Art & Development

Talking about art

works 2004-2008

It’s always nice to have the chance to talk about my art. In the past week, I participated in an artist’s talk at Swarm Gallery and presented a slide lecture at Helen Lee’s undergraduate Sculpture class at CCA.

Talking about my art gives me a chance to refresh my memory about my motivations and discover significance in past projects. For example, though my most recent projects are not explicitly text-based, the small papercut, “Untitled (One Half Gallon)” seems to mark a turning-point in my practice. I realized that it marks the leap from my printmaking past to my object- and installation-oriented present; it’s almost literally the page coming off of the wall.

It’s also nice to see recurrent themes, such as in interest in light (see the Hi It’s Me project), or how far my interest in the viewer’s agency (beginning with projects like Lens Flare, large mirror) has evolved.

Of course it is interesting to hear responses to my work, but I also enjoy the opportunity to share a chance to talk about art. I think most non-artists are rarely offered a forum for their responses to art, so I hope that my audience feels as though their experience with my work—whether phenomenological or conceptual—is valid and worthy of discussion, and that they feel free to take advantage of art community events like opening receptions and artists’ talks to ask questions and share opinions.

On that note, I’m pleased to announce that I’ll be in a two-person exhibition at Frey Norris Gallery off of Union Square, which opens April 3, with an artist’s talk April 19.

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Art & Development, Community

ArtArtArt

I may be holed up in front of a computer most days, but Thursday night I joined the buzzing/buzzed crowds for First Thursday openings. It was hot, crowded, and impossible to spend quality time with any art, but still, I had a blast and peeped some great work.

Enrique Chagoya, Paule Anglim Gallery
Enrique Chagoya at Gallery Paule Anglim. Chagoya showed lots of nice prints and codexes, as usual, but a new series of tsunami/flood/infinite space paintings on canvas were pretty spectacular. I really liked this one, with the text, in gothic script: “illegal alien’s guide to everything,” in which two dark-skinned men sit atop an old-school-landboat-turned-ship, in a desolate flooded area. I’ve always been a fan of the Bay Area Abstract Figurative movement, so it’s appealing and funny to see David-Park-esque paint handling in service of new topical paintings.

Hung-Chih Peng
Hung-Chih Peng, also at Gallery Paule Anglim: Excerpts From The Holy Bible in Arabic Translations, 2006
A dog “writes” text on a wall (of course it’s licking up text written in food, and the video is played backwards). A great example (of the many) Chinese artists who use text. Brilliant!

Takenaga at Lind
Optical paintings usually make me think “Stoner Art,” but Barbara Takenaga at Gregory Lind Gallery commands the paint, as well as effects of luminescence that her finely crafted paintings deliver. Another large painting in a circular format made me realize that what I do — at least, the use of the mandala form in Dark into Light — may not be so different after all.

Megan Wilson’s installation, ceiling view
Finally I went to a delightful dinner hosted by Megan Wilson, where I was in awe of Megan’s four-year-(a)long installation, employing everything in her house and then some (lamps from her travels in Indonesia, the dainty paper quilling that appears in her works on paper, and even an air freshener she picked up in Manila during the Galleon Trade art exchange—it’s the orb below, atop the stacks of colorful substances, some of which I think is hair gel). Megan’s decorative installation was like dessert for my eyes.
Megan Wilson’s installation, detail with air freshener

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Art & Development

Dark into Light is now open!

Thanks to everyone who came out to Swarm Gallery last night. I’m really really pleased with how Dark into Light came out, and the themes that seem to unravel between my work and the work of Zachary Royer Scholz and Ricky Allman. I think it’s delicately curated and installed, and I hope you get to see it.

Check out photos and a video of Dark into Light at John Casey’s blog and Gareth Spor’s photo on Flickr.

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Art & Development

Diagram as sketch

dark into light installation guide
Christine Wong Yap, Schematic for Dark into Light, 2008, computer drawing, dimensions variable.

Design skills come in handy, now that I’m starting to think of diagrams as sketches. I’ve been using InDesign with a 1-inch grid with 12 subdivisions. This is great for drawing large installations to scale. Sure beats 1/4″ graph paper.

Nerdy, I know. But skills make life easier. Just the other day, D.G. explained a concept of electrical circuits to me. I thought it was pretty cool, until he said, “That’s the only thing I remember from second grade electronics.” Which made me realize that I didn’t take second-grade electronics — or any electronics for that matter! I bought a book, “Wiring 1-2-3,” a few weeks ago, but it seems like I’ll never catch up. I guess better late than never.

Dark into Light won’t be the most effective electrical circuit, but I still think it’ll be cool. Come to Swarm Friday night to see what I mean.

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Art & Development

Points of Reference, new addendum

A.
My studio, filled with several light-based art works and light boxes, made me think of the cellar in Ralph Ellison’s Invisible Man.

jeff wall after ralph ellison
Jeff Wall
After “Invisible Man” by Ralph Ellison, the Prologue 1999–2000
Transparency in lightbox 1740 x 2505 mm © The artist. From the Tate Modern website, Exhibitions section, Jeff Wall page.

“Light confirms my reality, gives birth to my form…. Without light I am not only invisible but formless as well; and to be unaware of one’s form is to live a death…. The truth is the light and light is the truth.”
—Ralph Ellison, “Invisible Man,” as quoted on the Hammer Museum website, Hammer Projects section, Jeff Wall page.

When I first read Invisible Man, I was too young to understand the lead character’s agony and rage. But Ellison’s words above strike a chord now… The character needs light—something that we think of as immaterial—to have form.

I am afraid that my interest in optimism and pessimism is mistaken for a scratch at a simplistic duality. But Daniel Spoerri too articulated the need to oscillate between form and formlessness, the “two poles of the inseparability” of the container and contained.

B.
Herbie Hancock in an undated photo
Herbie Hancock double-majored in music and electrical engineering. (undated photo)
From the Herbie Hancock site, media section.

C.
Scene from The Prestige
Alley (Andy Serkis), Tesla (David Bowie), and Angier (Hugh Jackman) in The Prestige, 2006, directed by Christopher Nolan. From the Andy Serkis site.

David Bowie as Nikola Tesla, an incandescent giant and a giant incandescent.

D.
Phone archives animation from Arcade Fire’s neonbible.com
Screen grab of a neon rose window. From The Arcade Fire’s neonbible.com. The site in its entirety is so beautiful. Gothic but not goth, disenchanted and achingly beautiful, with abundant neon and filmic use of light.

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Art & Development

February

I’ve never been so excited for the month of February as I am now. I’ve got two shows opening in February, and I think both are going to be awesome.

The first is at Swarm Gallery in Oakland. I’ll be showing a NEW SITE-SPECIFIC INSTALLATION* in the Project Space. In the main space will be Zachary Royer Scholz, who’s a CCA alum whose work I really admire, and Ricky Allman, a painter-friend of Casey Jex Smith‘s. I think it’ll be a really fun show, and I’m really looking forward to working with Swarm. The directors are really cool. Even M, who’s usually lukewarm about the art world, is totally rooting for Swarm, who M says is really doing something for art in Oakland.

After that, I’ll be in full throttle installation mode for Activist Imagination, at Kearny Street Workshop. This is a project that’s been in the works since the end of 2006! (Big thanks to Sam Chanse — the curator, the glue that holds together the collaborative effort — even during the run of her one-woman show, which just opened tonight.) So it’s really cool that this is coming to fruition. But I’m especially pleased about the NEW, SITE-SPECIFIC* projects I’m going to contribute. I think they’ll be large but quiet, and I hope it’ll be really unexpected for visitors of the show. My ideal wish is to have some really good conversations with respected mentors about where this new work has gone…

I feel really lucky about these opportunities because they’re giving me a chance to show what I’m made of. I’ve participated in so many group exhibitions that felt piecemeal, or too limited to be representative of me. So it’s been great to enjoy the capacity** to work towards something extra-ordinary.

In the meantime, though, I’ve got a zillion loose ends to tie, involving:
• theater gels
• Japanese office supplies
• motion-sensor DE-activating sockets
• sandbags
• latex paint
• a lab coat
• color copies
• sewing needles
• light bulbs: par 38s spots, 25 watt whites, 60 watt pinks…

*Emphasis for temporality. You can see the pictures online later, sure, but I’m just saying, if you miss the opening and then don’t make it to the exhibition run, it’s like the show could have happened in 1908 or 2008, it doesn’t matter. The world doesn’t have to be flat.
**Thanks to KSW, SFF, CWF, and individual supporters!!!

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Art & Development

Hreinn Fridfinnsson

It’s not a typo, it’s a delightful Icelandic conceptual artist, who made me want to share his works:

From Malmö Konsthall’s Future section, Fridfinnsson image gallery:
photographs of sky and grass
(Uncaptioned)

From Malmö Konsthall’s Future section, Fridfinnsson image gallery:
hand in mirror
(Uncaptioned)

From Gallerie Nordenhake website, Artist section, Fridfinnsson page
glass object
Jar, 2004, stainless steel mirror, glass object, 125 x 200 cm

From E-flux’s event page for Fridfinnsson’s show at Malmö Konsthall:
shoes and mirror
Pair. 2004
Mirror with silver wooden frame, shoe
48 x 57cm (mirror)

From Serpentine Gallery website, Past section, Fridfinnsson’s 2007 show page:
box with pink liner
Hreinn Friðfinnsson
Floor Piece 1992-07
Fluorescent paper, bookbinding material, cardboard box
Collection of Pétur Arason and Ragna Róbertsdóttir
© 2007 Hreinn Friðfinnsson

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