Ada Leung works diligently between creating whimsical sculptures and fanciful interventions. She is concerned with re-contextualising her everyday environment through manipulating recognisable items and repurposing them into unexpected contexts. She is interested in the process of how one deciphers an artefact and our willingness to suspend belief. As such, her works are often a result of intense labour and time-consuming processes whilst looking at repetition as a device.
Her works draw inspiration from the observed world and the notion that a tangible, perhaps ephemeral object or moment can somehow be brought back to life – reinterpreted through the artist’s hand as a re-made readymade. Using familiar matter such as paper, pencils and found objects, the histories and former functions of these materials are then extracted to create new associations and ideas.
Within her process, Ada embodies a notion of work derived from the attitude of an everyday labourer; working patiently and meticulously with found items or cheaply brought, accessible objects. Employing a methodology that often engages with unskilled labour and patience, her approach to art-making has roots in the convention of artists that challenged traditional techniques of construction. Artists such as Tom Friedman (USA), Martin Creed (UK) and Dane Mitchell (NZ) are particular interests whose works are created out of extreme control and wit. The level of bewilderment and engagement generated in their practices also continue to push and challenge Ada’s own work ethic.