The Eve Of...

Some questions in advance of The Eve Of… Public Forum on 9/24

Mirror #1, 2014, wood, asphalt-based coating, light, acrylic, mirror, 13.625 x 13.625 x 5.5 inches / 34.6 x 34.6 x 14 cm

Mirror #1, 2014, wood, asphalt-based coating, light, acrylic, mirror, 13.625 x 13.625 x 5.5 inches / 34.6 x 34.6 x 14 cm

How is art experience intellectualized, and how is it intuited?

How are art- and exhibition-making guided by research? By emotions?

What are the poetics of perception?

How do modes of embodiment—embodied cognition, phenomenology, and the materializing of ideas or emotions into art objects—present paradoxes? How do we embrace contradictions?

Who is the disappearing artist? Who is the ego-less agent?

What’s so wrong with sentiment?

Why is mortality a thing that must be “confronted”? Who does it attract? Why?

How do you practice tolerating uncertainty?

What space is left for introspection?

What is the agency of an artist? How do we shape the art worlds we’d like to participate in?

On Wednesday, September 24, join a public forum featuring guest dialogist Andria Hickey, Public Art Fund Associate Curator, in conversation with artist Christine Wong Yap to discuss themes in and around The Eve Of…, a solo pop-up exhibition exploring “the disassembled self on the eve of re-organization.” You’re invited to participate in the dialogue with questions, comments, and provocations.

The Eve Of… Public Forum
Wednesday, September 24, 7–9 pm
Falchi Building, 31-00 47th Avenue, Long Island City, NY 11101 [Google Map]
7 to 33rd/Rawson Station; G/E to Court Square; N/Q/R to Queensboro/Queens Plaza
More info:

Free and open to the public. Wheelchair accessible. Refreshments will be served.

The Eve Of… is supported by an Individual Artists grant from the Queens Council on the Arts with public funds from the New York City Department of Cultural Affairs in partnership with the City Council. 

News, The Eve Of...

The Eve Of… is now on view!

With yesterday’s opening reception, The Eve Of… residency is officially over, and the exhibition is open to the public.

BZ & NM viewing Doorway, 2014, wood, vinyl, asphalt-based coating, lights, stands, gels, door: 82.5 x 33.5 x 5.5 inches / 210 x 85 x 14 cm

BZ & NM viewing Doorway, 2014, wood, vinyl, asphalt-based coating, lights, stands, gels, door: 82.5 x 33.5 x 5.5 inches / 210 x 85 x 14 cm. See more photos.

The changeover

The raw space that was my studio in August has been converted into a pop-up gallery. Though I last posted that changeover tasks are fun, I started running of steam this past week. The works were done, the walls painted, and the floors epoxied or sealed, but I still lots to do. And much involved climbing a too-short 8-foot ladder in a 18-foot-high space….

I figured out which works to include and how to place it in the oddly-shaped space with help from OM, especially his sage advice not to fight the architecture. I paid repeat visits to Artist and Craftsman Supply (a cool employee-owned business recently opened in LIC) for paper and tape to minimize light coming through the numerous windows. I also lit the works after multiple trips to get extension cords and light bulbs (so easy to take for granted at galleries) since only half the the space has working electrical outlets. I finally used some lighting gels—purchased for experimentation that didn’t go anywhere—to balance out the color of different light sources. And I spent a late night putting finishing touches on the space, including creating a storage closet (its small footprint relative to the amount of artworks, tools, and furniture it holds is a weirdly satisfying bonus).

Installation photos

I shot documentation photos with the assistance and good conversation of MH. I encourage you to visit the show in person, as many of the works allude to physical embodiment and are best experienced in person, but you can see photos if you’re unable to visit.

A journey self-started, but not traveled alone

Thanks to intrepid supporters who braved yesterday’s rain to attend the opening reception. I also want to send a big THANK YOU to the Queens Council on the Arts, the Falchi BuildingWhole Foods, and individuals who contributed guidance and assistance: Susan O’MalleyMel Day, Katie Tuss, Paul Kelterborn, Falchi Building staff, Gina Mazzone, Melissa Smith, Melissa Rachleff/Bronx Museum of the Arts’ Artists in the Marketplace, David Wallace, Maria Hupfield, Nyeema Morgan, Ohad MeromiHank Willis Thomas, and Michael Yap.

Now on view

The exhibition continues through 9/24.

Join me at a public forum featuring guest speaker Andria Hickey, Associate Curator, Public Art Fund
Wednesday, September 24, 7–9 pm

Or visit during gallery hours:
Wednesday, September 17, 12–3 pm
Saturday, September 20, 1–5 pm
Or by appointment by emailing theeveof @

Falchi Building, 31-00 47th Avenue, Long Island City, NY 11101 [Google Map]
Four blocks from the 7 train at 33rd/Rawson Station; also walkable from the E and G at Court Square, or the N, Q, or R at Queensboro/Queens Plaza.

The Eve Of...

Opening Saturday 9/13: The Eve Of…

After a year of planning and several weeks as a self-initiated artist-in-residence, I’m excited to open a show of my work in a pop-up space I’m also running for this project. It’s been a huge endeavor and includes work in a new creative direction. Hope to see you there!

Christine Wong Yap: The Eve Of…
September 13–24, 2014
Falchi Building
31-00 47th Avenue, Long Island City, NY 11101
[Google Map]
(Four blocks from the 7 train at 33rd/Rawson Station)

The Eve of… is a new installation of sculptures and video examining uncertain psychological states. Inspired by the decisive moment after setbacks and before actions, the project explores the disassembled self on the eve of re-organization.

Mirrors, colored vinyl, Mylar, plastic bags, and asphalt-based paint are used to create props and scenes of light and darkness. Through such works, viewers may encounter their own reflections or shadows, or the incongruity of ineffable emotions and physical embodiment.

Opening reception:
Saturday, September 13, 5–7 pm
Refreshments will be served; victuals contributed by Whole Foods

Public forum:
Featuring guest speaker Andria Hickey, Associate Curator, Public Art Fund
Wednesday, September 24, 7–9 pm

Additional gallery hours:
Wednesday, September 17, 12–3 pm
Saturday, September 20, 1–5 pm
And by appointment by emailing theeveof @

All events are free, open to the public, and wheelchair accessible.

More info: or theeveof @

The Eve Of… is supported by an Individual Artists grant from the Queens Council on the Arts with public funds from the New York City Department of Cultural Affairs in partnership with the City Council. Support from the Falchi Building and Whole Foods is also gratefully acknowledged.


Get Excited: September Exhibitions

So many shows to be excited about this fall! These are particularly promising.

Through 11/2
Intersecting Editions @ Castle Gallery at the College of New Rochelle, New Rochelle, NY
Group exhibition of artists whose work spans print and ceramic media.
Curated by fellow Bronx AIMer Sarah Rowe and Rachel Sydlowski.

Through 9/28
Chicago in LA: Judy Chicago’s Early Work, 1963–74 @ Brooklyn Museum, Brooklyn
I have to catch this show before it closes!

Through May 2015
Secondhand @ Pier 24, San Francisco, CA
Group show on appropriated photography including Hank Willis Thomas and Matt Lipps.

Pablo Guardiola @ Romer Young Gallery, San Francisco, CA

Nam June Paik: Becoming Robot @ Asia Society, Manhattan
The venerable new media pioneer.

Adam Brent @ Auxillary Projects, Greenpoint, Brooklyn
One-fifth of BROLAB inaugurates the new digs of the artist-run alternative space of Jennifer Dalton and Jennifer McCoy.
See @auxproj on Twitter for more info.

Mona Hatoum: Twelve Windows @ Alexander & Bonin, Chelsea
(Full disclosure: helping out with this installation.) I think it’s an effective, provocative intervention.

[Not to mention my show, The Eve Of..., which also opens 9/13!]

Chashama Open Studios @ Brooklyn Army Terminal, Sunset Park, Brooklyn
A gazillion studios in these seriously massive old buildings, whose awe-inspiring scale alone are worth the trip. Also check out studios of Bronx AIMer Brian Zegeer and CCA alum Carl Auge.

The Eve Of... Studio/Pop-up Gallery (During: Today)
The Eve Of...

The Eve Of: Residency Day 32 Update

After spending all August working on The Eve Of…, I’m finally feeling confident and relaxed.

The residency started off a little rough—I was antsy to secure a space yet stay productive. So I made a production schedule. It sounds a little crazy and antithetical to the creative process, and sometimes it was. But I think it was worth it. For example, when I moved into the larger space, I finished all my dust-making (woodworking and build-outs) first, painted the things that need to be painted at the same time, and then cleaned up for framing and finishing static-y vinyl projects. 

Though, maybe crazy-making is part of the deal when you’re staging your own exhibition in a pop-up gallery. As stressful as keeping a schedule was, it’d be worse if I didn’t keep one. Case in point: I thought the dust on the concrete floor was drywall leftover from a prior demolition. But it turns out it’s the floor itself, or rather, mastic, which I had been pulverizing with every step. I have to seal the concrete, and find an additional three days of drying time, as I was already planning to paint half the floor where it was tiled in lavender-and-purple checkerboard.

Thankfully I was able to wrap up art-making and get a head start on gallery changeover. You could say I’m transitioning from artist-in-residence to preparator-in-residence. Some artists find being their own technical labor tedious or demeaning, but I can’t think of a happier use of these skills than in the service of my own vision. 

Plus, it’s a nice change of pace. Painting is calming, because it’s finite. With studio projects, I never know when I’m going to be done. But with paint, you can only do so much per day—you couldn’t schedule more. Wrapping up today’s painting and heading home before 6pm was a nice treat.   

I just finished the walls, and am relieved the color works. (Wet, it looked like ivory in the pan, grey on the walls, lavender in the daylight, putty-ish under fluorescents, and stripe-y and beady all over! But dried, it’s a nice, flat, smooth, soft. I love it.) I also primed the checked tiles. With the Willy Wonka tiles covered, the space feels cleaner, bigger, and more like a gallery already.

The Eve Of.. Studio/Pop-up Gallery (Before)

The Eve Of… Studio/Pop-up Gallery (Before)

The Eve Of.. Studio/Pop-up Gallery (During: Today)

The Eve Of… Studio/Pop-up Gallery (During: Today)


I’ve habituated to turning up at this studio everyday—and, I suppose, being a full-time artist in NYC, something I’d only previously imagined. I better enjoy it while it lasts, which is not much longer….


I love the starkness of Silvio Lorusso’s take on Alfred Barr’s diagram of modern art, minus the text and color.

Silvio Lorusso, Blank Diagrams #2: Alfred H. Barr – Cubism and Abstract Art (1936). // Source:

Silvio Lorusso, Blank Diagrams #2: Alfred H. Barr – Cubism and Abstract Art (1936). // Source:


Research, Works

Barr Chart Sans Text

The Eve Of...

The Eve Of… NYC Residency pilot program

Surprisingly, I’ve achieved a residency’s studio focus and solitude… even in NYC. 

I was nervous that staying at home in NYC would allow too many distractions for this to be as productive as an overnight residency. But many things have helped to shift my experience, and are pretty effective in combination.

Staying really local. I’ve been keeping it Queens—I’ve only left the borough twice in the past three weeks: home, studio, repeat.

Yet changing it up. The studio is in a part of LIC I’d never been to before. It’s been neat to eat lunch and people-watch in the public courtyard, and patronize different mom and pop stores. I’ve also been riding my bike instead of taking the subway; it makes me feel like I set the rhythm of my day.

It’s August. It helps that NYC’s emptied out; even my emails have quieted down.

Cleared calendar. My obligations have been postponed and my priorities are crystal clear. It’s great not having to deliberate about squeezing in anything else.

Creature comforts. Unlike at away-residencies, there’s no learning curve in the logistics of everyday life—sleeping, grooming, nourishment, etc. I sleep in my own bed, cook in my own kitchen, and don’t have to miss my husband.

Disconnecting: deactivating my FB account. It became a pleasureless addiction. I had some withdrawal the first two weeks, but it holds little appeal now. It’s shocking how habitual it became: how easily I’ll mindlessly point my browser there, mentally compose status updates that are ultimately trivial, or desire a crowd-sourced solution instead of trusting my own opinions and decisions. These days, I’m so busy and then so tired, there’s little room for anything else, and I can’t imagine how much time I squandered onscreen. I will probably return—but keep my usage restricted.

Enduring my own mind. I’ve spent at least eight hours of every day alone in the studio. I was rusty at the beginning, when my overactive, lazy-way-out squirrel-brain pulled me in too many directions. But now I’m a bit more adept, staying on task and pushing through when I’m tired.

I can tolerate a lot of solitude but it’s also making me feel a bit starved for socialization. I take this as a good sign, as I remember this feeling from other residencies I’ve done. I’m starting to have enough work to show others, so I’m looking forward to scheduling studio visits soon.