Meat Me Halfway

                 Photo series, silk printing, 78x46 to 25,4x25,4 cm

        With self-derision and an ironic torch, Ethan confronts his everlasting fear of aloneness, viewed through fragments of lived experience, he unravels the harsh omens bound to his inextricable Éros. A restless longing for connection that  oscillates between tenderness and hunger. His work yearn for the tension between the desire for a “happily ever after” love, yet immersed in the world of sexual orientation, saturated by a visceral hyper-consumerism. A world where intimacy is often replaced by performance, and lust becomes the only valid language of affection.

Piggy Banks

                Epoxy, cured pig tails and ear, rhinestones, crystals

Born among the stalls of a Wet Market, the artist has chosen to center his interrogation on the pig, or pork, examining three distinct characteristics and the rich plethora of dividing meanings associated with this seemingly commonplace animal.

The Chinese character for home, Jiā (家), depicts a pig beneath the roof of a house. Symbolising wealth, good fortune and abundance, as well as qualities such as loving and being a devoted romantic partners. In contrast with the Western derogatory traditions often cast the pig as dirty, lazy, and greedy.

Roasted Yet Honest & Hooked On A Feeling

         Fabric Installation and Performance                Metal, alginate, acrylic

In the heart of this cultural divergence, Ethan also reflects on personal history, resonating with earlier reflections on sexuality. In gay slang, for instance, the term ‘’piggy or being a pig’’, depicts someone over-indulging fleeting encounters in an unhealthy manner. It is an association linked to overconsumption among homosexuals. This interpretation stands in total ambivalence with the pigs’ association with the stable, familial household in Chinese culture.