PAMELA SEE

STILL • LIVING

Still. Living.

This exhibition by Pamela See (Xue Mei-Ling) contains narratives of adaptation, survival and

reinvention. The title, Still. Living is a word play on the French ‘nature morte’ or still life. The form of

painting, which depicts objects, emerged in Egyptian tombs during the fifteenth century BCE.

The exhibition is entirely comprised of papercut installations. The genesis of this similar attempt to

engage immortality through depicting objects was Western China between the thirteenth and

seventh centuries BCE.

The substrate for cutouts in China evolved from gold foil, to silk waddings, to hemp parchment.

Although modern pulp strained paper was invented during the second century papercutting, in the

form we recognise today, evolved between the fourth and sixth centuries.

Paper effigies, which replace genuine offerings with representations, have become commonplace at

funerals and calendar observances for ancestral worship such as Qing Ming.

In addition to using a traditional Chinese craft as opposed to painting, the inconsistency with nature

morte also includes depictions of animate fauna. In some compositions, they are illustrated

interacting with inanimate objects. In others, the wordplay on ‘life’ as in still life, refers to survival.

The subjects, in the face of calamity are ‘still li[ving]’. Reflecting the zeitgeist of the COVID-19

pandemic, the narratives examined in this exhibition include: (i) the Renaissance emerging from the

Black Plague in Europe, (ii) the recent switching of political-economic models in Australia, and

(iii) the global environmental impact of single use personal protective equipment (PPE).

Over the past two decades See has been contributing to exhibitions across Australia, Asia, North

America and Europe. This includes initiatives at the National Portrait Gallery in Australia, Qing Tong

Museum in China, the Museo Gustavo de Maeztu in Spain, the International Studio and Curatorial

Program (ISCP) in the US, and Arteriet in Norway. Collections to house papercuts by See include the

National Gallery of Australia, the Australian War Memorial, the Art Gallery of South Australia, the

Museum of Brisbane and the Hua Xia Papercutting Museum in China.

Catch Series

Catch depicts a series of animals that are available for purchase and consumption through ‘wet’

markets in China. It is speculated that COVID-19 originated at such a facility in Wuhan during late

December 2019. Although similar in format to ‘farmer’s’ markets in Australia, ‘wet’ markets are

characterised by vendors stocking live animals. The storage of multiple species in close proximity

provides an ideal environment for viruses to mutate. Viruses similar to COVID-19 have been

documented in both pangolin and bats. Frogs and snakes are also amongst the popular fare.

Bat (2020) Cansons mi teintes and arches watercolour paper. 15 x 15cm.

Pangolin (2020) Cansons mi teintes and arches watercolour paper. 12 x 33cm.

Snake (2020) Cansons mi teintes and arches watercolour paper. 11 x 20cm.

Frog (2020) Cansons mi teintes and arches watercolour paper. 15 x 36cm.

Along the Silk Road

Along the Silk Road is an installation that responds to an article about COVID-19 published in the

Asian publication Green Queen on Wednesday 1 April 2020. It speculated that the outbreak in

northern Italy was catalysed by the “undocumented” migration of textile workers from China. The

artwork makes reference to the ‘Black Plague’ during the fourteenth century. This pandemic also

originated from China a spread along the Silk Road through trade. The region of Lombardy is

symbolised by the depiction of a ‘fallen’ angle statue. The composition also features a

representation of a Chinese lion statue. Silk moths (bombyx mori) are depicted flying in between.

Along the Silk Road (2020) (detail) Cansons mi teintes and arches watercolour paper. Size N/A.

As Night Follows Day

As Night Follows Day illustrates the retrieval of a woman and child during the Black Plague, which

occurred in Europe during the mid-ninetieth century. A ‘sprite’ created during the Renaissance for

the house of Cosimo de Medici less than a century later is depicted sprouting from the diorama. The

composition of the artwork was inspired by the sprouting of seeds. They germinate in the dark and

then reach for the light. The artwork symbolises the role of the pandemic in enabling the

Renaissance to occur through dismantling feudalism.

As Night Follows Day (2020) Cansons mi teintes. 63 x 41cm.

Perched Series

In this series of papercuts pigeons and statues are depicted. Accounts of their domestication date

back to 4500BCE. In Mesopotamia, their functions evolved from a source of food to carrying

messages. They were also sacrificed as offerings to religious deities. Although “all pigeons are doves,

but not all doves are pigeons” their connotations remain relatively indistinct in many cultures. They

are ecclesiastic symbols for hope, love and peace.

Their broad distribution relates to a Roman preference for their meat. Pigeons became feral as

culinary palettes evolved to favour other livestock. Similarly, as opposed to being sacrificed before

them, the pigeons began to erode the deities upon which they roosted.

Perched… Ganesh (2020) Cansons mi teintes and arches watercolour paper. Size N/A.

Perched… Buddha (2019) Cansons mi teintes and arches watercolour paper. 25 x19cm.

Perched… Mary (2018) Cansons mi teintes and arches watercolour paper. 18x15cm.

Perched… Cherub (2018) Cansons mi teintes and arches watercolour paper. 65 x 50cm.

You Have Two Cows

This artwork references the political joke of which You Have Two Cows is the opening line. It uses the

animals as metaphors for different economic models. For example, Communism is described as

follows: The state takes both and gives you some milk. In a number of countries including Australia,

the political-economic model has adapted in response to the economic consequences of COVID-19.

This includes initiatives such as “Payments to Support Households”, “JobKeeper Payment[s] to

Employers” and “Income Support for Individuals”. In recognition of these socialist reforms being

temporary, this composition depicts a man dressed in a suit painting a cow.

You Have Two Cows (2020) Cansons mi teintes. 55x77cm.

The People Listened to the Bees, Despite the Crows of the Rooster

This allegory features the totem of the rooster and the similarly symbolically laden honeybee.

Although the cultivation of bees in Egypt and China date back to c. 2400 BCE and c. 2000CE

respectively, “Telling the Bees” is thought to have originate from Ireland. The practice was prevalent

in Western Europe and North America during the eighteenth and nineteenth centuries. It involved

telling bees news to discourage their absconding the hive. In China, the words for honey, 蜜, and

secret, 秘, are pronounced the same. Although roosters typically symbolise protection, they can also

represent leadership.

This artwork, created in April 2020, responded to the daily announcements made by the Australian

Prime Minister Scott Morrison. At the time, he would appear on national television every morning to

announce new reforms and restrictions. His commentary on COVID-19 became notoriously

inconsistent. Statements such as “only essential workers” and “an essential worker is one with a job”

were amongst the contradictions. In their confusion the proletariat, as represented by worker bees,

turned to each other for information.

The People Listened to the Bees, Despite the Crows of the Rooster (2020) Cansons mi teintes and

arches watercolour paper. 62 x 60cm.

Cognitive. Dissonance.

This composition illustrates a rooster attempting to throttle a sparrow which enables locusts to

descend upon the pair. In China, the rooster can symbolise leadership. The allegory makes reference

to the Programme of Agricultural Development, as part of the Great Leap Forward, which began in

1958. It included an initiative to eradicate sparrows, mosquitos, rats and flies. The extermination of

the sparrows catalysed locust plagues, which were estimated to have caused over 15million deaths

through starvation. The population was replenished using imported sparrows from Russia.

This artwork makes commentary on the targeting of the intelligentsia around the world in 2019 by

select governments. The ensuing chaos was fuelled by opportunistic archaists who flourished in the

absence of scientists, writers and artists.

Cognitive. Dissonance. (2020) Cansons mi teintes and arches watercolour paper. Size N/A.

‘cause’

The title of this artwork is an Australian colloquialised version of “because”. It also references the

Buddhist concept of “Cause” and “Condition”. This is regularly illustrated by the analogy of seeds, as

a cause, requiring soil and moisture, as good conditions, to grow. The distinctive ‘helicopter’ seed

pods depicted are of the Tipuana Tipu, or Pride of Bolivia, which was propagated throughout

Australia by local governments during the 1970s. They are drought resistant seed with a near 100

percent germination rate. The Brisbane City Council now classifies this South American species of

flora a weed. In this artwork the falling and dispersing seed pods may be viewed as sentiments put

to the wind.

‘cause’ (2016) Cansons mi teintes. Size N/A.

The Day After Tomorrow No.1

This is the first artwork in a series that examines enduring species of flora and fauna. The

composition was inspired by the 2011 jellyfish blooms, which disrupted nuclear power plants in

Japan, Israel and Scotland. Jellyfish evolved over five hundred million years ago. Their sustained

existence, beyond that of humankind, may be posited.

The Day After Tomorrow No.1 (2019) Cansons mi teintes and arches watercolour paper. 45x30cm.

Photograph by Carl Warner.

The Day After Tomorrow No.2

This is the second artwork in a series that examines enduring species of flora and fauna. It features

depictions of two cicada perching on a bonsai tree. During the fourth century BCE, both Aristotle and

Plato made reference to these symbols for immorality and rebirth. Cicadas exist in the form of

insects between 4-6weeks. However, as nymphs they feed on tree roots for between thirteen and

seventeen years. Subsequently, this composition is an allegory of adaptation and survival.

The Day After Tomorrow No.2 (2019) Cansons mi teintes and arches watercolour paper. 17x15cm.

Eating Happiness

This papercut installation and its study utilises the motif of a goldfish. It regularly appears in Chinese

compositions as a symbol for fiscal prosperity. In Guangdong Province, prawns are associated with

happiness as the animal is phonetically pronounced “ha” in Cantonese. The narrative in these

compositions investigates how happiness can be consumed in the pursuit of financial wealth.

The other species depicted is an Australian ghost shrimp. Goldfish are amongst the livestock

introduced to Australia when prospectors turned to agriculture at the decline of the gold rush. In

Australia goldfish are an invasive species, which can grow up to 40 centimetres in length.

Eating Happiness study (2019) Cansons mi teintes and arches watercolour paper. 45x30cm.

Photography by Carl Warner.

Eating Happiness (2019) Cansons mi teintes and arches watercolour paper. Size N/A.

Fly Me to the Moon

This artwork highlights the adaptability of monarch butterflies and the hope invested in scientific

research. It references their emergence, from cocoons, at the International Space Station in 2009.

The distribution of this migratory species of fauna is dependent upon milkweed. During the

nineteenth century, this species of flora was proliferated throughout the pacific by human traffic

associated with the goldrush. Similarly, the impact of increased carbon monoxide on the host plant

in North America has caused a significant decline in population. In Mexico, monarch butterfly counts

have dropped by 80 percent over the past twenty years.

Fly Me to the Moon (2017) Cansons mi teintes and arches watercolour paper. N/A.

What Was and Never Will Be

This series features different of species of borers attached to wooden carpentry tools. It critiques a

decline of craftsmanship that commenced with the emergence of manufacturing during the

sixteenth century. Despite the nineteenth century Art and Crafts Revival in North America and

Western Europe, it has continued to be displaced. The local sourcing of “honest” materials was

amongst the principles advocated for in this movement. In response to the COVID-19 pandemic,

reshoring and/or localising manufacturing has resurfaced in public debate.

What Was and Never Will Be…Mallet and Clearwing Moth (2018) Cansons mi teintes and arches

watercolour paper. 26 x 14cm.

What Was and Never Will Be…Chisel and Beetle (2020) Cansons mi teintes and arches watercolour

paper. 4x19cm.

What Was and Never Will Be…Plane and Wasp (2020) Cansons mi teintes and arches watercolour

paper. 9 x 25cm.

For Tomorrow’s Ancestors

This series of papercuts cum paper effigies explore the effects of environmental degradation. Paper

effigies became prevalent in China during the sixth century CE. They replaced objects used as

offerings with paper representations to address thief from burial sites.

In construction, the principles outlined in Leon Battista Alberti’s fifteenth century treatise on

painting De Pictura were referenced. Within it he described surfaces like “… like a skin stretched

over the whole.”

Papercuts depicting the different surfaces of the object subject were joined. In title, the artwork

references ancestral worship. What objects might tomorrow’s ancestors desire in the afterlife? Will

they continue to exist in this one? This series includes representations of fish, wood and cotton.

For Tomorrow’s Ancestors… Fish (2019) Arches watercolour paper. 0.5 x 21 x 3.5cm.

For Tomorrow’s Ancestors… Saffron (2019) Arches watercolour paper. 24 x 5 x 5cm.

For Tomorrow’s Ancestors… Cotton ball (2019) Arches watercolour paper. 6 x 26 x 10cm.

“None of the Chinese establishments in town were left unvisited” and “Individual Chinese on the

street were confronted and every vehicle ‘from carts to trams that contained Chinese’ was stopped

and disrupted by the crowd.”

The titles of the artwork were appropriated passages from Brisbane: An Unruly History. At 8pm

Saturday 5 May 1888, a crowd of 2000 “larrikins” attempted to “oust the Chinese” from city and

Fortitude Valley. At the time, the population of Brisbane was approximately 100 000 and the Chinese

population constituted 0.23 of a percent. The author, Graeme Davidson, described the event as

“possibly Australia’s worse episode of mass violence”.

“None of the Chinese establishments in town were left unvisited” (2017)

Cansons mi teintes.12x15cm.

“Individual Chinese on the street were confronted and every vehicle ‘from carts to trams that

contained Chinese’ was stopped and disrupted by the crowd” (2017) Cansons mi teintes. 20x25cm.

he Bulldogs Drove Out the Pugs Whilst the Kangaroos Looked on from Afar.

This composition addresses the anti-Chinese violence that erupted in both North America and

Australia during the late nineteenth century. In title and format, it references football headlines in

newspapers. Sports like the Australian Football League (AFL) use totemic symbols. The ‘Brisbane

Lions’ are a primary example. Within Australia, xenophobia was flamed by the emergence of

anti-Chinese leagues. The European population is symbolised by British bulldogs. The besieged

Chinese community is connoted by a Pekinese dog. The breed was introduced to the United

Kingdom during the 1860s, the first being gifted to Queen Victoria after being “retrieved” from the

Summer Palace.

The Bulldogs Drove Out the Pugs Whilst the Kangaroos Looked on from Afar (2017)

Cansons mi teintes. Size variable.

Untitled Dog Studies

During the resurgence of anti-Chinese sentiment due to COVID-19, Chinese migrants have been

referred to as dogs. Similar to The Bulldogs Drove Out the Pugs Whilst the Kangaroos Looked on from

Afar, these earlier studies feature Pekinese dogs. Exclusively reared for royalty, references to the

breed date back to the Three Kingdom Period (220–280CE). The small long-haired animals were

carried in sleeves to keep their owners warm. At the height of the Arrow War or Second Opium War

(1856 to 1860) British and French forces attacked and pillaged the Summer Palace. Five Pekingese

dogs were amongst the ‘loot’ retrieved.

Untitled study (2017) Cansons mi teintes. 35x55cm.

Price List

Catch Series

Bat (2020) Cansons mi teintes and arches watercolour paper. 15 x 15cm. $440

Pangolin (2020) Cansons mi teintes and arches watercolour paper. 12 x 33cm. $550

Snake (2020) Cansons mi teintes and arches watercolour paper. 11 x 20cm. $440

Frog (2020) Cansons mi teintes and arches watercolour paper. 15 x 36cm. $550

Statues

Along the Silk Road (2020) (detail) Cansons mi teintes and arches

watercolour paper. Size N/A. $3,300

As Night Follows Day (2020) Cansons mi teintes. 63 x 41cm. $1,100

Perched… Ganesh (2020) Cansons mi teintes and arches watercolour paper.

Size N/A. $990

Perched… Buddha (2019) Cansons mi teintes and arches watercolour paper.

25 x19cm. $660

Perched… Mary (2018) Cansons mi teintes and arches watercolour paper.

18x15cm. $440

Perched… Cherub (2018) Cansons mi teintes and arches watercolour paper.

65 x 50cm. $1,320

Political Satire

You Have Two Cows (2020) Cansons mi teintes. 55x77cm. $2,200

The People Listened to the Bees, Despite the Crows of the Rooster (2020)

Cansons mi teintes and arches watercolour paper. 62 x 60cm. $2,200

Cognitive. Dissonance. (2020) Cansons mi teintes and arches

watercolour paper. Size N/A. $3,300

Survival Artworks

The Day After Tomorrow No.1 (2019) Cansons mi teintes and arches

watercolour paper. 45x30cm. $1,110

The Day After Tomorrow No.2 (2019) Cansons mi teintes and

arches watercolour paper. 17x15cm. $440

Eating Happiness study (2019) Cansons mi teintes and arches

watercolour paper. 45x30cm. $990

Eating Happiness (2019) Cansons mi teintes and arches

watercolour paper. Size N/A. $4,400

Fly Me to the Moon (2017) Cansons mi teintes and arches

watercolour paper. N/A. $3,300

What Was and Never Will Be…Mallet and Clearwing Moth (2018)

Cansons mi teintes and arches watercolour paper. 26 x 14cm. $440

What Was and Never Will Be…Chisel and Beetle (2020)

Cansons mi teintes and arches watercolour paper. 4x19cm. $330

What Was and Never Will Be…Plane and Wasp (2020)

Cansons mi teintes and arches watercolour paper. 9 x 25cm. $440

For Tomorrow’s Ancestors Series

For Tomorrow’s Ancestors… Fish (2019) Arches watercolour paper.

0.5 x 21 x 3.5cm. $660

For Tomorrow’s Ancestors… Saffron (2019) Arches watercolour paper.

24 x 5 x 5cm. $880

For Tomorrow’s Ancestors… Cotton ball (2019) Arches watercolour paper.

6 x 26 x 10cm. $880

Race Artworks

“None of the Chinese establishments in town were left unvisited” (2017)

Cansons mi teintes.12x15cm. $550

“Individual Chinese on the street were confronted and every vehicle

‘from carts to trams that contained Chinese’ was stopped and disrupted

by the crowd” (2017) Cansons mi teintes. 20x25cm. $660

The Bulldogs Drove Out the Pugs Whilst the Kangaroos Looked on

from Afar (2017) Cansons mi teintes. Size variable. $990

Untitled study (2017) Cansons mi teintes. 35x55cm. $990

PAMELA SEE (XUE MEI-LING)

BIOGRAPHY

Born 28 March 1979, Brisbane

EDUCATION

2018– Candidate for a Doctor of Philosophy (PhD), Queensland College of Art, Griffith University,

Brisbane 2001 Master of Business, Queensland University of Technology, Brisbane 2000 Graduate Diploma of Communications, Queensland University of Technology, Brisbane 1999 Bachelor of Visual Arts, Queensland College of Art, Griffith University, Brisbane

SOLO EXHIBITIONS

2020 Still • Living, Andrew Baker Art Dealer, Brisbane 2019 Shades and Silhouettes, The Chinese Museum, Melbourne

Breaking Ground, Gatakers Artspace, Maryborough, Queensland The Moral Fibre in the Very Fabric of…, The Glass Box, Brisbane

2017 Open, Cut, Mine., Gympie Regional Gallery, Queensland 2016 Yarn, Goulburn Regional Art Gallery, New South Wales 2013 Threadbare, Logan Art Gallery, Brisbane

Dependable, Ipswich Art Gallery, Queensland 2012 Coverage, Andrew Baker Art Dealer, Brisbane

2011 White-wash, fortyfivedownstairs, Melbourne

2010 The Fold, Andrew Baker Art Dealer, Brisbane Modernity, Egg Gallery, Beijing, China Grey Water, Noosa Regional Gallery, Tewantin, Queensland Entropy, John Paynter Gallery, The Lock-up Cultural Centre, Newcastle, New South Wales

2009 On the Move, Caloundra Regional Gallery, Queensland Impact, Logan Art Gallery, Queensland Insurgent, Boutwell Draper Gallery, Sydney

2008 Intervention, Museum of Brisbane, Queensland Prohibition, Blindside Gallery, Melbourne

2007 Float, Heiser Gallery, Brisbane Consumption, Boutwell Draper Gallery, Sydney

2006 He (her; unstressed), TCB art inc., Melbourne 2004 Eco-Tourism, SOApBOx Gallery, Brisbane

Flocking Down Under, Umbrella Studio, Townsville, Queensland

JOINT EXHIBITION

2010 China Song (with Catherine Croll), The University Gallery, The University of Newcastle, New South Wales

SELECTED SITE-SPECIFIC INSTALLATIONS

2018 Remembering the Horsemen (as part is Red is for Remembering, a celebration for the Q100 Anzac Anniversary), Memorial Park, Gympie, Queensland Common Wealth (as part of Botanica: Contemporary Art Outside), Botanic Gardens, Brisbane

2017 Fly-by, Heiqiao Art Space, Chaoyang District, Beijing, China For Android, White Night Ballarat, Victoria

2015 The Float (satellite displays), Brooklyn Children's Museum, New York, USA; CATS Academy Boston, MA, USA; Western Academy of Beijing, China

2009 Conflux City (as part of the Conflux Festival), New York, NY, USA

SELECTED GROUP EXHIBITIONS

2020 Install, Egg Gallery, Caochangdi, Beijing, China Stopping Time: Material Prints 3000BCE to Now, Newcastle Art Gallery, New South Wales 2020 Libris Awards: The Australian Artists' Book Prize, Artspace Mackay, Queensland

2019 Morphosis, Grey Street Gallery, Brisbane Prospect, POP Gallery, Brisbane My Optic, Arteriet, Kristiansand, Norway Crossing Boundaries, Art Atrium, Sydney [In] Place, Horizons Festival at the Old Ambo, Nambour, Queensland New Woman, Museum of Brisbane, Queensland Ephemeral Landscapes, Museo Gustavo de Maetzu, Navarra, Spain Between Two Worlds, Newcastle Art Gallery, New South Wales 5th Ranetas VR Fest, Sala Exposiciones, Alcaniz, Spain

2018 The View from Here, Dogwood Crossing, Miles, Queensland Postcards from Asia, The Centre, Beaudesert, Queensland So Fine, National Portrait Gallery of Australia, Canberra No Waste Form, ADGY Cultural Exchange Center, Beijing, China The Overwintering Project, Moonah Arts Centre, Hobart; Wyndham Gallery, Victoria Shifting the Posts, Webb Gallery, Queensland College of Art at Griffith University, Brisbane Process is Progress (as part of CreateWorld 2018), Queensland College of Art at Griffith

University, Brisbane 2017 Too Close to Call, Pine Rivers Art Gallery, Queensland

Three Contained, Egg Gallery, Beijing, China The Windmill of Your Mind, Queensland State Archives, Brisbane

2017 Art Meets Science, DSITI, Eco-Sciences Precinct, Brisbane Across the Prickly Fence, Makerspace, University of Southern Queensland, Toowoomba Our Collection: Journey into the Asia Pacific, Museum of Brisbane, Queensland

2016 Twenty-Twenty, Chippendale Creative Precinct, Sydney The 64th Blake Prize, Casula Powerhouse Art Centre, Sydney Lacuna, Songzhuang Art Village, Beijing Tradition Now, State Library of Queensland, Brisbane Place of Ours, Caboolture Regional Art Gallery, Queensland From a Home to a Home, Brunswick Street Gallery, Melbourne 1000s 2000s I Curtain Call, Blindside Gallery, Melbourne

2012–15 Made in China, Salamanca Arts Centre, Tasmania; Burnie Regional Gallery, Tasmania; McClelland Gallery and Sculpture Park, Victoria; Lake Macquarie City Art Gallery, New South Wales; Adelaide Festival Centre, South Australia; Ararat Regional Art Gallery, Victoria; Kickarts Contemporary Arts, Queensland; Artspace Mackay, Queensland; Grafton Regional Gallery,

New South Wales; Queen Victoria Museum and Art Gallery, Tasmania 2015 Cough, Timezone 8, 798 Art District, Beijing, China

The Second Nanjing International Arts Festival, Nanjing International Exhibition Center, China Take It Home, Cairns Regional Gallery, Queensland 20/20: our future, Logan Art Gallery, Queensland Paper works III, Brenda May Gallery, Sydney Feeling for Place, Caboolture Regional Art Gallery, Queensland

2015 National Artist's Self-Portrait Prize, UQ Art Museum, Brisbane 2014 Personal Realities, China Art Projects Space, Hong Kong

Crossing Boundaries, Sydney Town Hall, Sydney PPoP, Private Practice of the Public Artist, Artspace on The Concourse, Sydney Chinese Whispers, Goulburn Regional Art Gallery, New South Wales

Stab. Cloud, Egg Gallery, Beijing, China

2013 Cut, University of Southern Queensland, Toowoomba, Queensland Year of the Bird, Maitland Regional Gallery, New South Wales Treasures: The Art of Collecting, Queensland Centre for Photography, Brisbane

2012 Made in China, Salamanca Art Centre, Hobart Transience, Redcliffe City Art Gallery, Queensland Light Sensation, Egg Gallery, Beijing, China

2011 Birds of a Feather, Cairns Regional Gallery, Queensland Art + Architecture 11, Boutwell Draper Gallery, Sydney Hawksbury One: Citizen Collectors, Newcastle Regional Gallery, New South Wales Generations, Wollongong City Gallery, New South Wales In the Vicinity, University of Southern Queensland (USQ) Arts Gallery, Toowoomba,

Queensland Happily Ever After, The John Paynter, Newcastle, New South Wales; Artspace Mackay,

Queensland 2010 New Acquisitions, Parliament House, Canberra

Multiplicities: Self Portraits from the Collection, The University of Queensland Art Museum,

Brisbane Paper Trail: Drawings from the collection, Newcastle Art Gallery, New South Wales Downside, Metro Arts, Brisbane Synchronicity, Redcliffe City Gallery, Queensland Construction of Situations, Newstead Gasworks, Brisbane The Unusual Suspects IV, Andrew Baker Art Dealer, Brisbane China Song, The University Gallery, The University of Newcastle, New South Wales

2009 A Chinese Legacy, The University of Queensland Art Museum, Brisbane One World, One Home, Qing Tong Museum, City of Ordos, Inner Mongolia, China Spectral Bequest, Andrew Baker Art Dealer, Brisbane Coming Home: 37 Chinese Australian Artists, Linda Gallery, Beijing, China Object and Construct, Axia Modern Art, Melbourne Art on Paper, Boutwell Draper Gallery, Sydney Paper, KickArts, Cairns, Queensland Conflux City, as part of the Conflux Festival, New York, NY, USA The Brown Cloud, Handwerker Gallery, Ithaca College, Ithaca, NY, USA The Year of the Bird, Hawkesbury Regional Galley, Windsor, New South Wales Bird Flower, Egg Gallery, Beijing, China Heavenly Bodies, Asia-Australia Arts Centre, Sydney Shoot low! They are riding Shetlands, Queensland Centre of Photography, Brisbane Clayton Utz Travelling Scholarship, Metro Arts, Brisbane Papercut, 24HR Art, Northern Territory Centre for Contemporary Art, Darwin Multiplex, Boutwell Draper Gallery, Sydney From Mao to Now, Sydney Olympic Park Authority, Homebush, Sydney ABN AMRO Emerging Artist Award 2008, ABN AMRO Tower, Sydney Bird Watching: A selection of works by Queensland artists, Redland Art Gallery, Cleveland,

Queensland Scissors as Brush, Two Lines Gallery, Beijing, China

2008 The Year of the Bird, Hawkesbury Regional Galley, Windsor, New South Wales Bird Flower, Egg Gallery, Beijing, China Heavenly Bodies, Asia-Australia Arts Centre, Sydney Shoot low! They are riding Shetlands, Queensland Centre of Photography, Brisbane Clayton Utz Travelling Scholarship, Metro Arts, Brisbane Papercut, 24HR Art, Northern Territory Centre for Contemporary Art, Darwin Multiplex, Boutwell Draper Gallery, Sydney

From Mao to Now, Sydney Olympic Park Authority, Homebush, Sydney ABN AMRO Emerging Artist Award 2008, ABN AMRO Tower, Sydney Bird Watching: A selection of works by Queensland artists, Redland Art Gallery, Cleveland,

Queensland In the Shade of Willow, Sydney Olympic Park Authority, Homebush, Sydney Surface Tension, 24HR Art, Northern Territory Centre for Contemporary Art, Darwin Offshore Processing, 24:7 Lismore Regional Gallery, New South Wales

2007 Exploration 7, Flinders Lane Gallery, Melbourne Shift: Changing Places, Lake Macquarie City Art Gallery, New South Wales Open Door: Artists in Residence in Beijing, 798/Red Gate Gallery, Beijing, China Ways of Being, Pickled Art Centre, Beijing, China Installation Mode, NY Arts, Beijing, China My Own Private Oasis, International Studio and Curatorial Program, Brooklyn, NY, USA High and Mighty, Lowly and Meek, 24HR Art, Northern Territory Centre for Contemporary Art,

Darwin 2006 Taking like a fish to…, KickArts, Cairns, Queensland

Chinese Takeaway, The Window@QPAC, Queensland Performing Arts Centre, Brisbane Pacific Edge, Artspace Mackay, Queensland A Summer Still Life, Heiser Gallery, Brisbane Animals as Allegory, QUT Art Museum, Brisbane

2005–08 Echoes of Home: Memory and mobility in recent Austral-Asian art, Museum of Brisbane, Queensland; Cairns Regional Gallery, Queensland; Orange Regional Gallery, New South

Wales; Fremantle Arts Centre, Western Australia; Geraldton Art Gallery, Western Australia; Ivan Dougherty Gallery, Sydney; Goulburn Regional Art Gallery, New South Wales; RMIT Gallery,

Melbourne 2005 San Bao Zhi, Firstdraft Gallery, Sydney

Lingua Franca: ARC Art Design & Craft Biennial, Brisbane City Hall, Queensland Thing, What is on Our Side, Rocket Art, Newcastle, New South Wales The Home Show, Intrude Gallery, Melbourne CALD Exhibition, State Library of Queensland, Brisbane Home to Roost, The Vitrine, Queen Street Mall, Brisbane

2004 A Change in Frequency, Starterspace, Queensland Art Gallery, Brisbane 2003 Window of Opportunity, Artspace Mackay, Queensland 2002 Yellow Children’s Art Exhibition for Chinese New Year, Hands On Art, Brisbane 2001 Scissors, Paper, Stone, Modus Studios, Brisbane 1999 Cluster, Campbell Mahoney Gallery, Brisbane 1998 The Exhibition for No Apparent Reason, Grunt Gallery, Brisbane 1997 Dolls and Other Objects, Palma Rosa Gallery, Brisbane

SELECTED COMMISSIONS

Art Built-in, South Bank Parklands, Brisbane Brisbane Central Towers, 136 Albert Street, Brisbane Crown Casino, Melbourne Crown Towers, Taipa Island, Macau, China Darwin Convention Centre, Northern Territory Donor Boards, Mater Mothers’ Hospital, South Brisbane Flowers by the Gate, Albert Street, Brisbane Lunar New Year Lantern Festival, Circular Quay, Sydney Pao Cha, Chinatown information kiosk, City of Sydney, New South Wales Stockwell, 199 Grey Street, South Bank, Brisbane The Opposite House, Beijing, China

SELECTED AWARDS AND GRANTS

2015 Individuals Fund Grant, Arts Queensland, Brisbane

2009 Professional Development Grant, Australia Council for the Arts, Canberra 2006 Commended, Sunshine Coast Art Prize, Caloundra, Queensland

Creative Sparks, Lord Mayor’s Young and Emerging Artists Fellowship, Brisbane 2005 General Funding, Australia-China Council, Brisbane 2004 Regional Art Development Fund, Mackay, Queensland 2001 Small Project Grant, Arts Queensland, Brisbane 1998 Griffith Award for Academic Excellence, Queensland College of Art, Griffith University, Brisbane

SELECTED BIBLIOGRAPHY

Aldred, Debra. ‘A celebration of cultural diversity’, The Courier-Mail, 4 February 2002 Ambrose, Gavin. Design Genius: The Ways and Workings of Creative Thinkers, Bloomsbury

Publishing, London, 2015 Anon. Art Built-in South Bank, Public Art Agency, Arts Queensland, Brisbane, 2002 Anon. ‘Community Focus Key of Festival’, The Daily Mercury, 24 February 2003 Anon. ‘Intransient’, Map Magazine, 5 March 2005 Anon. ‘Pivot Points’, Townsville Sun, 30 May 2004 Anon. ‘Shades and Silhouettes, Papercut Portraits’, Art Almanac, 29 January 2019 Bates, Elizabeth. ‘Pamela Mei-Leng See’, in Clark, Christine. Echoes of Home: Memory and

mobility in recent Austral-Asian art [ex. cat.], Museum of Brisbane, Brisbane, 2005 Bladen,

Victoria. ‘Animals as Allegory’, Machine, Vol 1, No. 4, 2006 Carter, Denise. ‘Exhibition Brings Work of Top Australian Chinese Artists to KickArts Contemporary Arts in Cairns’, Cairns Post, 5 June 2014 Chester, Rodney. ‘Art of the state will be off the wall’, The Courier-Mail, 3 July 2002 Craig, Gordon. ‘Exquisite Precision’, World of Antiques & Art, February 2005 Craig, Gordon. Ways of Being [ex. cat], Pickled Art Centre, Beijing, China, 2007 Croll, Catherine. ‘Pamela See’, Coming Home: 37 Chinese Australian Artists [ex. cat.], Sydney

Olympic Park Authority, 2009 Cubero, Por Efi. ‘Grandes Citas Paiajes Efimeros’, Revistart, November 2019 English, L. ‘Bread and Butter’, Time Off, 6 February 2002 Fairley, Gina. ‘Review: So Fine—Contemporary women artists make Australian history, National

Portrait Gallery’, ArtsHub, 20 August 2018 Hampson, Jane. ‘Paper Cuts’, Australian Art Collector, Issue 43, January–March 2008 Higson, Rosalie. ‘Fluid Bridges to China’, The Australian, 11 February 2008 Giliberto, R. ‘Artist draws on cultural background’, Townsville Bulletin, 27 May 2004 Lord, C. ‘Folk Art’, Home, 5 June 2005 Maier, Heidi. ‘On the move: Pamela Mei-Leng See’, Art Guide Australia, January/February 2009 Reich, Hannah. 'National Portrait Gallery's 20th anniversary exhibition presents Australia's

hidden histories', ABC Arts, 8 August 2018 Robson, Diana. The Year of the Bird [ex. cat.], Hawkesbury Regional Gallery, Windsor, 2008 Rogers, Emma. ‘Homage to her Chinese heritage’, The Courier-Mail, 22 November 2006 Rogers, Janak. ‘From a Home to a Home: an exhibition’, Radio National, 19 November 2016 Rothnie, Susan. Bird Watching: A selection of works by Queensland artists [ex. cat.], Redland

Art Gallery, Cleveland, Queensland, 2008 See, Pamela. Paper [ex. cat.], KickArts, Cairns, 2009 See, Pamela. ‘Insurgent’, Pamela Mei-Leng See, [ex. cat.], Boutwell Draper Gallery, Sydney,

2009 See, Pamela. ‘Cutting In: Comparing Sino-Australian Paper-Cutting’, Craft–Design, no. 11, 2006 See, Pamela. ‘The Craft of Creating Accessibility in the Post-digital Era’, Paper presented at

CreateWorld 2016, 8–9 December, 2016

See, Pamela. ‘Making the cut: The effects of the introduction of Computer Numerical Control

(CNC) on the Chinese papercutting 2006-2018’ Garland Magazine, no. 15, 2019 See,

Pamela. ‘Branding: A Prothesis of Identity’, M/C Journal 22, No.25, 2019 Stowell, Jill. ‘Poulet at play’, Newcastle Herald, 11 December 2010 Turner, Tonya. ‘Traditional art of papercutting’, The Courier-Mail, 27 September 2007 Woodrow, Ross. Stopping Time: Material Prints 3000 BCE to Now [ex. cat.], Newcastle Art

Gallery, 2019

COLLECTIONS

National Gallery of Australia, Canberra National Portrait Gallery, Canberra Australian War Memorial, Canberra Parliament House, Canberra Art Gallery of South Australia, Adelaide Artbank, Sydney Artspace Mackay, Queensland Cairns Regional Gallery, Queensland Griffith University, Brisbane Moreton Bay Regional Council Art Collection, Caboolture, Queensland Museum of Brisbane, Queensland Newcastle Art Gallery, New South Wales Queensland University of Technology, Brisbane Redlands Art Gallery, Brisbane University of Southern Queensland, Toowoomba, Queensland The Lock-up Cultural Centre, Newcastle, New South Wales The University of Queensland, Brisbane Artworkers Alliance, Brisbane Australia Council for the Arts, Sydney Brisbane Airport Corporation, Queensland Brisbane City Council, Queensland Chinachem Group, Hong Kong Crown Casino, Melbourne Crown Towers, Taipa Island, Macau, China Gadens Lawyers, Brisbane Grand Hyatt, Wanchai, Hong Kong Hawkesbury One, Newcastle, New South Wales International Buddhist Association of Queensland, Brisbane McCullough Robertson Lawyers, Brisbane Mackay Regional Botanic Gardens, Queensland Mater Mothers’ Hospital, Brisbane Queensland Transport, Brisbane Swires Properties Ltd, Beijing, China

Andrew Baker Art Dealer 26 Brookes Street • Bowen Hills Qld 4006

07 3252 2292 • 0412 990 356 info@andrew-baker.com •

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