ART SHOWS

LIQUID STORIES 2016, Curated by Pallavi Sharma, “The Vessel: Where Once the Stories Bloomed Like Teardrops”

Photo Credit: Reiko Fujii before installation

Before installation | Photo Credit: Reiko Fujii

Four things inspired the creation of The Vessel: Where Once the Stories Bloomed Like Teardrops, for an exhibit at the Lindsay Dirkx Brown Gallery in the San Ramon Cultural Center from October 8th-27th. The first was Walt Whitman’s poem “When Lilacs Last in the Dooryard Bloom’d”, though this piece is not meant as an elegy, but as a container for all the lost stories. Tales that have been forgotten, misused or that the world has simply moved on from. This idea is captured with the words that used to begin all Hungarian fairy tales: Where was it? Where was it not? rather than once upon a time. It also holds the narratives that we tell ourselves and have moved on from out of necessity. These types of narratives seem so fluid to me, and I wanted to pay homage to them with something as beautiful and impractical as the Pennsylvania home designed by Frank Lloyd Wright, Fallingwater. The third was the following words by Ezra Pound:

Photo Credit: Jennifer Lee Burner

Mixed Media/Found Object Installation, 20”h x 28”w | Photo Credit: Jennifer Lee Burner

The apparition of these faces in the crowd;
Petals on a wet, black bough
.

His poem “In A Station of the Metro” echoed in my mind while dreaming of this installation. To make the structure, I re-used an old panel from an art exhibition in Pacifica and ripped up an antique Baudelaire book I found in Healdsburg called Flowers of Evil. The rice paper is from my first batch of Japanese-style papermaking and was made from many trips to the watering hose at Judy Shintani’s studio in Half Moon Bay. The wood pieces were collected by Stafford Lake in Novato at a friend’s birthday party. All of these objects hold water and stories within them as well. What is found in their arrangement, I hope, is not just the sadness of loss, like the dying of rose petals, but the sense of renewal that comes after the tears have bloomed. It is this beautiful energy that carries us forward to more dooryards, different crowds, falling like water into new stories. I found that sense of renewal in the last thing, the person I dedicate this installation to — JLB.

 

 

A PLACE OF HER OWN 2016, Curated by Cynthia Tom & Maggie Yee, “Contours Of A Metaphor”

Found Object and Mixed Media Installation, 18" x 24" on display at the I-Hotel in Manilatown Cultural Center from May 19th-June 30th, 2016

Found Object and Mixed Media Installation, 17.5″ x 22″, on display at the I-Hotel in Manilatown Cultural Center from May 19th-June 30th, 2016

In my first A PLACE OF HER OWN installation in 2011, I asked: “What is my life concept? What is my story? I need a new frame, but I don’t know the old frame. The search for a frame itself gives birth to both a metaphorical and a real place of my own. This place begins in fear, sadness, and loss but when examined in the clear, harsh light of day, it becomes a space for my own creation and creativity.” I created two red doors that stood 12 feet high with 83 scarves spilling out from the edges and six red frames arranged like a stained glass window to represent standing on a threshold, where any possibilities could emerge.

I’m no longer standing in that place. I’ve found a new frame, which I’m exploring in an installation called “Contours Of A Metaphor.” It operates on the heart and crown chakras, symbolically merging the two. I left A PLACE in 2014 to devote myself to matters of the heart, and now I’ve come back, not having figured it out. Through meditations here as well as Open Floor Movement Practice and 5Rhythms®, I know I’m still meant to be focusing on contours of the heart.

Excerpts from my poem about the bowler hat, written that night after sitting in the coffeeshop all day. . .

Excerpts from my poem about the bowler hat, written that night after sitting in the coffeeshop all day. . .

Milan Kundera (1984) begins his novel, The Unbearable Lightness of Being, with the words: “Metaphors are dangerous. Metaphors are not to be trifled with. A single metaphor can give birth to love.” A single metaphor can also give birth to a new identity. The bowler hat his character, Sabina, wears in the story inspired me to put on my own bowler hat(s). I wanted to know what it felt like to wear an object so charged with gender binaries, lightness, sexuality and persona. Over the years, I’ve adopted this imagery and created my own persona around the bowler hat because I like the feelings of empowerment, beauty and liberation that emerge when I put it on my head.

The bowler hat used in this installation was my first. It came from Brooklyn, where a friend had moved. The hat was on a shelf in her room when she arrived, and she had no idea what to do with it until I mentioned wanting one. It was a struggle for her to remove from the shelf it had been attached to, so I knew this hat had a history and story of its own. When I was at a low point, I wore it for hours sitting at a mosaic table in a coffee shop crying. When I got home, a long poem poured forth and both my new writing practice and persona were created. I wanted to do something special with this hat, which is the center of a place of my own, and from that center, reach out with both hands to embrace freedom and movement. In one hand, I hold my heart, and in the other, greater possibilities.

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50-50 Show IV 2012, Juried Exhibition, “A Material Girl”

All 50 panels installed at Sanchez Art Center

Talking about my concept at the Grand Opening | Photo Credit: Judy Shintani

Talking about my concept at the Grand Opening | Photo Credit: Judy Shintani

In the fourth installment of the 50-50 Show at Sanchez Art Center in Pacifica, CA, I created 50 panels in 50 days on the theme: a girl made of material objects and frames that are found and re-purposed.

“A Material Girl” came from a desire I had to tell stories through objects. I grew up in the 1980’s and 1990’s in a generation that knows and loves excess, particularly in the form of material goods. It was a time when Madonna’s “Material Girl” image reigned large, and the global impact of consumerist materialism can be seen and felt in today’s society.

What I wanted to unpack in fifty panels is how we also are able to relate ourselves to certain objects that aren’t merely a part of this negative cycle of materialism, but hold meaning in our lives because they tell the story of who we are and what we have lived. In that sense, these panels are autobiographical because they tell what I have lived since that is what I know.

Philosopher David Hume believed that our minds were like separate frames, and we lived each moment in the present frame. We had only what we could taste in our mouths, feel with our hands, smell in the air, hear and see in the environment around us. We had no way of connecting each frame. This way of thinking is anathema for a Kantian Idealist, but I found myself drawing inspiration from this idea while creating each individual panel. Each panel is its own story for me and for you. They are not connected, and yet within the framework, you can see the outlines of a girl: her hair, her raised fist, her shaded eyes, booted feet, the hand that wears the glove, a whole person.

To keep my stamina, I decided to blog about how each object holds a memory, or memories, that have formed this girl’s identity. To read more and see the individual panels, go here.

 

 

A PLACE OF HER OWN 2011, Curated by Cynthia Tom & Kimi Taira, Juried Exhibition, “The Red Frame”

"The Red Door," A PLACE Exhibition, SOMArts Cultural Center, May 2011 (Photo Credit: Bob Hsiang)

“The Red Door,” A PLACE Exhibition, SOMArts Cultural Center, May 2011 | Photo Credit: Bob Hsiang

Red frames piled together in geometric layers arranged to mimic a stained glass window and fastened with red threads | Photo Credit: Markus Storzer

Red frames piled together in geometric layers arranged to mimic a stained glass window and fastened with red threads | Photo Credit: Markus Storzer

Re-arranging red threads after the Literary Reading where I read excerpts from "The Red Frame." It comes from the old Chinese saying that a red string ties us to the ones we love.

Re-arranging red threads after the Literary Reading where I read excerpts from “The Red Frame.” It comes from the old Chinese saying that a red string ties us to the ones we love. | Photo Credit: Noreen Myers

My project, “The Red Frame,” originated from a desire to become more real, a desire that arose from being a Korean adoptee and realizing that part of myself was missing. I began a journey to locate those missing pieces, which led me to the questions: What is my story? What is my life concept? What is the frame for my story? I need a new frame, but I don’t know the old frame.

A place of my own is layered, and each layer is a part of me: a possibility, a memory, a question or an answer. It is a space that can hold all of my questions and all of the possibilities in life. In my piece, I follow different red threads to explore such possibilities. I take the idea of the red threads from the Chinese adage that says an invisible red string ties us all to the ones we love. All those in our past, future, and who we never knew.

In my place, imagination and reality are blurred, but my objects are solid and concrete. The six frames symbolize my search for a way to frame my story, a window to a journey that is found in the liminal space between real life and what can only be conjured or imagined.

Standing in front of a door is a liminal moment. The door itself is a frame. What is behind it? What is beyond it? What does the frame itself hold? Who we are shapes the questions we ask, and the answers we form. My doors are red-hot and ready to be reformed. They are large, narrow and full of possibilities.

 

 

ALTERED BARBIE 2011, “More Bleach”

"More Bleach," mixed media box, 17.5'' wide x 22'' high

“More Bleach,” mixed media box, 17.5” wide x 22” high

For the 2011 Altered Barbie theme, “In Barbie’s Name: What Would Barbie Do and Ken too?” curator, Julie Andersen, asked a few of the artists from A PLACE OF HER OWN to alter a Barbie to go along with our A PLACE installations. I decided to alter Asian Barbie, Lara, by giving her large, chunky blonde highlights, or what I would consider “tiger hair” because you can see dark black stripes beneath the light bleached hair.

To re-envision my PLACE on a smaller scale, I painted four red frames and arranged them in layers that, again, called to mind a stained glass window. I placed bleached Lara inside the red box so that her face could be seen through the configuration of frames, as if to ask the viewer what he or she sees inside: an Asian or an American? Words, fragments or something else entirely?

My essay, “More Bleach”, was printed on ivory tissue paper made to look like parchment paper and scattered across the back of the box. I fashioned a tube top for Lara using a short excerpt.

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