‘Giants, Rising Up’ by JR (Photo: courtesy of the artist and Harbour City)
Cover ‘Giants, Rising Up’ by JR (Photo: courtesy of the artist and Harbour City)

While the 12-metre installation by JR still adheres to the artist’s signature style, there is also one element that sets it apart from the rest

If you’ve visited Harbour City recently, you may have noticed a gigantic art installation showing the figure of a person performing what appears to be a high-jump against the Victoria Harbour skyline. The figure is both athletic and elegant as they gentle fall backwards towards the water.

Look closely and you’ll find that this is a black-and-white photograph printed on to a giant board and fixed to a bamboo scaffolding. Rising Up is the latest work by French “photograffeur” (photographer and graffiti artist) Jean-René, who goes by the moniker JR, and showcases his signature style of large black-and-white photographic images in public locations. Other locations where he has flyposted include the Louvre in Paris, Brandenburg Gate in Berlin, and at the US-Mexico border.

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Above Hong Kong high jump athlete Cecilia Yeung posing in front of Rising Up (Photo: courtesy of Harbour City and the artist)

Installed at the Ocean Terminal deck of Harbour City, Rising Up is JR’s second art piece in Hong Kong since 2012, and it’s part of his Giants series that debuted at the 2016 Olympics in Rio de Janeiro. The idea was to capture the grace and power of athletes in movement through photographs.

For the Hong Kong installation, the back jumping athlete’s motion, as it defies gravity and conveys weightlessness, represents strength and bravery. According to the artist, the backdrop of Victoria Harbour provides multiple ways to interpret the athlete’s movement: are they propelling across the harbour, or performing a backwards dive into the water?

It’s not uncommon for JR to adjust the complex scaffold structures of his works of art to fit a specific location, which also ensures its surrounding buildings play an inherent role in the installation. He first visualises the concept and then photographs the moving subject in a way that would fit the landscape. The chosen image is developed into a black-and-white photo before it goes to print on a 12-metre vinyl. The installation takes three weeks complete, including the eight days it takes to build the metal scaffolding.

For Rising Up, the artist turned to Hong Kong’s traditional bamboo scaffolding instead of the metal structure he usually uses. The process was a challenge for JR and his team due to their lack of prior experience with this material. The bamboo scaffolding took seven days to assemble, and it took another seven days to create the framework, attach the vinyl print-out and also touch up the piece.

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Above Rising Up by JR (Photo: courtesy of the artist and Harbour City)

Then there is the matter of maintenance. While Rising Up is printed on micro perforated vinyl, which means wind can pass through the piece and so it won’t blow it over so easily, JR’s projects are all meant to be temporary. He believes “[the way they] evolve over time and deteriorate is an integral part of their beauty”. But while they last, JR wants his gigantic artworks to drive conversations and “to stop passersby in the street and make them ask questions”.

The artist hopes to continue showcasing his public installations around Asia and also the rest of the world. Since last year, he has been working on his Déplacé·e·s series, which raises awareness about refugee children scattered across the globe. To research for this project, he travelled to Ukraine, Rwanda, Colombia, Greece, Mauritania and Italy, where families are seeking refuge from war, effects of climate change or social instability. Last month, he released a series titled Les Enfants d’Ouranos as an extension of Déplacé·e·s. In May, he will install a site-specific version of the Les Enfants d’Ouranos series at Parrish Art Museum in Water Mill, New York.

Until April 23, 2023. Ocean Terminal Deck, Harbour City, Tsim Sha Tsui.

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