Cinderflora SeriesPosted: September 15, 2015
September 15th, 2015
I’ve gotten a bit too busy to write, but I do wish I could make more time for it. Writing helps clarify my thoughts: the act of writing forces me to focus and structure my thoughts in a way that is both challenging and necessary. Hats off to all my writer friends; shit’s not easy.
Last month, I received a letter from a highly respected Art organization in Oakland, congratulating me for being nominated by someone from SFMOMA, Jewish Contemporary Museum, Yerba Buena, or Oakland Art Museum as one of the artists selected to apply for a solo show next year.
As an artist, having a solo show is a huge milestone, but even being nominated by such esteemed organizations was a huge honor in itself. Given that I had started exploring new media, playing with textures, and thinking of new ways to incorporate my ideas, I wanted to produce work that reflected this.
What resulted was my first real foray into the sculptural– titled, Cinderflora, a series of mixed media work exploring an appreciation for decline, the rhythm of growth and decay, and the use of cracks and imperfections as sources for newfound strength. Using traditional philosophies of wabi‐sabi, ikebana, and kintsugi, it collides organic, natural forms with industrial building materials (such as cinder blocks and bricks) to explore the oft‐overlooked meanings in conventional objects. Here is an excerpt from my write-up for the show (many thanks to Henry Lien, my amazingly talented cousin, who is an accomplished artist and writer–for his help):
Establishing a balance between two assumed binaries; harsh, industrial building materials are met with natural, delicate, hand-made forms to question our assumptions around seemingly opposing concepts such as fragile/strong, delicate/harsh, beauty/imperfection,and growth/decay. Each piece tells a different story of nature waiting for man‐made obstacles to crumble, seeking fissures and cracks as a point of entry to find its path into the light.
The title of the series itself attempts to rehabilitate a reviled cliche of a female narrative. The story of Cinderella is perhaps most controversial, because it is a traditional fairytale of finding salvation in a prince’s arms. It elicits sneers from progressives as readily as floral craftwork does, and yet‐ Cinderella’s story can also be read as a tale of hard work, patience, resourcefulness, and taking advantage of opportunities as it presents itself. The alternative reading of Cinderella’s story harmonizes with the alternative reading of paper flowers; which, in turn, suggests an alternate recounting of women’s stories and contributions throughout American history.
It’s a weird feeling; to make the jump into the third dimension, but I’m very proud of this new body of work, and I feel good about my application. Now that it’s submitted, I will have to knock down my expectations a few notches. But either way, I am excited about my new body of work, and intend on furthering this series because it represents so much of who I am. Thank you to Carlos Lopez for his amazing photographs of my pieces, and for his continued patience with me while I work an inordinate amount of hours in the studio. Fingers crossed, and wish me luck- I’ll need it!