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htmlText_7C584218_6CF1_B790_41B7_19893E30E955.html = This video will only be available during the exhibition dates (through May 22, 2022).
Astria Suparak
Virtually Asian
Video
03:05 minutes
2021
Virtually Asian is a short video essay that looks at how white science fiction filmmakers fill the backgrounds of their futuristic worlds with hollow Asian figures—in the form of video and holographic advertisements—while the main cast (if not the entirety of their fictional universe’s population) is devoid of actual Asian people.
Tropicollage
Looped video
01:20 minutes
2021
Tropicollage is a looping video that collages footage from thirty years of futuristic sci-fi movies and television shows that employ a fetishized tropics trope.
To learn more about the artist and artwork(s), visit www.growoursoulsexhibition.com. Contact gallery@somarts.org to purchase.
Astria Suparak
Tang Rainbow
Installation, vinyl print
276” wide x 192” tall (dimensions variable)
2022
Tang Rainbow is an array of non-Asian actors outfitted in Chinese-influenced costumes across 50 years of science fiction cinema and television. Referencing both the artificial orange drink popularized by NASA space flights and the tángzhuāng (唐装, tang suit) — the straight-collared jacket dismissed as “fake antiques'' by Chinese scholars of dress — the characters exist in an Asian-imbued future emptied of Asian people, as built by white filmmakers and show runners. This polychromatic arc is populated by deceptive and lecherous villains, a spiritual guide, an emotionally unavailable mother, a naive technician, and middle management for evil empires. Acts of racial appropriation, often excused as harmless, belie the violence of systemic dehumanization and exclusion — much like the part of a knife blade hidden within the handle, the tang.
Thank you to Karen Tam and Brett Kashmere.
To learn more about the artist and artwork(s), visit www.growoursoulsexhibition.com. Contact gallery@somarts.org to purchase.
Astria Suparak
Tang Rainbow
Installation, vinyl print
276” wide x 192” tall (dimensions variable)
2022
Tang Rainbow is an array of non-Asian actors outfitted in Chinese-influenced costumes across 50 years of science fiction cinema and television. Referencing both the artificial orange drink popularized by NASA space flights and the tángzhuāng (唐装, tang suit) — the straight-collared jacket dismissed as “fake antiques'' by Chinese scholars of dress — the characters exist in an Asian-imbued future emptied of Asian people, as built by white filmmakers and show runners. This polychromatic arc is populated by deceptive and lecherous villains, a spiritual guide, an emotionally unavailable mother, a naive technician, and middle management for evil empires. Acts of racial appropriation, often excused as harmless, belie the violence of systemic dehumanization and exclusion — much like the part of a knife blade hidden within the handle, the tang.
Thank you to Karen Tam and Brett Kashmere.
To learn more about the artist and artwork(s), visit www.growoursoulsexhibition.com. Contact gallery@somarts.org to purchase.
Cindy Shih
Migration I & II
Ink, pigment and plaster on panel
30" x 60" (each)
2018
$8000 (each)
Cindy Shih’s landscape paintings imagine Bay Area scenes from the vantage point of railroad Chinese workers. Her compositions contemplate the elegance of line, texture, and brushwork while evoking the raw energy, passion and power of forces of nature. These pieces are a quiet and passionate reflection of turbulent discussions of immigration today.
To learn more about the artist and artwork(s), visit www.growoursoulsexhibition.com. Contact gallery@somarts.org to purchase.
Connie Zheng
Routes/Roots
Mixed media on cyanotype and silkscreen print
10’ x 5’
2021
Routes/Roots is a diagrammatic drawing that traces the ways in which major food plants — from watermelons to potatoes — have traversed the world over the past several millennia, along with the human activities that have enabled or necessitated their movement. It is an incomplete register shaped by the interests and biases of its author, yet it nevertheless attempts to record the manifold ways in which colonialism, slavery and capitalistic enterprise have shaped not only what foods we eat and consider ‘native’ to a place, but also how seeds and their fruits can make hostile new landscapes feel like home — or transform fertile soil into unrecognizable plantations.
To learn more about the artist and artwork(s), visit www.growoursoulsexhibition.com. Contact gallery@somarts.org to purchase.
Connie Zheng
Seed almanac (installation view)
Stoneware seeds made by artists from UC Berkeley and the University of San Francisco as part of the artist's ongoing seed-making workshop, soil and roots from the artist's garden, glass basins, identification and placards
Dimensions variable
2019-ongoing
Seed almanac is a growing archive of “seeds” made by UC Berkeley and University of San Francisco undergraduates who participated in seed-making workshops that the artist has been facilitating since 2019. Participants created clay seeds in response to the prompt, “If you could have any seed with you at the end of the world — or the beginning of a new one — what would it be?”
To learn more about the artist and artwork(s), visit www.growoursoulsexhibition.com. Contact gallery@somarts.org to purchase.
Connie Zheng
Seed almanac (installation view)
Stoneware seeds made by artists from UC Berkeley and the University of San Francisco as part of the artist's ongoing seed-making workshop, soil and roots from the artist's garden, glass basins, identification and placards
Dimensions variable
2019-ongoing
Seed almanac is a growing archive of “seeds” made by UC Berkeley and University of San Francisco undergraduates who participated in seed-making workshops that the artist has been facilitating since 2019. Participants created clay seeds in response to the prompt, “If you could have any seed with you at the end of the world — or the beginning of a new one — what would it be?”
To learn more about the artist and artwork(s), visit www.growoursoulsexhibition.com. Contact gallery@somarts.org to purchase.
Connie Zheng
Seed almanac (installation view)
Stoneware seeds made by artists from UC Berkeley and the University of San Francisco as part of the artist's ongoing seed-making workshop, soil and roots from the artist's garden, glass basins, identification and placards
Dimensions variable
2019-ongoing
Seed almanac is a growing archive of “seeds” made by UC Berkeley and University of San Francisco undergraduates who participated in seed-making workshops that the artist has been facilitating since 2019. Participants created clay seeds in response to the prompt, “If you could have any seed with you at the end of the world — or the beginning of a new one — what would it be?”
To learn more about the artist and artwork(s), visit www.growoursoulsexhibition.com. Contact gallery@somarts.org to purchase.
Connie Zheng
Seed almanac (installation view)
Stoneware seeds made by artists from UC Berkeley and the University of San Francisco as part of the artist's ongoing seed-making workshop, soil and roots from the artist's garden, glass basins, identification and placards
Dimensions variable
2019-ongoing
Seed almanac is a growing archive of “seeds” made by UC Berkeley and University of San Francisco undergraduates who participated in seed-making workshops that the artist has been facilitating since 2019. Participants created clay seeds in response to the prompt, “If you could have any seed with you at the end of the world — or the beginning of a new one — what would it be?”
To learn more about the artist and artwork(s), visit www.growoursoulsexhibition.com. Contact gallery@somarts.org to purchase.
Connie Zheng
Seed almanac (installation view)
Stoneware seeds made by artists from UC Berkeley and the University of San Francisco as part of the artist's ongoing seed-making workshop, soil and roots from the artist's garden, glass basins, identification and placards
Dimensions variable
2019-ongoing
Seed almanac is a growing archive of “seeds” made by UC Berkeley and University of San Francisco undergraduates who participated in seed-making workshops that the artist has been facilitating since 2019. Participants created clay seeds in response to the prompt, “If you could have any seed with you at the end of the world — or the beginning of a new one — what would it be?”
To learn more about the artist and artwork(s), visit www.growoursoulsexhibition.com. Contact gallery@somarts.org to purchase.
Connie Zheng
We heard the sky used to be a field of blue
mixed media on Mylar
36" x 64.5"
2020
Custom lightbox made by Damon Little, in collaboration with the artist
We heard the sky used to be a field of blue is a collaged panel painting on Mylar modeled loosely after 8th-century Chinese star atlases, with plants from the artist's garden taking the place of stars. The work asks viewers to consider looking toward the ground of the earth for the future, rather than the stars. An environmental diary of sorts, the painting is a record of how the vast amount of ecological data around us can be used as a tool for wayfinding and reconnecting to place. The plants in this painting were plants the artist came into contact with on a regular basis from January to June 2020, as the initial Covid lockdown began.
To learn more about the artist and artwork(s), visit www.growoursoulsexhibition.com. Contact gallery@somarts.org to purchase.
Diana Li
I AM ENOUGH
Aunt Lydia's mercerized cotton crochet thread, golden yellow, size 10
56.5" x 9.25"
2018-22
NFS
I AM ENOUGH is a golden yellow scarf slowly and carefully crocheted over the course of a 3-4 year period. With each and every stitch, the artist meditated on the affirmation to cope from the pressure of "producing" art and "contributing" to her family, both of which tend to be loaded with capitalist ideals of survival, success and assimilation.
Artist’s Note: If it wasn’t for the automatic objectification of displaying this "piece" in a gallery, the scarf would be touched, worn and embraced.
To learn more about the artist and artwork(s), visit www.growoursoulsexhibition.com. Contact gallery@somarts.org to purchase.
Diana Li
In Honor of iPhone Girl (aka Shenzhen Foxconn Technology Powered by Hangzhou Kaite Electrical Appliance Co., LTD)
extension cord, smartphone, jpeg
77" x 21"
2022
NFS
In 2008, a British man posted on MacRumors.com sharing three images of a factory worker he found on a brand new iPhone 3G that he purchased. The images went viral and the factory worker became known as "iPhone Girl" on the Internet. Using traditional Chinese knots, the electrical cable powering the device displaying her image is tied in honor of her labor and the labor of all those constructing the electronic devices used to support the wealth of a select few in "modernized" parts of the world.
To learn more about the artist and artwork(s), visit www.growoursoulsexhibition.com. Contact gallery@somarts.org to purchase.
Jess X. Snow (with Kit Yan & Peter Pa featuring Hina Wong-Kalu, Isabella Borgeson, Kayla Briët & Wang-Ping Oshiro)
Afterearth
Video
14 minutes
2017
As rising sea levels threaten the loss of their motherlands in Hawaiʻi, the Philippines, China, and North America, four women fight to preserve the volcano, ocean, land and air for future generations. Afterearth is told through music, poetry and heartfelt testimonial–and displayed through stunning visuals situated in locations touched by the Pacific Ocean.
To learn more about the artist and artwork(s), visit www.growoursoulsexhibition.com.
Kacy Jung
Self-Portrait 1 & 2
Plaster, bronze powder, printable fabric and resin
28'' x 40'' x 15'' & 35'' x 40'' x 15''
2020
$4200 (each)
Viewers' experiences are challenged by the twisted female portrait and effect of water dripping from the coated resin. A pair of hands wringing the fabric was made from plaster: material popularly used in construction to represent society. The hands were cast from the artist’s hands to convey her role in self-inflicted societal pressure–including the decision to leave a “stable” career to pursue the arts.
To learn more about the artist and artwork(s), visit www.growoursoulsexhibition.com. Contact gallery@somarts.org to purchase.
Monica Tie
Tranquility
rice paper, sumi ink, silicone, SHA-1 commit checksums
13’’ x 26’’ (Scroll: 17’’ x 46’’)
2022
$1350
Globally, there are countless Asian software engineers contributing to tech, yet they’re often overlooked or erased from modern history. In this painting, the artist dreams of a future where code can be feminine, software is accessible and the artificial and natural coexist in balance.
All commit checksums used in this painting refer to code authored by the artist.
Meandering Paths
rice paper, sumi ink, silicone, minified JavaScript
13’’ x 17’’ (Scroll: 13’’ x 31’’)
2022
$925
The artist started her software career writing code for a social network platform. Years later, the site enabled her to learn Chinese brush painting while in the mountains of Colorado. The minified JavaScript in the background of the painting is code from Ning.com, a Silicon Valley unicorn hopeful that faded from prominence.
To learn more about the artist and artwork(s), visit www.growoursoulsexhibition.com. Contact gallery@somarts.org to purchase.
Nancy Sayavong
Bag
gypsum, gold leaf, lacquer, rice bag imprint
32” x 16” x 15”
2022
$12,000
Inspired by the ubiquitous food that accompanies family dinners, Bag integrates Laotian and Thai currency motifs to reflect Nancy’s sibling relationships as well as symbolize commodity transaction(s) between the two countries. Bag appears plump and pliable, but is actually durable and fixed.
To learn more about the artist and artwork(s), visit www.growoursoulsexhibition.com. Contact gallery@somarts.org to purchase.
Preetika Rajgariah
spread the light; be the lighthouse
fabric and paint on yoga mats
72" x 46"
2020
what belongs to you shall come to you
fabric and paint on yoga mats
48" x 45"
2020
Yoga is a site where culture, capitalism and classism collide. These paintings are created using upcycled yoga mats, with heirloom saris and silks from women in the artist’s family. The self portraiture and conceptually stimulating imagery is a direct attempt to combat the erasure of brown bodies from this spiritually rooted practice as well as take agency over the artist’s own body as subject v object.
Core Values
Digital performance
Dimensions variable
2019
To learn more about the artist and artwork(s), visit www.growoursoulsexhibition.com. Contact gallery@somarts.org to purchase.
Preetika Rajgariah
spread the light; be the lighthouse
fabric and paint on yoga mats
72" x 46"
2020
what belongs to you shall come to you
fabric and paint on yoga mats
48" x 45"
2020
Yoga is a site where culture, capitalism and classism collide. These paintings are created using upcycled yoga mats, with heirloom saris and silks from women in the artist’s family. The self portraiture and conceptually stimulating imagery is a direct attempt to combat the erasure of brown bodies from this spiritually rooted practice as well as take agency over the artist’s own body as subject v object.
Core Values
Digital performance
Dimensions variable
2019
To learn more about the artist and artwork(s), visit www.growoursoulsexhibition.com. Contact gallery@somarts.org to purchase.
Rea Lynn de Guzman
Morphed
Acrylic & image transfer on piña fiber over panel
20" x 16"
$1200
2021
Intertwined
Acrylic, image transfer & silkscreen on paper and synthetic organza over panel
24" x 20"
$1600
2022
Shawl Fragments
Acrylic, image transfer & monoprint on paper mounted on panel
20" x 24”
$1500
2016
Cloaked
Acrylic and image transfer on paper mounted on panel
24" x 20”
$1500
2017
Stained
Acrylic & image transfer on piña fiber over panel
24" x 20”
$1500
2017
These works navigate the colonial history of piña fiber in the Philippines and its relationship with the ideals associated with Maria Clara: beauty, status and stereotypes of chastity, demureness, light skin, passivity and subordination. Through a process of repetitive layering and a palette evoking skin tones, the artist utilizes the tactility of specific materials such as image transfers on piña fiber and synthetic organza to demonstrate how material remnants are intertwined with classist and cultural legacies.
To learn more about the artist and artwork(s), visit www.growoursoulsexhibition.com. Contact gallery@somarts.org to purchase.
Rea Lynn de Guzman
Morphed
Acrylic & image transfer on piña fiber over panel
20" x 16"
$1200
2021
Intertwined
Acrylic, image transfer & silkscreen on paper and synthetic organza over panel
24" x 20"
$1600
2022
Shawl Fragments
Acrylic, image transfer & monoprint on paper mounted on panel
20" x 24”
$1500
2016
Cloaked
Acrylic and image transfer on paper mounted on panel
24" x 20”
$1500
2017
Stained
Acrylic & image transfer on piña fiber over panel
24" x 20”
$1500
2017
These works navigate the colonial history of piña fiber in the Philippines and its relationship with the ideals associated with Maria Clara: beauty, status and stereotypes of chastity, demureness, light skin, passivity and subordination. Through a process of repetitive layering and a palette evoking skin tones, the artist utilizes the tactility of specific materials such as image transfers on piña fiber and synthetic organza to demonstrate how material remnants are intertwined with classist and cultural legacies.
To learn more about the artist and artwork(s), visit www.growoursoulsexhibition.com. Contact gallery@somarts.org to purchase.
Sheng Lor
Redwood, Acacia, Lichen
Fiber
48” x 54”
2021
$1000
Toyon, Madrone, Coffeeberry
Fiber
42” x 52”
$1000
Dyeing Flora is a foraged dye project respecting how the environment informs, shapes and contextualizes production. Using natural dyes extracted from site-specific flora such as weeds, fungi, lichen, native tree barks and leaves, these works change as the site of production moves from one place to another. The outcome is a mapping of the environmental resiliency of places through the dyed cloth each site produces.
To learn more about the artist and artwork(s), visit www.growoursoulsexhibition.com. Contact gallery@somarts.org to purchase.
Trinh Mai
Flesh of My Flesh
Belle’s acrylic, charcoal, dirt collected from the garlic fields in which my husband Hiền and his family labored with other immigrant families when first arriving in America to be compensated one dollar per bucket harvested, holy water, ink, Pacific Ocean water collected from the harbor of San Pedro, where Hiền served time in the immigration detention center, and tears shed for him on paper; arrows crafted with indigenous methods using found branches, found feathers, found string, and wax
Drawing 42” x 94 ½”; installation 94 ½" x 45" x 48"
2020
Many of the Psalms were written during times of war, lamenting suffering, rebuking those responsible for the suffering, protesting innocence, petitioning for divine assistance, anticipating collective response, and with sincere thanksgiving even through the turmoil. This portrait of the artist’s belovèd Vietnamese Cambodian American husband was inspired by Psalm 91, a prayer of protection for the faithful, the hopeful and the suffering. Detained by ICE, his citizenship and socioeconomic prospects were destabilized, reflecting how political decisions perpetuate labor inequities.
To learn more about the artist and artwork(s), visit www.growoursoulsexhibition.com. Contact gallery@somarts.org to purchase.
Trinh Mai
Flesh of My Flesh
Belle’s acrylic, charcoal, dirt collected from the garlic fields in which my husband Hiền and his family labored with other immigrant families when first arriving in America to be compensated one dollar per bucket harvested, holy water, ink, Pacific Ocean water collected from the harbor of San Pedro, where Hiền served time in the immigration detention center, and tears shed for him on paper; arrows crafted with indigenous methods using found branches, found feathers, found string, and wax
Drawing 42” x 94 ½”; installation 94 ½" x 45" x 48"
2020
Many of the Psalms were written during times of war, lamenting suffering, rebuking those responsible for the suffering, protesting innocence, petitioning for divine assistance, anticipating collective response, and with sincere thanksgiving even through the turmoil. This portrait of the artist’s belovèd Vietnamese Cambodian American husband was inspired by Psalm 91, a prayer of protection for the faithful, the hopeful and the suffering. Detained by ICE, his citizenship and socioeconomic prospects were destabilized, reflecting how political decisions perpetuate labor inequities.
To learn more about the artist and artwork(s), visit www.growoursoulsexhibition.com. Contact gallery@somarts.org to purchase.
Trinh Mai
Seed
Belle's acrylic, charcoal and ink on paper embedded in resin
34" x 80" x 18"
2022
To learn more about the artist and artwork(s), visit www.growoursoulsexhibition.com. Contact gallery@somarts.org to purchase.
Trinh Mai
Seed
Belle's acrylic, charcoal and ink on paper embedded in resin
34" x 80" x 18"
2022
To learn more about the artist and artwork(s), visit www.growoursoulsexhibition.com. Contact gallery@somarts.org to purchase.
Grow Our Souls Community Mural
Wall paint
10’ x 9’
2022
Why lotuses? When the curator began designing Grow Our Souls, a search of “Asian” motifs on the Internet pulled up koi ponds, red-lanterned villages or lotuses floating in placid lakes. Inspired by abundant ecosystems, the curator explored the mud, water and light necessary to help lotuses grow, as well as how their stems and stalks provided cover for diverse aquatic life. How do we elevate not just the flower but also the network of life that supports it?
Thank you to Katherine, Diana, Marina, Kani, Kim, Amber, Madvi, Shannon, Jasselle, Kyle, Parul, El and Michelle for painting this mural.