Maya Kaisth and Clair Chin, 2014
Suspended Linings is the first piece I made that has acted as a starting point in my more current work and endeavors. I wanted to create a small scale installation that was evocative of clouds in the sky, yet I did not want to create an exact and duplicative sculpture. In order to push the unnatural aspect of this piece, I decided to add an unnatural light source.
This piece was successful in that it peaked my interest in unnatural iterations of natural objects. As a piece, it was too static and not expansive enough to create a wide scale evocation. It remains as a first step, and leads to my next project Artificial Linings, which is an ongoing piece created by my partner Clair Chin and myself, to be completed December 10th in the Ellis Gallery.
Fishing wire, polyester, LED lights
I wanted to create an environment that was composed of everyday objects which we interact with without acknowledgment. The objects which surround us during the intimate and long periods of nighttime sleep, namely the particles of the bed, are largely unthought of.
These objects, the pillows, sheets, and comforters that envelope us every night, hold some part of our physical bodies. In thinking of these ideas, the idea of a hanging structure began to interest me. I created a tent made out of bed sheets suspended by coat hangers and wire. I placed pillows and a comforter inside.
coat hangers, wire, sheets, pillows, comforter
“Staged in an intimate, plain gallery space decorated with little more than a smudge of lipstick on one wall and a snarling boar’s head mounted on another, this “Alcina,” seen on Sunday, elegantly and entertainingly conjured a catalog of human emotions in its collision of confused, desperate lovers… The production’s two weeks of rehearsals were free and open to the public, and the performances were streamed live on the Internet as well as broadcast on a television in the gallery’s front window, a welcoming and welcome degree of openness for an art form that intimidates many.”
“February 15–May 8, 2013
Gutai: Splendid Playground presents the creative spectrum of Japan’s most influential avant-garde collective of the postwar era. Founded by the visionary artist Yoshihara Jirō in 1954, the Gutai group was legendary in its own time. Its young members explored new art forms combining performance, painting, and interactive environments, and realized an ‘international common ground’ of experimental art”
Media and Images:
“The monumental isolation of the figures is enhanced by low-angle shots, along with frontal poses and the austere, slightly abstract background bands of beach, water and sky, all of which echo the full-length portraits of Goya, Hals and Manet. This sense of form and formality contrasts markedly with the pictures’ contemporary casualness — the exposed flesh and intimations of fun and sun — even as it is confirmed by the prevailing seriousness and subtle anticipatory anxiety.”
“In regard to figurative realism, I can only say that I have always been drawn to that form of expression. I don’t believe there is much of a difference between the conceptual, the abstract, and the figurative…The settings are mainly bathtubs and beds. They are private spaces, spaces of solitude, and unusual places to find someone eating. The private space emphasizes the secrecy of compulsive behavior and the unusual settings emphasize its absurdity. The solitude and peace of the setting is a good juxtaposition to the frenetic, out-of-control feel of the woman’s actions.”
“What makes the experience valuable is the fact that it’s ephemeral,” said the installation’s creator, Rafael Lozano-Hemmer, 45. The project “allows us to remember that we are on earth for a very brief period of time, and then we’re going to die. And it helps us live perhaps more intensely. We’re more alert to the fact that it ends, that we’re getting recycled, that there is a flow.”