This collection includes digital 3D models and found photographs, as well as manga characters. It consists of 7000 sketches, paintings and prints, 20 sculptures, and 100 video works. Calligraphy and glitter can been seen throughout, but in a different applications than previous collections. The visual style in iEgoism also takes after German master artist Gerhard Richter. It features what has been described as blurry photo painting, similar to Richter’s. On the other hand, it references the frame by presenting what is know as a super flat image, much like works by Takashi Murakami. The pieces blend present day reality with the mystical, giving figures ethereal or even ghostly qualities.This collection incorporates appropriation as process and remix culture as product. The digital era has made sampling bits of music, text, and images a widely accepted practice. However, the use of appropriation in fine art contexts necessarily requires intentionality of purpose. It has been popularized even before the digital revolution by artists Warhol and Lichtenstein. Both have replicated and distributed existing images. They do so without explicit authorization from the original image makers, but with the authority of public domain. Once an image enters the cultural ether, it immediately becomes potential art material. Of course, they do not pass an appropriated image off as their own. Rather, they borrow the image’s inherent connotations and create new meaning from use and arrangement. The borrowed pieces must directly contribute to the new work and must be repurposed into a new meaning making relationship. The artist’s voice comes through in the contextualizing of found materials. For example, Warhol banks on the recognizable soup can to support his comment on consumer culture.
For his part, Law uses cultural icons, iconic images, and female depictions. He is struck by the peculiarity of the familiar set into new spaces. The processes of displacement, re-organization, and reiteration are familiar strategies in this age of the Internet. They are especially common in social digital realms and becoming more so in the fine art arena. Law concurrently upholds and dismantles the magic of digital space.
iEgoism includes a mixture of new media and classical painting methods. Other artists working in similar ways include Jeff Koons and Takashi Murakami. Using Photoshop and other digital tools enables the artists to produce images and art objects that look aesthetically similar to modern toys and material goods. The sleekness of digital mark making techniques is undeniable. Also, the approach of mixed mediums pushes the contemporary relevance of the iEgoist collection even further, as the paintings could not be created in any other historical moment. They are quintessentially representative of our admiration and inherent distrust of all things digital. The tension of methods mirrors the cultural tensions in Hongkonger life.