image are utilized as an alternative mode of cinema, a tendency that provides for a more multifaceted study of filmic representations. Advocating a more fluid approach in the understanding of spectatorial position, both artists have produced a visual and experiential language in their work that enables viewers to develop a new consciousness about their environment and themselves.