|dc.description.abstract||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).||