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WHAT | WHAT | ||
Meditations on Poison is an ongoing body of illustrative paintings | Meditations on Poison is an ongoing body of illustrative paintings. These images draw from visual languages of Traditional Chinese Medicine, comic books and anatomical diagrams. This project is the first step towards an autobiographical reflections on cultural history, bodily function and cognitive development. | ||
How | How | ||
The works | The works draw from pencil drawings that have been laser-etched onto birch wood panels. Each panel has been treated with different patinas, including graphite, carbon paper, water-based adhesives amongst other materials. I will mount this constellation of images onto larger wooden sheets, hung at eye level | ||
WHY | WHY | ||
This project navigates a ground for cultural reflection that I have developed since departing from Canada. Through displacement I can better identify with the experiences of cultural transition | This project navigates a ground for cultural reflection that I have developed since departing from my home, Canada. Through displacement I can better identify with the experiences of cultural transition that my mother and father shared as foreigners and their respective relationships to Traditional Chinese Medicine and Western biomedicine. | ||
Revision as of 15:02, 1 October 2015
Veins of Gypsum Mortar
WHAT
Veins of Gypsum Mortar was a group installation, composed and fabricated by artist Victor Briestensky and myself, which took place in July of 2015. This project was developed in collaboration with Ashley, a nomadic exhibition platform whose mandate is to promote dialogue between local and international emerging artists working in Berlin.
HOW
Being situated in different cities, Briestensky and I conceived of VOGM through an exchange of personal research into defensive military fortifications, doomsday bunkers and other structures that premised protection and isolation. This research would assist us in constructing a scenic design for the purpose of presenting personal works alongside six contributors.
WHY
A reciprocal observation of artists working with themes of pessimism, post humanism and precarity, whom reflected our personal interests, laid the foundation for VOGM. Briestensky and I’s primary inquiry with this exhibition was testing how a built environment might bolster or unify the mutual notions and explorations of the artists involved.
Meditations on Poison
WHAT
Meditations on Poison is an ongoing body of illustrative paintings. These images draw from visual languages of Traditional Chinese Medicine, comic books and anatomical diagrams. This project is the first step towards an autobiographical reflections on cultural history, bodily function and cognitive development.
How
The works draw from pencil drawings that have been laser-etched onto birch wood panels. Each panel has been treated with different patinas, including graphite, carbon paper, water-based adhesives amongst other materials. I will mount this constellation of images onto larger wooden sheets, hung at eye level
WHY
This project navigates a ground for cultural reflection that I have developed since departing from my home, Canada. Through displacement I can better identify with the experiences of cultural transition that my mother and father shared as foreigners and their respective relationships to Traditional Chinese Medicine and Western biomedicine.