I had an incredibly full summer and am grateful to have a combination of work and play. Now here we are in September and I will be doing some posts here about my upcoming exhibitions. I'll start with this first one at Frye Art Museum in Seattle Washington. My installation and participatory performance Fortune House is part of a group exhibition called Group Therapy . The entire museum will be transformed into a 'free clinic' of interactive projects and immersive installations by 12 international artists that comment or reconfigure strategies of the wellness industry holistic and alternative medicines, psychotherapy and other methodologies of well being. For this iteration of Fortune House I will be exchanging fortunes for a monster story to be documented as an ink drawing that will be accumulated in the gallery space. Please check the museum schedule for dates when I'll be there offering these free readings.
105 Chrysanthemums is part of the group exhibition 13 Ways to Summon Ghosts at the Gordon Smith Gallery in North Vancouver. The exhibition curated by Kimberly Phillips features the work of Abbas Akhavan, Brady Cranfield, Brenda Draney, Betty Goodwin, Vanessa Kwan, Lyse Lemieux, Tanya Lukin Linklater, Jacqueline Hoàng Nguyễn, Ryan Peter, Kathleen Ritter, Carol Sawyer, and Jin-me Yoon. Catalogue launch and opening June 23.
"This exhibition considers the work of 13 Canadian artists of diverse origins and experience for whom haunting, it might be argued, is an artistic strategy. Through works of sound, sculpture, installation, painting, garments, print and video, these artists alter our experience of being in time and challenge the ways we separate the past, present and future. The work of each of these artists is remarkable because like haunting, it produces 'a something to be done.' It demands our rapt attention, begs a reconsideration of presumed positions, calls up histories with which we are complicit, and makes matter of that which is otherwise invisible." - Kimberly Phillips.
It's already the end of April and I feel like half of the year has already gone by. What is this saying about me and the way I work or the way we are accustomed now to fill and take up time. It - time - seems to be the common theme in the year of the dog and I know I'm not alone.
Time has been a very important concept to the jar and skew the series of letters, messages and stories that were found, spun, built, lost and spoken in Rock, Paper, Scissors. Told by our trusted narrator K as she traverses through various chapters of time spanning the 1900-2100 - it parallels a story of trying to remember the island of Kayashima and its surrounding brackish water - an area of water that once was a site for children to play in and families to go to, housing species of sea animals and fish that are no longer. Time was snipped open by the 30' giant in a tatara steele factory, K gets tossed down a dusty pathway on the island of Mayne on her way to confront the Mr. N the man with the pocket watch - as she carries on so does the rest of the world that holds space to hear the story.
Our most recent travel to Yonago, Tottori-ken Japan was an ending to the epic Rock, Paper, Scissors which is a 45 minute multi-media installation - but also a 4 year process of making site-specific works with community members, public archives, chance encounters, gut feelings, mistakes with the support of the team AIR 475 and curator Makiko Hara. When people ask how it was, it's almost difficult to describe it all or even name all the outcomes, events, the affect of the artwork and its process. I feel particularly lucky to see other things invisible come together from the presence of both two visitors - Makiko and I - coming to gather, meet and play on this special place for the past 4 years. But, I'm pleased to say all these complex thoughts and conversations will be documented into a special book project that will be scheduled to come out this winter 2018. Stay tuned.
When I was invited by curator Makiko Hara in 2014 to create a work for the periphery sites around Yonago, I would never had imagined that we would continue to return to complete this trilogy work called Rock, Paper, Scissors. The installation will be opening at the Yonago City Art Museum Feb 25 - March 11. There will be panel discussions and public programs that will be offered in conjunction with the exhibition. For those in the Yonago region I hope you can join us!
This fall I'm one of the artist-in-residence at Daisen Laboratory for their Itonami Daisen residency project and festival. Magic School is a project that consists of performance, animation, meals and workshops that question the role of 'magic' in everyday life through the lens of reading futures. Integrating both my fortune telling practice and drawing/animation, I will work on a new installation and film.