Archives for posts with tag: Artist’s struggle

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/

Advertisements

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.

My first apt_ptg
This is a painting I made in October 1998 of my first apartment in Seattle. I had left the East Coast for good, having dissociated myself from my immediate family, and resolved to start from scratch in a creative, progressive city. I was working two jobs, six days a week, and putting myself through night school in Desktop Production at the Art Institute of Seattle. The painting shows what I had back then: a camping cot to sleep on, cardboard boxes as tables, and some secondhand furniture I’d either picked up in the alleys of Capitol Hill or borrowed from my uncle, who lived on the other side of town. The floor was strewn with used books and paintbrushes I’d brought with me from Washington, DC. The painting itself was created using the five tubes of paint I owned (the primary colors plus white and black) on several small sheets of paper taped together.

It was a devastatingly lonely autumn for me. I rarely saw my uncle’s family or my one friend who lived at the far end of the city, and was disconsolate or exhausted—or physically sick—most of the time. On top of that, it rained for almost 90 days in a row, and the residents of Seattle smiled but nobody ever wanted to talk. Every day I could feel the city wearing me down like a carrot peeler would, shaving off fine slices of myself.

3-quarter-life
A self-portrait from 2000 called Quarter Life, done in that same apartment

When I think back on how hard I’ve worked for something, whether it’s attaining artistic recognition or carving out a life in this city, I get emotional. It’s hard to forget all the solitary evenings filled with bottomless longing and racked with self-doubt, the agonizing creative dry spells where nothing gets produced, the rapacious hunger for recognition and secret fear that it will come with its cruel, unforgiving gaze. You know, the typical life of an artist.

After the Wing Luke Museum solicited a piece of my art for their Korean-American show last fall, I found myself looking up one evening at the window of my first apartment in Seattle—a ramshackle Victorian building on Capitol Hill—and dissolved into tears. Trembling, I gripped myself in disbelief, feeling equal amounts of ecstasy and grief at the uphill battle it’s been.

Now a dream I’ve had since June of 1999 has come true. I finally have a solo show at Zeitgeist Coffee, a well-respected coffeehouse and arts venue in Seattle’s historic Pioneer Square neighborhood. The Wing Luke Museum was a game-changer; I had professional business cards made and summoned up the gumption to invite the owner of the coffeehouse to have a look at my website. I was floored when he offered me the show. It had taken me 16 years of doggedly developing work—often spending years on a single painting—and paying my dues as an artist to get to this point.

During my lunch hour a few weeks ago, I went to Zeitgeist and picked up a cellophane-wrapped block of postcards promoting my show. My eyes grew damp as I held the stack, solid as a brick, in my hands. There, printed in the familiar template used by the coffeehouse, was my name and my work. It felt like this was what I was waiting for my whole life. In the in-between light of a Seattle winter day and the squabbling of seagulls in a historic part of the city, I felt elated and strangely light-headed.

Z postcard 1 Z postcard 2

Needing to return to my office, I hopped a bus that wound its ponderous way through downtown Seattle. Seated by the window, I caught glimpses of my former workplaces and apartments—all touchstones in my creative and personal development.

There was the Seattle Art Museum, where I’d started out in Seattle as an unhappy gift shop clerk (one of my two jobs back then); I met my husband at the loading dock in 1999 when we were working as museum security guards. Years later, he and I lived in an apartment across from the museum during its expansion and didn’t sleep for two years. The abstract paintings I’m showing at Zeitgeist emerged out of this time of insomnia and constant noise.

Zeitgeist blog post_SAM

Up the road was the Art Deco–era Seattle Tower, where I spent close to seven years working as a copyeditor at a design and branding firm while creating the bulk of my abstract work. During the recession, the firm hemorrhaged people, dwindling from almost 60 employees to around 8 by the time they laid me off. I sublimated a lot of my torment and fears into my paintings.

Zeitgeist blog post dwgs Sea Tower

Then we passed the hatchet-shaped Times Square Building, where I had reluctantly answered phones and poured coffee as a perennially malcontent receptionist at an architecture firm. It was there that I initially developed the visual language for the paintings in my show.

Zeitgeist blog post dwgs Times Sq

Just up the road, I could glimpse that first bleak little apartment building on Capitol Hill. That was where, as a nobody in this city, I resolved to stay and make a life here, no matter what it took. And, disembarking near my office, I remembered the first two solo shows of my work that were held a few blocks away, and how one was even reviewed in the print issue of The Stranger, a Seattle weekly paper.

Zeitgeist blog post dwgs Morris

The bus ride was a retrospective experience that made me realize how far I’ve come. But it also reminded me of how ephemeral art shows and public recognition are. When it comes down to it, the act of creating is what empowers and drives an artist forward. So once this upcoming show has passed, I’ll soon be laboring over the next piece of creative work. But hopefully there’ll come a time when I can look back again and feel a deep, almost debilitating, tremor of gratitude.

Here’s information on my upcoming art opening. If you’re in Seattle, I hope you’ll consider stopping by.

Disconnects: The Linguistics of Race—abstract paintings by Yoona Lee
1st Thursday, March 5, 2016, 6:00PM – 8:00 PM
Zeitgeist Coffee
171 S. Jackson St., Seattle, WA 98104

Show ends April 1, 2015.

UPDATE: My next show, Run Race Ragged: Three Takes on Racial Politics in America, opens at Ghost Gallery on May 12 and runs through June 5, 2016.