Notes
1 A Brackish Tendency,
Shea Chang, 2020.
18” x 24”, acrylic and absorbent ground on shaped aluminum composite panel, aluminum subframe.
2 My Horizon
Shea Chang, 2020.
15” x 22 x 2”, acrylic on shaped aluminum composite, birch panel and chalk pastel on wall.
3 A Meadow is Also a Parking Lot, Shea Chang, 2020.
48” x 36”, acrylic and absorbent ground on aluminum composite panel, aluminum subframe.
3 The Maypole, Inherited,
Shea Chang, 2020.
36” x 48”, acrylic and absorbent ground on aluminum composite panel, aluminum subframe.
4 Fan (Tomorrow’s Fire),
Shea Chang, 2020.
48” x 30”, acrylic and absorbent ground on shaped aluminum composite panel, aluminum subframe.
As vessels of cultural migration, appropriation, and fetishization, ‘orientalist’ objects are indicators of the hidden frictions in cross-cultural navigation. In the attempt to build a personal visual vocabulary that speaks to these mixed, broken and scattered containers of culture, I examine and employ motifs found in vases, fans, textiles and ephemera into my work.
The difficulty to contain my own biracial narrative is explored in the piece, A Brackish Tendency. Through motifs extending from each end of the two-dimensional wave-shaped surface, two distinct patterns fade in subtle gradation towards off-kilter discs in the centre, where the two sides fail to intersect.
Liminal bodies of water and ecological states of flux are ever present, signalling the hidden power dynamics of place and positionality. I am interested in making visible these unseen agencies of land, in order to carve out spaces of possibility where marginalized, forgotten or lost narratives can transcend exclusions or restraints.
1 A Brackish Tendency,
Shea Chang, 2020.
18” x 24”, acrylic and absorbent ground on shaped aluminum composite panel, aluminum subframe.
2 My Horizon
Shea Chang, 2020.
15” x 22 x 2”, acrylic on shaped aluminum composite, birch panel and chalk pastel on wall.
3 A Meadow is Also a Parking Lot, Shea Chang, 2020.
48” x 36”, acrylic and absorbent ground on aluminum composite panel, aluminum subframe.
3 The Maypole, Inherited,
Shea Chang, 2020.
36” x 48”, acrylic and absorbent ground on aluminum composite panel, aluminum subframe.
4 Fan (Tomorrow’s Fire),
Shea Chang, 2020.
48” x 30”, acrylic and absorbent ground on shaped aluminum composite panel, aluminum subframe.
As vessels of cultural migration, appropriation, and fetishization, ‘orientalist’ objects are indicators of the hidden frictions in cross-cultural navigation. In the attempt to build a personal visual vocabulary that speaks to these mixed, broken and scattered containers of culture, I examine and employ motifs found in vases, fans, textiles and ephemera into my work.
The difficulty to contain my own biracial narrative is explored in the piece, A Brackish Tendency. Through motifs extending from each end of the two-dimensional wave-shaped surface, two distinct patterns fade in subtle gradation towards off-kilter discs in the centre, where the two sides fail to intersect.
Liminal bodies of water and ecological states of flux are ever present, signalling the hidden power dynamics of place and positionality. I am interested in making visible these unseen agencies of land, in order to carve out spaces of possibility where marginalized, forgotten or lost narratives can transcend exclusions or restraints.
The
Grotto as a Matrix: Liminal Assemblages & Symbiotic Bodies
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