Archives for posts with tag: #abstractpainting

YL_Stranger AP mag 2

My piece, Slippage, in The Stranger‘s Art & Performance Spring 2016 magazine (above, right)

Some days you think you’re going to go wrangle with the electricity company over a billing issue, and then something entirely unexpected and magical happens. In my case, I received a text notifying me that my art was in the latest issue of The Stranger, a popular weekly paper in Seattle. I thought, “Well, fuck the double charge on that bill—they can triple-charge me, for all I care. Right now I’m off to get a paper!”

Then I sprinted down to the coffeehouse in the lobby of my office building, grabbed a paper, and retreated to a quiet place to look through it. The artwork in question was in the periodical’s quarterly Art & Performance magazine. The guide provides a comprehensive list of all arts events going on that season; the Visual Arts section alone contained more than 200 exhibitions and shows.

Right there, on page 23, was my piece, Slippage. I felt almost numb with disbelief. There were only five image slots available in that section; three of them promoted museum shows, including that of international art star Kehinde Wiley, and another showed the work of local legend Norman Lundin. Then there’s this unknown artist, Yoona Lee. The one squarely outside the Seattle arts community, the one who toiled in relative obscurity for 16 long years to get the show of her dreams.

That was my painting right there, and the caption made me gasp. “Why you should see it: Because [Yoona] can transform everyday materials into smart meditations on racial politics.” They understood me. They got to the heart of what I was doing.

Slippage itself was created by cutting a slit in the cellophane covering a store-bought stretched canvas and pouring Sumi ink into it. The piece is about the infiltration of the Other’s, or minority’s, perspective into a previously white and sacrosanct canon—a phenomenon as unstoppable as ink across a blank canvas. I last showed it at the 2015 Arts & Social Change Showcase.

My upcoming show at Ghost Gallery will include this work and others. Titled Run Race Ragged: Three Takes on Racial Politics in America, the show will feature a wide breadth of work: big, visceral abstract paintings, smaller conceptual mixed-media collage, and at least one figurative drawing. It will open May 12, the night of Seattle’s Capitol Hill Art Walk. If you’re in the area, I hope you’ll drop by. Details below.

Run Race Ragged: Three Takes on Racial Politics in America
Ghost Gallery
Opening May 12, 5 to 9PM
On view through June 6
504 E. Denny Way
(corner of E. Denny Way and Summit/Olive, entryway to right of Hillcrest Market)

My website: http://www.rhymeswithrace.com/

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Mode Irrealis
Irrealis Mode, acrylic on 30″ x 40″ canvas, 2006

The Strata series consists of horizontal layers and pentimenti (visible traces of the earlier stages of the painting), which are used to represent a priori truths, or what lies beneath experiential knowledge. This series explores consciousness, memory, and the overlapping texts of fear and desire.

With the Strata paintings, I departed from my previous monochrome work, avoiding dominant forms and using color to elicit emotion. Although color field painting is nothing new, it was certainly an unfamiliar practice for me, though a liberating one.

Irrealis Mode (above) was the first in the series. I had just come back from spending time in the Bay Area, and the clarion California light profoundly influenced me. The painting has an oneiric, or dream-like, quality like something yearned for or remembered. The ineffable seems to lurk between the layers, so the title refers to a grammatical mode used to describe the unreal.

Laguna
Laguna, acrylic on 30″ x 48″ canvas, 2007

The painting above took almost three years to finish. I wanted to create a piece that had both fearsome and beguiling elements. The latter appear as fields of aqua (an unusually complex color in this case, carrying a blush of pink) and sea green. By contrast, electric patches of cadmium orange and ultramarine vibrate and shimmer as you get close. An underlying dark structure emerges–part of the earlier painting–representing the limits of mortality, an underworld, or an unresolved trauma.

Sea Change
Sea Change, acrylic on 30″ x 48″ canvas, 2006

Unlike Laguna, this piece took less than an hour to complete and is very minimal. It uses only three colors, and nearly a third of the painting is raw canvas. By sheer luck, a few dribbles of paint appeared in just the right places, so I let them travel down. When creating Sea Change, I was thinking of the color of the sky before a storm–that ominous but captivating shade of yellowish gray–and the uncertain psychological climate around major changes.

Here are a few smaller pieces in the series.

lost_Strata_SM
Untitled, acrylic on 8″ x 12″ canvas, 2010

Small strata
Untitled, acrylic on 5″ x 7″ canvas, 2006

I find that abstraction enables a more mutable vocabulary than figurative art, and is more apt to reveal subconscious processes. Although modern art is often all about the surface, there is a lot more beneath, through more readings than one.

These days I’ve been developing a new body of work around race, but I plan to return to the Strata series. In the meantime, it waits for me like an alluring memory or an unfinished dream.

You can see more of my paintings at: http://rhymeswithrace.com/paintings.html

I know you’re tired of it. Race. Race in America. It’s a topic ripe enough to burst, and it dominates the headlines: racial terrorism, police brutality, Obama using the “N” word. I’m sick of it too, but it’s what people of color, like me, live and breathe every day. We talk, cry, and yell it; it’s the key in which we sing.

Lately, I have been developing a body of work that deals with the fraught and beleaguered issue of race in America. These paintings are a continuation of my recent show at Seattle’s Zeitgeist Coffee, Disconnects: The Linguistics of Race. After Ferguson, I began this series as a way of processing the rage and grief that I felt.

Using a large housepaint brush, I flung acrylic paint on more than 30 feet of raw canvas. Working in such a visceral, often violent way–and on such a large scale–was cathartic for me. Although the Action Painters of the ’50s used the same methods, they produced work that was largely apolitical (and most were Caucasian men). My work is firmly rooted in the discourse of racial disparity.

The first piece in the series is Denatured, a tribute to Michael Brown.

Denatured
Denatured, nailed to the wall at Zeitgeist Coffee, March 2015

Most of the other pieces use the same splatter method to represent the squandered lives that racism takes by force. The random patterns of the paint form tumultuous narratives of struggle, evoking bodies rent apart through physical or psychological violence, the disemboweling of entire communities, and the quest for liberation.

Race 2_FergusonRace 1

Race 3

The following pieces talk about structural racism, the bias written into institutions and systems in America. From the Confederate flag flown over Southern government buildings to racial stratification in housing, vestiges of white supremacist ideology are still present in our culture.

Race 5
If this reminds you of a penitentiary, then you’re on the right track.

Race 4

What does experiencing racism feel like? I can say from firsthand experience that you feel eviscerated, stripped of agency, and blinded to everything except the incident itself. Your perspective distorted and self-worth negated, you feel like sawdust or, worse yet, nothing at all.

But as an Asian-American, I have it easy compared to the struggles of the black community. According to writer Julia Craven, “To be black, specifically in America, is to be in a constant state of fear. There is no refuge. There is no escape. There is no sanctuary.”

Even so, you still get some wildly posturing, colonialist asshat like Rachel Dolezal, who commodifies Otherness (in the words of bell hooks) in the ultimate appropriative act of white privilege. As if race can be simply performed and adopted. As if we all had the luxury of that choice.

That’s why we have to frankly and openly address race in America–and run it ragged: understand its ins and outs, all its vagaries and gray areas. And then do something about it. From rewriting the policies and laws to subverting the dominant media narrative and its outdated tropes (see the Wall Street Journal coverage of Charleston for an example) to supporting communities of color.

This all takes thinking critically, listening carefully, and acting compassionately. Not turning the other way or pretending it’s someone else’s job. It’s our job because, goddamn it, it’s our world.

WP_20150307_010
Denatured (2015) and Code Switching (2012) 

My show, Disconnects: The Linguistics of Race, which opened at Zeitgeist Coffee two weeks ago, features abstract paintings from the past decade. Most of them took months, if not years, to complete. The one exception is Denatured (above, left), which was done in one intense sitting.

Zeitgeist 1
Pieces ranging from 2005 through 2010

The space
The two walls of the show space, seen together

Back in the mid-2000s, I began a series of monochrome paintings, called Epistemes, that flirted with epistemology, or the study of knowledge and its acquisition. The paintings’ stark black structures symbolized the mental constructs and girders that we hang our perceptions on. Here are some pieces, now being shown at Zeitgeist, from that body of work.

9-elegy
Interdiction, acrylic on 30″x40″canvas, 2005

The first of the Epistemes series, this painting arose out of the sound of constant construction outside our apartment for several years. (It’s no surprise that the structures resemble cranes and scaffolding.) I knew the painting was finished when it became a quiet, still sanctuary that I wanted to ensconce myself in. The piece has a bleak, elegiac quality that I find somehow comforting.

8-manchester
Superstructure, acrylic on 3’x4′ canvas, 2009

This piece was more of a struggle than the others and took about three years to finish. Here it is in an earlier stage:

manchester
(Gack! Not working.)

At that point, I realized that it needed more “oomph,” so I decreased the number of structures and fortified the ones that were left. I wanted an architectural majesty that would evoke the heroism of Franz Kline—who is an obvious influence on my work.

5-convergence
Convergence, acrylic on 3’x4′ canvas, 2010

This was another painting that took at least two years to finish. Like the others in the series, it features the conflicted interplay of black and white paint. If there’s one painting in the show that talks about the fractured language around race in America, it’s this one, with its ruptures and tenuous connections.

52-thin-years
The Thin Years, acrylic on 3’x4′ canvas, 2008

This painting is the only one whose name is less conceptual and more autobiographical. “The Thin Years” refers to the fact that, in beginning this piece, I realized the economy was tanking and my job was in jeopardy; therefore, I needed to save money by thinning my paint. The result yielded an open, airy painting with luminous spaces. The only problem: I was using a brand of cheap paint, and it felt like painting with seagull shit. The medium was oily and not even truly black. But still, it’s one of my favorite paintings.

Code Changing with patron
Code Switching (with visitor), acrylic on 30″x40″ canvas, 2012
Photo by Maria Martinez

This piece took at least two years to finish and was the first in the series to incorporate mixed media—more specifically, foil, paper towels, and a random swatch of cloth from my husband’s jeans. Code-switching is a linguistic term that refers to alternating between languages, or language styles, in a single conversation. As such, it’s a means of negotiating racial and cultural identities. Working in mixed media is its own form of switching between visual languages.

Denatured
Denatured, acrylic on 3’x5′ loose canvas, 2015

And then there is Denatured, which was a breakthrough that happened in January. Like in the Epistemes series, disconnects occur in the dialogue between black and white, except that the architectural structures of the earlier work become subsumed in emotion. This violent, uncontainable spillage echoes the volatility of racial discourse in America.

There were many ways to hang this piece, but I decided to simply nail it to the wall, which has an immediate, visceral effect. You could go further and read into Michael Brown (whose denatured body lay in the street for four hours) attaining a Messianic quality—I wouldn’t argue with that.

yoona-painting-02
A black-and-white closeup by Tim Prioste

In response to the cultural zeitgeist and my own identity as an Asian-American female, I feel compelled to continue in this direction. I need to use the language of abstraction to somehow express the messiness of race relations in the United States. So my goal for this year is to gain access to a large enough space to produce in and thereby work toward my next show.

Show information:

Disconnects: The Linguistics of Race | abstract paintings by Yoona Lee

Zeitgeist Coffee
171 S. Jackson St., Seattle, WA 98104
Mon – Fri: 6am – 7pm | Sat: 7am – 7pm | Sun: 8am – 6pm

Now through April 1.