2018-19 Figurative Objective Research

In 2018 I decided to return to a figurative objective practice as a way to release myself from the ‘aura of objects’ in the pursuit of minimalism. At this point, I had been living in Montreal almost a full year and managed to receive many of my belongings from abroad as well as from a storage space in Toronto all together in a big enough place to open the boxes. The result was overwhelming and I became perplexed as to the amount of feeling that I had for many of the objects (I had managed to live without for such long periods of time) and felt that I was unable to release myself from the memories that many of the object sparked in me.

So, I began painting images of the things which were difficult to let go of. As part of my objective practice this began to include the surrounding environment as a way to subtly ‘date’ the work and then as I began to experience death more frequently, and my personality became more realized, I began to include figures.

While painting, and in revisiting old works, (some of which were incorporated into this new series) I decided to allow my subconscious the right to ‘graffiti’ these precious works at will, and to contribute in representation of itself.

 

radio alarm clock 1

 

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In September 2018 I started showing this work at USINE 106U in Montreal.

My work was on display there from September 2018 to the end of February 2019 and I was able to show this new series of work as I worked through it. Since showing the process of my work is an important factor to me, this was a great opportunity and I enjoyed the atmosphere and getting to know several of the artists who also showed there for varying lengths of time.

 

 

Estimated Line of General Happiness and Enjoyment Since Moving Abroad (To Korea in 2010) for the First Time

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This piece is really difficult to take a full picture of as you can imagine.

Estimated Line of General Happiness and Enjoyment Since Moving Abroad (To Korea in 2010) For the First Time, 2016
10 meter scroll
Canvas, spray-paint, markers, crayons
:In Collaboration with Haesook Kim, Laura Veron, Julie Finelli, Hui Ung Jin, and Gyul Jin

 

 

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Interview questions asked by Leela Bear, August 2016
(In consideration of the (solo)exhibition at Palsa Gallery and Artist in Residency Program at Art Space Jang)

What is the focus of this body of work?

I wanted to use this residency as a platform for exploring what collaboration could look like in my work, mixed in with an element of chance.

The focus piece of this exhibition explores your experience of happiness since moving to Korea in 2010, why did you choose to have other artists collaborate with you on such a (potentially) personal piece?

Happiness is subjective; it changes as your perspective does.  The dates represent times I had traveled back to my home country and were used as neutral markers. I thought that other artists might have specific memories relating to those marked times of the previous years. So, I wanted to encourage those contributors to take part by reflecting on this specific selection of years and dates.

How do you feel Korea has influenced your work?

Korea has influenced my work immensely. I’ve had the opportunity to join several residencies here that have shaped my work. I have been able to play the role of the outsider here in Korea exploring a culture unique to my own, and also looking back at my home country culture in a new context. Korea’s focus on community has played a defining role in my work, and living abroad for an undetermined period of time has influenced the type of support/ surface I use in my work to be of a more nomadic quality.

Art Space Jang Residency 2016

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