I am exploring the concept of identity and mobility. For this work, I use phone books pages from countries I lived in, as they are the carrier of individual and collective traces. These intricate and detailed collages take the form of cultural references specific to the country from which the phonebooks were taken (e.g. a quilt as representative of America, aboriginal art for Australia, mosaic for Italy, lace making for Switzerland, circle for Singapore). The collages are the witnesses of my migrating life and the interactive relationship existing between individuals, places and memory.finally, someone has come up with a brilliant idea for our useless phonebooks!...see more here.
the only way to see this work is in person, the details are amazing! fortunately, his web site includes some really nice detail shots...see more here....The work involves two seemingly divergent elements: control and chance. Each sheet is first pierced repeatedly with a pin tool. The patterns create a system of levees, dams, and Braille-like raised surfaces that control the flow of the pigment. The paper then takes on a rich and varied topography. As the sheet dries, the pigment is repelled by hundreds or thousands of openings creating an elaborate patterns. Each sheet is then colonized or infested with a linear matrix.
My use of decorative lace as a painting support has evolved from many sources. The first being that its intricate patterns and shapes resemble the elegant tracery and stonework associated with cathedral design.
Lace has been a symbol of wealth and power in Europe for centuries. The art of pricking was used by lace makers as a way of transferring a pattern. The hand-made lace used in my work was common to my household as a child. Each piece comes with its own personal history, giving the work a distinctly feminine accent.
By then taking the perceived masculine activities – painting and building – I conjoin the two forms, creating a surface of visual, social and cultural tension. While both painting and building imply the heroic and autographic, the realization is that each edifice was built by thousands and took in some cases hundreds of years. The communal would triumph over the individual. The result is a structure as ornamental and anonymous as a simple piece of lace.
My work has always been driven by a desire to embed concepts, interests, and critique into the material form of paintings. My work comes out of an interest in painting as a language in which invention, analysis, and the stuff of paint can work in concert with each other. These paintings feed off of the history of abstraction, physics, traditional eastern imagery, Chinese and Tibetan landscape motifs, digital imaging, and other sources. There is a constant flux between empty and full, atmospheric and graphic, abstract and figurative, quiet and psychedelic...
i'm such a huge gushing fan...see tons more work and the rest of the statement here.
i will appreciate the beauty of the flower and then likewise, i will stand exhibitionistic, having the flower appreciate the beauty of me. and i think having an intimate 'love affair' with a flower is far more psychotic and riveting than having a love affair with some of the banal creatures of the human race. although i'd be into that too.you go, girl...and keep making this awesome work while you're at it!..see more here.
