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Private Practices: AAPI Artist and Sex Worker Collection at the Los Angeles Contemporary Archive
Private Practices is a living, growing collection developed alongside curator Coco Ono. The March 16th 2021 shooting spree that targeted Asian women in Atlanta Georgia is a stark reminder of the systemic misogyny that minimizes racial violence in the United States. In LACA’s shared neighborhood of Chinatown, we have seen firsthand a notable expansion of police presence. We are mindful that the securitization of our neighborhoods is not the answer to the entrenched systemic misogyny and racism that pervades our country. Private Practices asks how artists, archives, and Chinatown community members can effectively collect together. This collection addresses anti-Asian violence by locating it narrowly in the experience of AAPI sex workers. We believe that by amplifying some of these voices, Private Practices can draw into focus how racism toward Asian bodies can be marked by a uniquely sexual register.
Descriptions below are written in first-person by the works’ contributors.
Goddess Yuki, Yuki Lighters, 2023
Goddess Yuki lighter; art by Laura Lee Benjamin
Mariko Passion, Throwin up the W (Tupac of Prostitution Dayz)
Rhinestone necklace, custom made in DTLA 2006
Riv, Black Pleasers and Neon Outfit
Boots and outfit worn at Star Garden Topless Dive Bar between 2021-2022. I wore these boots the night I fell off the pole and injured my rotatory [sic] cuff 2 weeks before the stripper strike.
Kayla Noriko Tange, Kayla Ballet Bag
My childhood ballet bag made my [sic] grandmother. I used this bag while stripping to hold my shoes.
Kayla Noriko Tange, Confession Notes, 2015-2017
htmlText_5A623043_41AE_93E6_41BA_BA7E7F9226F4.html =
Private Practices: AAPI Artist and Sex Worker Collection at the Los Angeles Contemporary Archive
Private Practices is a living, growing collection developed alongside curator Coco Ono. The March 16th 2021 shooting spree that targeted Asian women in Atlanta Georgia is a stark reminder of the systemic misogyny that minimizes racial violence in the United States. In LACA’s shared neighborhood of Chinatown, we have seen firsthand a notable expansion of police presence. We are mindful that the securitization of our neighborhoods is not the answer to the entrenched systemic misogyny and racism that pervades our country. Private Practices asks how artists, archives, and Chinatown community members can effectively collect together. This collection addresses anti-Asian violence by locating it narrowly in the experience of AAPI sex workers. We believe that by amplifying some of these voices, Private Practices can draw into focus how racism toward Asian bodies can be marked by a uniquely sexual register.
Descriptions below are written in first-person by the works’ contributors.
Goddess Yuki, Yuki Lighters, 2023
Goddess Yuki lighter; art by Laura Lee Benjamin
Mariko Passion, Throwin up the W (Tupac of Prostitution Dayz)
Rhinestone necklace, custom made in DTLA 2006
Riv, Black Pleasers and Neon Outfit
Boots and outfit worn at Star Garden Topless Dive Bar between 2021-2022. I wore these boots the night I fell off the pole and injured my rotatory [sic] cuff 2 weeks before the stripper strike.
Kayla Noriko Tange, Kayla Ballet Bag
My childhood ballet bag made my [sic] grandmother. I used this bag while stripping to hold my shoes.
Kayla Noriko Tange, Confession Notes, 2015-2017
htmlText_5A663AA1_41AD_B4A2_41C8_46262F71EE29.html =
Private Practices: AAPI Artist and Sex Worker Collection at the Los Angeles Contemporary Archive
Private Practices is a living, growing collection developed alongside curator Coco Ono. The March 16th 2021 shooting spree that targeted Asian women in Atlanta Georgia is a stark reminder of the systemic misogyny that minimizes racial violence in the United States. In LACA’s shared neighborhood of Chinatown, we have seen firsthand a notable expansion of police presence. We are mindful that the securitization of our neighborhoods is not the answer to the entrenched systemic misogyny and racism that pervades our country. Private Practices asks how artists, archives, and Chinatown community members can effectively collect together. This collection addresses anti-Asian violence by locating it narrowly in the experience of AAPI sex workers. We believe that by amplifying some of these voices, Private Practices can draw into focus how racism toward Asian bodies can be marked by a uniquely sexual register.
Descriptions below are written in first-person by the works’ contributors.
Goddess Yuki, Yuki Lighters, 2023
Goddess Yuki lighter; art by Laura Lee Benjamin
Mariko Passion, Throwin up the W (Tupac of Prostitution Dayz)
Rhinestone necklace, custom made in DTLA 2006
Riv, Black Pleasers and Neon Outfit
Boots and outfit worn at Star Garden Topless Dive Bar between 2021-2022. I wore these boots the night I fell off the pole and injured my rotatory [sic] cuff 2 weeks before the stripper strike.
Kayla Noriko Tange, Kayla Ballet Bag
My childhood ballet bag made my [sic] grandmother. I used this bag while stripping to hold my shoes.
Kayla Noriko Tange, Confession Notes, 2015-2017
htmlText_5D874B4C_41A5_B5E2_41D0_7468E67DD39B.html =
Private Practices: AAPI Artist and Sex Worker Collection at the Los Angeles Contemporary Archive
Private Practices is a living, growing collection developed alongside curator Coco Ono. The March 16th 2021 shooting spree that targeted Asian women in Atlanta Georgia is a stark reminder of the systemic misogyny that minimizes racial violence in the United States. In LACA’s shared neighborhood of Chinatown, we have seen firsthand a notable expansion of police presence. We are mindful that the securitization of our neighborhoods is not the answer to the entrenched systemic misogyny and racism that pervades our country. Private Practices asks how artists, archives, and Chinatown community members can effectively collect together. This collection addresses anti-Asian violence by locating it narrowly in the experience of AAPI sex workers. We believe that by amplifying some of these voices, Private Practices can draw into focus how racism toward Asian bodies can be marked by a uniquely sexual register.
Descriptions below are written in first-person by the works’ contributors.
Goddess Yuki, Yuki Lighters, 2023
Goddess Yuki lighter; art by Laura Lee Benjamin
Mariko Passion, Throwin up the W (Tupac of Prostitution Dayz)
Rhinestone necklace, custom made in DTLA 2006
Riv, Black Pleasers and Neon Outfit
Boots and outfit worn at Star Garden Topless Dive Bar between 2021-2022. I wore these boots the night I fell off the pole and injured my rotatory [sic] cuff 2 weeks before the stripper strike.
Kayla Noriko Tange, Kayla Ballet Bag
My childhood ballet bag made my [sic] grandmother. I used this bag while stripping to hold my shoes.
Kayla Noriko Tange, Confession Notes, 2015-2017
htmlText_5543DFEE_41E2_8CBE_41CC_5BE786E6C1CA.html =
Bhasha Chakrabarti
Item Number 08.109.20 at the Metropolitan Museum of Art in New York
2023
Oil on burlap, and thread
14 x 9 x 1.75 inches
Courtesy the artist and Rajiv Menon Contemporary
For sales inquiries, please contact info@rmcontemporary.com.
htmlText_52F4EAB4_41A2_F4A3_41CC_DD54F4FC2CE6.html =
Bhasha Chakrabarti
Item Number 08.109.20 at the Metropolitan Museum of Art in New York
2023
Oil on burlap, and thread
14 x 9 x 1.75 inches
Courtesy the artist and Rajiv Menon Contemporary
For sales inquiries, please contact info@rmcontemporary.com.
htmlText_52A0F8C3_41AD_74E6_418F_A7D64D517FB3.html =
Bhasha Chakrabarti
Item Number 08.109.20 at the Metropolitan Museum of Art in New York
2023
Oil on burlap, and thread
14 x 9 x 1.75 inches
Courtesy the artist and Rajiv Menon Contemporary
For sales inquiries, please contact info@rmcontemporary.com.
htmlText_52ACF368_41AF_95A3_41B8_1F42D98D4472.html =
Bhasha Chakrabarti
Item Number 08.109.20 at the Metropolitan Museum of Art in New York
2023
Oil on burlap, and thread
14 x 9 x 1.75 inches
Courtesy the artist and Rajiv Menon Contemporary
For sales inquiries, please contact info@rmcontemporary.com.
htmlText_55490854_41EE_93E2_41B4_AC95387E9E54.html =
Bhasha Chakrabarti
Item Number 08.109.20 at the Metropolitan Museum of Art in New York
2023
Oil on burlap, and thread
14 x 9 x 1.75 inches
Courtesy the artist and Rajiv Menon Contemporary
For sales inquiries, please contact info@rmcontemporary.com.
htmlText_52115CB3_41A5_8CA5_41B2_EC58EF9FBE5B.html =
Bhasha Chakrabarti
Item Number 08.109.20 at the Metropolitan Museum of Art in New York
2023
Oil on burlap, and thread
14 x 9 x 1.75 inches
Courtesy the artist and Rajiv Menon Contemporary
For sales inquiries, please contact info@rmcontemporary.com.
htmlText_5708B436_41E3_B3AE_41CD_7575DA03152F.html =
Bhasha Chakrabarti
Item Number 08.109.20 at the Metropolitan Museum of Art in New York
2023
Oil on burlap, and thread
14 x 9 x 1.75 inches
Courtesy the artist and Rajiv Menon Contemporary
For sales inquiries, please contact info@rmcontemporary.com.
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Bhasha Chakrabarti
Item Number 08.109.20 at the Metropolitan Museum of Art in New York
2023
Oil on burlap, and thread
14 x 9 x 1.75 inches
Courtesy the artist and Rajiv Menon Contemporary
For sales inquiries, please contact info@rmcontemporary.com.
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Bhasha Chakrabarti
Item Number 2004.111 at the Brooklyn Museum in New York
2023
Oil on burlap, and thread
16 x 8 x 1.75 inches
Courtesy the artist and Rajiv Menon Contemporary
For sales inquiries, please contact info@rmcontemporary.com.
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Bhasha Chakrabarti
Item Number 2004.111 at the Brooklyn Museum in New York
2023
Oil on burlap, and thread
16 x 8 x 1.75 inches
Courtesy the artist and Rajiv Menon Contemporary
For sales inquiries, please contact info@rmcontemporary.com.
htmlText_645B5385_4265_9562_41C6_897F8138977E.html =
Bhasha Chakrabarti
Item Number 2004.111 at the Brooklyn Museum in New York
2023
Oil on burlap, and thread
16 x 8 x 1.75 inches
Courtesy the artist and Rajiv Menon Contemporary
For sales inquiries, please contact info@rmcontemporary.com.
htmlText_51605A4B_41A6_B7E6_41A0_64D7B8A14880.html =
Bhasha Chakrabarti
Item Number 2004.111 at the Brooklyn Museum in New York
2023
Oil on burlap, and thread
16 x 8 x 1.75 inches
Courtesy the artist and Rajiv Menon Contemporary
For sales inquiries, please contact info@rmcontemporary.com.
htmlText_59895DFA_41E2_8CA6_41CB_45564D19336E.html =
Bhasha Chakrabarti
Item Number 8027 A to K at Museum für Islamische Kunst in Berlin
2023
Oil on burlap, and thread
32 x 32 x 1.75 inches
Courtesy the artist and Rajiv Menon Contemporary
These paintings, scattered throughout the gallery, are facsimiles of carpet fragments in the collections of the Museum fur Islamische Kunst in Berlin, The Metropolitan Museum of Art in New York, The Victoria & Albert Museum in London, and The Brooklyn Museum. The fragments in these collections were likely removed from a carpet in the Frick Collection in New York during restoration in 2001, when the carpet transitioned from use as floor furnishing to a “work of art” restored, placed behind glass, and hung on the wall. The original rug dates from the reign of Shah Jahan (1628-58) and was likely made at the imperial workshop in Lahore. It was purchased in a pair of carpets by Henry Clay Frick in 1918 to furnish his house at 1 East 70th Street, where it was used in his library and remained a floor furnishing when the Frick Home became a museum. Here rendered in paint on burlap, both a common carpet-making material and a classical oil painting support, these fragment facsimiles arise from the porous border between categories of European “fine arts” and Oriental “crafts,” a distinction further complicated by the facsimiles’ production through Chakrabarti’s own labor of close study and painting. Gathered through their referents’ shared status as “item numbers” in their respective collections, Chakrabarti’s fragments raise questions about wholeness, coherence, and dispersion.
– Delaney Chieyen Holton, April 2024
For sales inquiries, please contact info@rmcontemporary.com.
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Bhasha Chakrabarti
Item Number 8027 A to K at Museum für Islamische Kunst in Berlin
2023
Oil on burlap, and thread
32 x 32 x 1.75 inches
Courtesy the artist and Rajiv Menon Contemporary
These paintings, scattered throughout the gallery, are facsimiles of carpet fragments in the collections of the Museum fur Islamische Kunst in Berlin, The Metropolitan Museum of Art in New York, The Victoria & Albert Museum in London, and The Brooklyn Museum. The fragments in these collections were likely removed from a carpet in the Frick Collection in New York during restoration in 2001, when the carpet transitioned from use as floor furnishing to a “work of art” restored, placed behind glass, and hung on the wall. The original rug dates from the reign of Shah Jahan (1628-58) and was likely made at the imperial workshop in Lahore. It was purchased in a pair of carpets by Henry Clay Frick in 1918 to furnish his house at 1 East 70th Street, where it was used in his library and remained a floor furnishing when the Frick Home became a museum. Here rendered in paint on burlap, both a common carpet-making material and a classical oil painting support, these fragment facsimiles arise from the porous border between categories of European “fine arts” and Oriental “crafts,” a distinction further complicated by the facsimiles’ production through Chakrabarti’s own labor of close study and painting. Gathered through their referents’ shared status as “item numbers” in their respective collections, Chakrabarti’s fragments raise questions about wholeness, coherence, and dispersion.
– Delaney Chieyen Holton, April 2024
For sales inquiries, please contact info@rmcontemporary.com.
htmlText_583A4D50_41E2_8DE2_41C0_02432BFDCD7C.html =
Bhasha Chakrabarti
Item Number 8027 A to K at Museum für Islamische Kunst in Berlin
2023
Oil on burlap, and thread
32 x 32 x 1.75 inches
Courtesy the artist and Rajiv Menon Contemporary
These paintings, scattered throughout the gallery, are facsimiles of carpet fragments in the collections of the Museum fur Islamische Kunst in Berlin, The Metropolitan Museum of Art in New York, The Victoria & Albert Museum in London, and The Brooklyn Museum. The fragments in these collections were likely removed from a carpet in the Frick Collection in New York during restoration in 2001, when the carpet transitioned from use as floor furnishing to a “work of art” restored, placed behind glass, and hung on the wall. The original rug dates from the reign of Shah Jahan (1628-58) and was likely made at the imperial workshop in Lahore. It was purchased in a pair of carpets by Henry Clay Frick in 1918 to furnish his house at 1 East 70th Street, where it was used in his library and remained a floor furnishing when the Frick Home became a museum. Here rendered in paint on burlap, both a common carpet-making material and a classical oil painting support, these fragment facsimiles arise from the porous border between categories of European “fine arts” and Oriental “crafts,” a distinction further complicated by the facsimiles’ production through Chakrabarti’s own labor of close study and painting. Gathered through their referents’ shared status as “item numbers” in their respective collections, Chakrabarti’s fragments raise questions about wholeness, coherence, and dispersion.
– Delaney Chieyen Holton, April 2024
For sales inquiries, please contact info@rmcontemporary.com.
htmlText_5B7A45D0_41DE_BCE2_4184_D2A7C20C0F2D.html =
Bhasha Chakrabarti
Item Number 8027 A to K at Museum für Islamische Kunst in Berlin
2023
Oil on burlap, and thread
32 x 32 x 1.75 inches
Courtesy the artist and Rajiv Menon Contemporary
These paintings, scattered throughout the gallery, are facsimiles of carpet fragments in the collections of the Museum fur Islamische Kunst in Berlin, The Metropolitan Museum of Art in New York, The Victoria & Albert Museum in London, and The Brooklyn Museum. The fragments in these collections were likely removed from a carpet in the Frick Collection in New York during restoration in 2001, when the carpet transitioned from use as floor furnishing to a “work of art” restored, placed behind glass, and hung on the wall. The original rug dates from the reign of Shah Jahan (1628-58) and was likely made at the imperial workshop in Lahore. It was purchased in a pair of carpets by Henry Clay Frick in 1918 to furnish his house at 1 East 70th Street, where it was used in his library and remained a floor furnishing when the Frick Home became a museum. Here rendered in paint on burlap, both a common carpet-making material and a classical oil painting support, these fragment facsimiles arise from the porous border between categories of European “fine arts” and Oriental “crafts,” a distinction further complicated by the facsimiles’ production through Chakrabarti’s own labor of close study and painting. Gathered through their referents’ shared status as “item numbers” in their respective collections, Chakrabarti’s fragments raise questions about wholeness, coherence, and dispersion.
– Delaney Chieyen Holton, April 2024
For sales inquiries, please contact info@rmcontemporary.com.
htmlText_5D74F6CC_41AD_9CE3_41B7_B67B0A45EE0B.html =
Bhasha Chakrabarti
Item Number 8027 A to K at Museum für Islamische Kunst in Berlin
2023
Oil on burlap, and thread
32 x 32 x 1.75 inches
Courtesy the artist and Rajiv Menon Contemporary
These paintings, scattered throughout the gallery, are facsimiles of carpet fragments in the collections of the Museum fur Islamische Kunst in Berlin, The Metropolitan Museum of Art in New York, The Victoria & Albert Museum in London, and The Brooklyn Museum. The fragments in these collections were likely removed from a carpet in the Frick Collection in New York during restoration in 2001, when the carpet transitioned from use as floor furnishing to a “work of art” restored, placed behind glass, and hung on the wall. The original rug dates from the reign of Shah Jahan (1628-58) and was likely made at the imperial workshop in Lahore. It was purchased in a pair of carpets by Henry Clay Frick in 1918 to furnish his house at 1 East 70th Street, where it was used in his library and remained a floor furnishing when the Frick Home became a museum. Here rendered in paint on burlap, both a common carpet-making material and a classical oil painting support, these fragment facsimiles arise from the porous border between categories of European “fine arts” and Oriental “crafts,” a distinction further complicated by the facsimiles’ production through Chakrabarti’s own labor of close study and painting. Gathered through their referents’ shared status as “item numbers” in their respective collections, Chakrabarti’s fragments raise questions about wholeness, coherence, and dispersion.
– Delaney Chieyen Holton, April 2024
For sales inquiries, please contact info@rmcontemporary.com.
htmlText_5606353A_41FF_BDA6_41AB_592AB0CAEF3C.html =
Bhasha Chakrabarti
Item Number 8027 A to K at Museum für Islamische Kunst in Berlin
2023
Oil on burlap, and thread
32 x 32 x 1.75 inches
Courtesy the artist and Rajiv Menon Contemporary
These paintings, scattered throughout the gallery, are facsimiles of carpet fragments in the collections of the Museum fur Islamische Kunst in Berlin, The Metropolitan Museum of Art in New York, The Victoria & Albert Museum in London, and The Brooklyn Museum. The fragments in these collections were likely removed from a carpet in the Frick Collection in New York during restoration in 2001, when the carpet transitioned from use as floor furnishing to a “work of art” restored, placed behind glass, and hung on the wall. The original rug dates from the reign of Shah Jahan (1628-58) and was likely made at the imperial workshop in Lahore. It was purchased in a pair of carpets by Henry Clay Frick in 1918 to furnish his house at 1 East 70th Street, where it was used in his library and remained a floor furnishing when the Frick Home became a museum. Here rendered in paint on burlap, both a common carpet-making material and a classical oil painting support, these fragment facsimiles arise from the porous border between categories of European “fine arts” and Oriental “crafts,” a distinction further complicated by the facsimiles’ production through Chakrabarti’s own labor of close study and painting. Gathered through their referents’ shared status as “item numbers” in their respective collections, Chakrabarti’s fragments raise questions about wholeness, coherence, and dispersion.
– Delaney Chieyen Holton, April 2024
For sales inquiries, please contact info@rmcontemporary.com.
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Edi Dai
10,000 Things
2019 - present
Handwoven canvas made of various undyed colored cotton stretched over canvas bars
Dimensions variable
Dai’s practice explores what constitutes painting as a medium, with focus on the substrate, or the base material on which paint is applied. Moving through the production process from start to finish, the artist grows cotton, spins the raw fiber into thread, and hand-weaves thread into canvas before stretching the textile over wooden frame. The diverse colors of the canvases reflect the range of brown, green, grey, pink, and mauve tones cotton naturally grows in beyond the familiar white, drawing attention to the material properties of canvas not as mere surface but as an ecologically situated organic entity. In centering textile, with its deep roots in women’s work, Dai brings their practice into a genealogy of weavers and weaving traditions.
– Delaney Chieyen Holton, April 2024
htmlText_55A8D186_41E6_956E_41C1_FDCF931FED60.html =
Edi Dai
10,000 Things
2019 - present
Handwoven canvas made of various undyed colored cotton stretched over canvas bars
Dimensions variable
Dai’s practice explores what constitutes painting as a medium, with focus on the substrate, or the base material on which paint is applied. Moving through the production process from start to finish, the artist grows cotton, spins the raw fiber into thread, and hand-weaves thread into canvas before stretching the textile over wooden frame. The diverse colors of the canvases reflect the range of brown, green, grey, pink, and mauve tones cotton naturally grows in beyond the familiar white, drawing attention to the material properties of canvas not as mere surface but as an ecologically situated organic entity. In centering textile, with its deep roots in women’s work, Dai brings their practice into a genealogy of weavers and weaving traditions.
– Delaney Chieyen Holton, April 2024
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Edi Dai
10,000 Things
2019 - present
Handwoven canvas made of various undyed colored cotton stretched over canvas bars
Dimensions variable
Dai’s practice explores what constitutes painting as a medium, with focus on the substrate, or the base material on which paint is applied. Moving through the production process from start to finish, the artist grows cotton, spins the raw fiber into thread, and hand-weaves thread into canvas before stretching the textile over wooden frame. The diverse colors of the canvases reflect the range of brown, green, grey, pink, and mauve tones cotton naturally grows in beyond the familiar white, drawing attention to the material properties of canvas not as mere surface but as an ecologically situated organic entity. In centering textile, with its deep roots in women’s work, Dai brings their practice into a genealogy of weavers and weaving traditions.
– Delaney Chieyen Holton, April 2024
htmlText_527F8101_41A3_7565_41CB_8234F18A3C0A.html =
Edi Dai
10,000 Things
2019 - present
Handwoven canvas made of various undyed colored cotton stretched over canvas bars
Dimensions variable
Dai’s practice explores what constitutes painting as a medium, with focus on the substrate, or the base material on which paint is applied. Moving through the production process from start to finish, the artist grows cotton, spins the raw fiber into thread, and hand-weaves thread into canvas before stretching the textile over wooden frame. The diverse colors of the canvases reflect the range of brown, green, grey, pink, and mauve tones cotton naturally grows in beyond the familiar white, drawing attention to the material properties of canvas not as mere surface but as an ecologically situated organic entity. In centering textile, with its deep roots in women’s work, Dai brings their practice into a genealogy of weavers and weaving traditions.
– Delaney Chieyen Holton, April 2024
htmlText_6CED4B52_427D_75E6_41C5_F86F455585E3.html =
Edi Dai
10,000 Things
2019 - present
Handwoven canvas made of various undyed colored cotton stretched over canvas bars
Dimensions variable
Dai’s practice explores what constitutes painting as a medium, with focus on the substrate, or the base material on which paint is applied. Moving through the production process from start to finish, the artist grows cotton, spins the raw fiber into thread, and hand-weaves thread into canvas before stretching the textile over wooden frame. The diverse colors of the canvases reflect the range of brown, green, grey, pink, and mauve tones cotton naturally grows in beyond the familiar white, drawing attention to the material properties of canvas not as mere surface but as an ecologically situated organic entity. In centering textile, with its deep roots in women’s work, Dai brings their practice into a genealogy of weavers and weaving traditions.
– Delaney Chieyen Holton, April 2024
htmlText_52134CB5_41A5_8CAD_41CB_F41B75A6CFE9.html =
Edi Dai
10,000 Things
2019 - present
Handwoven canvas made of various undyed colored cotton stretched over canvas bars
Dimensions variable
Dai’s practice explores what constitutes painting as a medium, with focus on the substrate, or the base material on which paint is applied. Moving through the production process from start to finish, the artist grows cotton, spins the raw fiber into thread, and hand-weaves thread into canvas before stretching the textile over wooden frame. The diverse colors of the canvases reflect the range of brown, green, grey, pink, and mauve tones cotton naturally grows in beyond the familiar white, drawing attention to the material properties of canvas not as mere surface but as an ecologically situated organic entity. In centering textile, with its deep roots in women’s work, Dai brings their practice into a genealogy of weavers and weaving traditions.
– Delaney Chieyen Holton, April 2024
htmlText_55F35CF7_41A6_8CAD_41CF_CA0E5C007355.html =
Edi Dai
10,000 Things
2019 - present
Handwoven canvas made of various undyed colored cotton stretched over canvas bars
Dimensions variable
Dai’s practice explores what constitutes painting as a medium, with focus on the substrate, or the base material on which paint is applied. Moving through the production process from start to finish, the artist grows cotton, spins the raw fiber into thread, and hand-weaves thread into canvas before stretching the textile over wooden frame. The diverse colors of the canvases reflect the range of brown, green, grey, pink, and mauve tones cotton naturally grows in beyond the familiar white, drawing attention to the material properties of canvas not as mere surface but as an ecologically situated organic entity. In centering textile, with its deep roots in women’s work, Dai brings their practice into a genealogy of weavers and weaving traditions.
– Delaney Chieyen Holton, April 2024
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Erina Alejo
Hola Erina/Tía Rosa, are you home? /
Si, estamos en casa (Yes, we are)
2024
Doors and other houseware from the Alejo and Morales families’ apartments, print on-demand memorabilia (text correspondences on vinyl, blanket, puzzle pieces, pillows)
Dimensions variable
Enclosed within the doors spanning the length of the Alejo and Morales families’ intimate apartment entryways are the artist’s productive failures to create sincere objects that celebrate their kinship with the Morales family. Alejo attempts to translate their environmental portraiture work and archives on essential life into domestic objects using print on-demand services, posing questions on how we negotiate the conditions of sincerity.
Are the recipients happy about these novelty items they receive, or are these objects more sentimental for the individuals who commission them? How can power be shared?
The productive failure may not actually lie within the families nor in the kitschy objects themselves, but within the resources and systems accessible for sincere memorialization. Living conditions and capitalist forces present possibilities for imagination to generate aesthetic forms of sincerity beyond what is present. Special thanks to Del Horton and the Morales family: Tía Rosa, Tío Florentino, Abril, and Arianna.
– Erina Alejo, April 2024
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Erina Alejo
Hola Erina/Tía Rosa, are you home? /
Si, estamos en casa (Yes, we are)
2024
Doors and other houseware from the Alejo and Morales families’ apartments, print on-demand memorabilia (text correspondences on vinyl, blanket, puzzle pieces, pillows)
Dimensions variable
Enclosed within the doors spanning the length of the Alejo and Morales families’ intimate apartment entryways are the artist’s productive failures to create sincere objects that celebrate their kinship with the Morales family. Alejo attempts to translate their environmental portraiture work and archives on essential life into domestic objects using print on-demand services, posing questions on how we negotiate the conditions of sincerity.
Are the recipients happy about these novelty items they receive, or are these objects more sentimental for the individuals who commission them? How can power be shared?
The productive failure may not actually lie within the families nor in the kitschy objects themselves, but within the resources and systems accessible for sincere memorialization. Living conditions and capitalist forces present possibilities for imagination to generate aesthetic forms of sincerity beyond what is present. Special thanks to Del Horton and the Morales family: Tía Rosa, Tío Florentino, Abril, and Arianna.
– Erina Alejo, April 2024
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Erina Alejo
Hola Erina/Tía Rosa, are you home? /
Si, estamos en casa (Yes, we are)
2024
Doors and other houseware from the Alejo and Morales families’ apartments, print on-demand memorabilia (text correspondences on vinyl, blanket, puzzle pieces, pillows)
Dimensions variable
Enclosed within the doors spanning the length of the Alejo and Morales families’ intimate apartment entryways are the artist’s productive failures to create sincere objects that celebrate their kinship with the Morales family. Alejo attempts to translate their environmental portraiture work and archives on essential life into domestic objects using print on-demand services, posing questions on how we negotiate the conditions of sincerity.
Are the recipients happy about these novelty items they receive, or are these objects more sentimental for the individuals who commission them? How can power be shared?
The productive failure may not actually lie within the families nor in the kitschy objects themselves, but within the resources and systems accessible for sincere memorialization. Living conditions and capitalist forces present possibilities for imagination to generate aesthetic forms of sincerity beyond what is present. Special thanks to Del Horton and the Morales family: Tía Rosa, Tío Florentino, Abril, and Arianna.
– Erina Alejo, April 2024
htmlText_57465F3A_41E3_8DA6_41AA_BB21C78BCDF9.html =
Erina Alejo
Hola Erina/Tía Rosa, are you home? /
Si, estamos en casa (Yes, we are)
2024
Doors and other houseware from the Alejo and Morales families’ apartments, print on-demand memorabilia (text correspondences on vinyl, blanket, puzzle pieces, pillows)
Dimensions variable
Enclosed within the doors spanning the length of the Alejo and Morales families’ intimate apartment entryways are the artist’s productive failures to create sincere objects that celebrate their kinship with the Morales family. Alejo attempts to translate their environmental portraiture work and archives on essential life into domestic objects using print on-demand services, posing questions on how we negotiate the conditions of sincerity.
Are the recipients happy about these novelty items they receive, or are these objects more sentimental for the individuals who commission them? How can power be shared?
The productive failure may not actually lie within the families nor in the kitschy objects themselves, but within the resources and systems accessible for sincere memorialization. Living conditions and capitalist forces present possibilities for imagination to generate aesthetic forms of sincerity beyond what is present. Special thanks to Del Horton and the Morales family: Tía Rosa, Tío Florentino, Abril, and Arianna.
– Erina Alejo, April 2024
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Kim Ye
Dyad
2012
Single-channel video
8 minutes, 39 seconds
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Kim Ye
Qualia
2010, 2015, 2024
Drywall, wood, foam, fabric, single-channel video
65 x 48 x 96 inches
Inviting visitors to crawl into the isolated space of the sculpture’s hollow to view the intimate video work inside, Ye composes viewership as an active engagement predicated on an exchange of implied consent – the artist’s willing performance of eroticism for the camera and the viewer’s choice to enter into the work. Qualia denaturalizes the conditions in which erotic media is often accessed by staging its erotic encounter in a semi-private space at once adequately isolated to afford contemplation, yet adamantly public.
– Delaney Chieyen Holton, April 2024
This work contains sexually suggestive content.
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Learning Palestine
Learning Palestine 12-hour video compilation
2023
Media compilation
12 hours
Dear listeners, friends, comrades in this world,
Hope you are fine wherever you are listening from. In this program we share lectures, talks, teach-ins as well as poems, music, and chants in the hopes of expanding our political horizons and engagements through study and struggle. To imagine ways of acting together, to tear apart the walls and borders that separate us, for a life in freedom, justice and dignity for all.
As genocide unfolds before our eyes, language falls short, it becomes obsolete and helpless. Yet we need to continue exploring ways of speaking out and organizing against the grain, against this overdose of destruction and annihilation of life, against warmongering and militarisation, against attempts to silence and immobilize us.
And so we return to what has been said and spoken before us to comprehend the history that precedes and informs the current political moment. We return to the struggles that we belong to and find our roots in, from Algeria to Abya Yala, from South Africa to Asia and back to Palestine. Despite the differences in our struggles, Palestine remains an embodiment and extension of these and other struggles for life and liberation, against racism, colonialism, imperialism and rising fascism.
Palestine isn’t only the land, but it is also the accumulation of all the struggles of the oppressed people against settler colonialism, imperial history, and capitalist domination in this world. Palestine is the Past, Palestine is the Future.
– Learning Palestine Team, https://learningpalestine.hotglue.me/
Click here for full playlist info
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Nibha Akireddy
Self Portrait, after “But You Cain’t Use My Phone” by Erykah Badu
2023
Oil on canvas
55 x 55 inches
Self Portrait, after “Addictive” by Truth Hurts feat. Rakim
2023
Oil on canvas
24 x 24 inches
Chanel, after “Get Your Freak On” by Missy Elliot
2023
Oil on canvas
36 x 36 inches
The first three works in the series Musical Exotic, these paintings use the vernacular of the album cover to explore exoticism as an aesthetic meeting ground for diverse diasporic communities. Mirroring the sampling of South Asian music and imagery in the work of Black American neo-soul, hip-hop, and RnB artists in the 2000s, led largely by producers like Timbaland, J Dilla, and Madlib, Akireddy transposes herself and other Asian diasporic artists into iconic album covers. While Akireddy’s paintings remain faithful in their colors and composition, intimate details – the sitters’ clothing, muggu flourishes, and replacement of English with Telugu or Thai scripts – recontextualize the albums’ hybrid aesthetics, jamming multiple layers of diasporic mediation together. The series diverges from questions of authenticity, ownership, or appropriation, to instead trace how cultural forms travel and transform across contexts.
– Delaney Chieyen Holton, April 2024
For sales inquiries, please contact nibhaakireddy@gmail.com.
htmlText_62AA5FC5_41A6_8CED_41B8_4B89D5814901.html =
Nibha Akireddy
Self Portrait, after “But You Cain’t Use My Phone” by Erykah Badu
2023
Oil on canvas
55 x 55 inches
Self Portrait, after “Addictive” by Truth Hurts feat. Rakim
2023
Oil on canvas
24 x 24 inches
Chanel, after “Get Your Freak On” by Missy Elliot
2023
Oil on canvas
36 x 36 inches
The first three works in the series Musical Exotic, these paintings use the vernacular of the album cover to explore exoticism as an aesthetic meeting ground for diverse diasporic communities. Mirroring the sampling of South Asian music and imagery in the work of Black American neo-soul, hip-hop, and RnB artists in the 2000s, led largely by producers like Timbaland, J Dilla, and Madlib, Akireddy transposes herself and other Asian diasporic artists into iconic album covers. While Akireddy’s paintings remain faithful in their colors and composition, intimate details – the sitters’ clothing, muggu flourishes, and replacement of English with Telugu or Thai scripts – recontextualize the albums’ hybrid aesthetics, jamming multiple layers of diasporic mediation together. The series diverges from questions of authenticity, ownership, or appropriation, to instead trace how cultural forms travel and transform across contexts.
– Delaney Chieyen Holton, April 2024
For sales inquiries, please contact nibhaakireddy@gmail.com.
htmlText_5FA1E2F7_41A2_94AD_41AF_316C489BF8EF.html =
Nibha Akireddy
Self Portrait, after “But You Cain’t Use My Phone” by Erykah Badu
2023
Oil on canvas
55 x 55 inches
Self Portrait, after “Addictive” by Truth Hurts feat. Rakim
2023
Oil on canvas
24 x 24 inches
Chanel, after “Get Your Freak On” by Missy Elliot
2023
Oil on canvas
36 x 36 inches
The first three works in the series Musical Exotic, these paintings use the vernacular of the album cover to explore exoticism as an aesthetic meeting ground for diverse diasporic communities. Mirroring the sampling of South Asian music and imagery in the work of Black American neo-soul, hip-hop, and RnB artists in the 2000s, led largely by producers like Timbaland, J Dilla, and Madlib, Akireddy transposes herself and other Asian diasporic artists into iconic album covers. While Akireddy’s paintings remain faithful in their colors and composition, intimate details – the sitters’ clothing, muggu flourishes, and replacement of English with Telugu or Thai scripts – recontextualize the albums’ hybrid aesthetics, jamming multiple layers of diasporic mediation together. The series diverges from questions of authenticity, ownership, or appropriation, to instead trace how cultural forms travel and transform across contexts.
– Delaney Chieyen Holton, April 2024
For sales inquiries, please contact nibhaakireddy@gmail.com.
htmlText_5EC9CA40_41A3_97E2_41CB_BAA2AF0C9AD5.html =
Nibha Akireddy
Self Portrait, after “But You Cain’t Use My Phone” by Erykah Badu
2023
Oil on canvas
55 x 55 inches
Self Portrait, after “Addictive” by Truth Hurts feat. Rakim
2023
Oil on canvas
24 x 24 inches
Chanel, after “Get Your Freak On” by Missy Elliot
2023
Oil on canvas
36 x 36 inches
The first three works in the series Musical Exotic, these paintings use the vernacular of the album cover to explore exoticism as an aesthetic meeting ground for diverse diasporic communities. Mirroring the sampling of South Asian music and imagery in the work of Black American neo-soul, hip-hop, and RnB artists in the 2000s, led largely by producers like Timbaland, J Dilla, and Madlib, Akireddy transposes herself and other Asian diasporic artists into iconic album covers. While Akireddy’s paintings remain faithful in their colors and composition, intimate details – the sitters’ clothing, muggu flourishes, and replacement of English with Telugu or Thai scripts – recontextualize the albums’ hybrid aesthetics, jamming multiple layers of diasporic mediation together. The series diverges from questions of authenticity, ownership, or appropriation, to instead trace how cultural forms travel and transform across contexts.
– Delaney Chieyen Holton, April 2024
For sales inquiries, please contact nibhaakireddy@gmail.com.
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Nibha Akireddy
Self Portrait, after “But You Cain’t Use My Phone” by Erykah Badu
2023
Oil on canvas
55 x 55 inches
Self Portrait, after “Addictive” by Truth Hurts feat. Rakim
2023
Oil on canvas
24 x 24 inches
Chanel, after “Get Your Freak On” by Missy Elliot
2023
Oil on canvas
36 x 36 inches
The first three works in the series Musical Exotic, these paintings use the vernacular of the album cover to explore exoticism as an aesthetic meeting ground for diverse diasporic communities. Mirroring the sampling of South Asian music and imagery in the work of Black American neo-soul, hip-hop, and RnB artists in the 2000s, led largely by producers like Timbaland, J Dilla, and Madlib, Akireddy transposes herself and other Asian diasporic artists into iconic album covers. While Akireddy’s paintings remain faithful in their colors and composition, intimate details – the sitters’ clothing, muggu flourishes, and replacement of English with Telugu or Thai scripts – recontextualize the albums’ hybrid aesthetics, jamming multiple layers of diasporic mediation together. The series diverges from questions of authenticity, ownership, or appropriation, to instead trace how cultural forms travel and transform across contexts.
– Delaney Chieyen Holton, April 2024
For sales inquiries, please contact nibhaakireddy@gmail.com.
htmlText_6D19779F_4262_9C9D_41BD_FF4B6DCD1A19.html =
Nibha Akireddy
Self Portrait, after “But You Cain’t Use My Phone” by Erykah Badu
2023
Oil on canvas
55 x 55 inches
Self Portrait, after “Addictive” by Truth Hurts feat. Rakim
2023
Oil on canvas
24 x 24 inches
Chanel, after “Get Your Freak On” by Missy Elliot
2023
Oil on canvas
36 x 36 inches
The first three works in the series Musical Exotic, these paintings use the vernacular of the album cover to explore exoticism as an aesthetic meeting ground for diverse diasporic communities. Mirroring the sampling of South Asian music and imagery in the work of Black American neo-soul, hip-hop, and RnB artists in the 2000s, led largely by producers like Timbaland, J Dilla, and Madlib, Akireddy transposes herself and other Asian diasporic artists into iconic album covers. While Akireddy’s paintings remain faithful in their colors and composition, intimate details – the sitters’ clothing, muggu flourishes, and replacement of English with Telugu or Thai scripts – recontextualize the albums’ hybrid aesthetics, jamming multiple layers of diasporic mediation together. The series diverges from questions of authenticity, ownership, or appropriation, to instead trace how cultural forms travel and transform across contexts.
– Delaney Chieyen Holton, April 2024
For sales inquiries, please contact nibhaakireddy@gmail.com.
htmlText_5A4A944B_41A2_93E6_41C1_3C142CE31A5D.html =
Private Practices: AAPI Artist and Sex Worker Collection at the Los Angeles Contemporary Archive
Kayla Tange & Luka Fisher, Inbox: 8 Years of Performance for Camera
In 2015 Luka Fisher and I began to create instax photos together as part of a broader dialogue that we were having around performance documentation, the early loss of our mothers, gender construction and modes of making. These early photos were presented in our zines Confession Box and A Bare Witness and as part of our film Dear Mother but have mostly remained in our private archive until now. Together with CashMachine, Fisher and I issued hand-printed instax reproductions of never-before-seen instax wide photos from our archive as collected in the INBOX portfolios volumes I-III.
Goddess Yuki & Dan Monick, Slowdance Love Motel, 2023
Rainy night in Tokyo the summer of 2023. Session into slow dance at the Hotel R-25 in Dogenzaka.
EthicalDrvgs, 1 Hour Photo Print Set
Series of photographs shot by EthicalDrvgs featuring 4x6" prints of dancers.
Mariko Passion, Arrest Docket Highlight, 2009
Arrest docket. It's a really important document because it shows how we were not given HIPA [sic] rights unless we asked for them in the Craigslist era.
Mariko Passion, Alhambra Unified School District letter, 2011
Kim Ye, Complaint
I (along with my landlord) was sued by my neighbors back in 2017 when I lived near WeHo for running a dungeon out of my back house." 60-70 pages. One copy is redacted and one is not. J-Kim Ye, July 9, 2021.
Kim Ye, Do You Know Who Your Neighbors Are? Flyer and Apartment Listing
3 pages of documents, including 2 photographs of a flyer by a disgruntled neighbor titled Do You Know Who Your Neighbors Are? Adult Business Operating Out of Upstairs Apt/Studio Residence... alongside a Craigslist listing for the artist's apartment.
Mariko Passion, Mariko Passion: From Whore Revolutionary to Tantra Goddess: Sacred Whore Revolution, 2008-2019
Mariko Passion's Wordpress blog, with entries spanning from March 2008 to January 2019.
htmlText_5A7D631F_41A3_959D_41C3_BAB282FA0F6E.html =
Private Practices: AAPI Artist and Sex Worker Collection at the Los Angeles Contemporary Archive
Kayla Tange & Luka Fisher, Inbox: 8 Years of Performance for Camera
In 2015 Luka Fisher and I began to create instax photos together as part of a broader dialogue that we were having around performance documentation, the early loss of our mothers, gender construction and modes of making. These early photos were presented in our zines Confession Box and A Bare Witness and as part of our film Dear Mother but have mostly remained in our private archive until now. Together with CashMachine, Fisher and I issued hand-printed instax reproductions of never-before-seen instax wide photos from our archive as collected in the INBOX portfolios volumes I-III.
Goddess Yuki & Dan Monick, Slowdance Love Motel, 2023
Rainy night in Tokyo the summer of 2023. Session into slow dance at the Hotel R-25 in Dogenzaka.
EthicalDrvgs, 1 Hour Photo Print Set
Series of photographs shot by EthicalDrvgs featuring 4x6" prints of dancers.
Mariko Passion, Arrest Docket Highlight, 2009
Arrest docket. It's a really important document because it shows how we were not given HIPA [sic] rights unless we asked for them in the Craigslist era.
Mariko Passion, Alhambra Unified School District letter, 2011
Kim Ye, Complaint
I (along with my landlord) was sued by my neighbors back in 2017 when I lived near WeHo for running a dungeon out of my back house." 60-70 pages. One copy is redacted and one is not. J-Kim Ye, July 9, 2021.
Kim Ye, Do You Know Who Your Neighbors Are? Flyer and Apartment Listing
3 pages of documents, including 2 photographs of a flyer by a disgruntled neighbor titled Do You Know Who Your Neighbors Are? Adult Business Operating Out of Upstairs Apt/Studio Residence... alongside a Craigslist listing for the artist's apartment.
Mariko Passion, Mariko Passion: From Whore Revolutionary to Tantra Goddess: Sacred Whore Revolution, 2008-2019
Mariko Passion's Wordpress blog, with entries spanning from March 2008 to January 2019.
htmlText_5B36B752_41A3_9DE7_41CE_F9B5C60A18CA.html =
Private Practices: AAPI Artist and Sex Worker Collection at the Los Angeles Contemporary Archive
Kayla Tange & Luka Fisher, Inbox: 8 Years of Performance for Camera
In 2015 Luka Fisher and I began to create instax photos together as part of a broader dialogue that we were having around performance documentation, the early loss of our mothers, gender construction and modes of making. These early photos were presented in our zines Confession Box and A Bare Witness and as part of our film Dear Mother but have mostly remained in our private archive until now. Together with CashMachine, Fisher and I issued hand-printed instax reproductions of never-before-seen instax wide photos from our archive as collected in the INBOX portfolios volumes I-III.
Goddess Yuki & Dan Monick, Slowdance Love Motel, 2023
Rainy night in Tokyo the summer of 2023. Session into slow dance at the Hotel R-25 in Dogenzaka.
EthicalDrvgs, 1 Hour Photo Print Set
Series of photographs shot by EthicalDrvgs featuring 4x6" prints of dancers.
Mariko Passion, Arrest Docket Highlight, 2009
Arrest docket. It's a really important document because it shows how we were not given HIPA [sic] rights unless we asked for them in the Craigslist era.
Mariko Passion, Alhambra Unified School District letter, 2011
Kim Ye, Complaint
I (along with my landlord) was sued by my neighbors back in 2017 when I lived near WeHo for running a dungeon out of my back house." 60-70 pages. One copy is redacted and one is not. J-Kim Ye, July 9, 2021.
Kim Ye, Do You Know Who Your Neighbors Are? Flyer and Apartment Listing
3 pages of documents, including 2 photographs of a flyer by a disgruntled neighbor titled Do You Know Who Your Neighbors Are? Adult Business Operating Out of Upstairs Apt/Studio Residence... alongside a Craigslist listing for the artist's apartment.
Mariko Passion, Mariko Passion: From Whore Revolutionary to Tantra Goddess: Sacred Whore Revolution, 2008-2019
Mariko Passion's Wordpress blog, with entries spanning from March 2008 to January 2019.
htmlText_5AC0CE3E_41A5_8F9E_41C6_334A605A542F.html =
Private Practices: AAPI Artist and Sex Worker Collection at the Los Angeles Contemporary Archive
Kayla Tange & Luka Fisher, Inbox: 8 Years of Performance for Camera
In 2015 Luka Fisher and I began to create instax photos together as part of a broader dialogue that we were having around performance documentation, the early loss of our mothers, gender construction and modes of making. These early photos were presented in our zines Confession Box and A Bare Witness and as part of our film Dear Mother but have mostly remained in our private archive until now. Together with CashMachine, Fisher and I issued hand-printed instax reproductions of never-before-seen instax wide photos from our archive as collected in the INBOX portfolios volumes I-III.
Goddess Yuki & Dan Monick, Slowdance Love Motel, 2023
Rainy night in Tokyo the summer of 2023. Session into slow dance at the Hotel R-25 in Dogenzaka.
EthicalDrvgs, 1 Hour Photo Print Set
Series of photographs shot by EthicalDrvgs featuring 4x6" prints of dancers.
Mariko Passion, Arrest Docket Highlight, 2009
Arrest docket. It's a really important document because it shows how we were not given HIPA [sic] rights unless we asked for them in the Craigslist era.
Mariko Passion, Alhambra Unified School District letter, 2011
Kim Ye, Complaint
I (along with my landlord) was sued by my neighbors back in 2017 when I lived near WeHo for running a dungeon out of my back house." 60-70 pages. One copy is redacted and one is not. J-Kim Ye, July 9, 2021.
Kim Ye, Do You Know Who Your Neighbors Are? Flyer and Apartment Listing
3 pages of documents, including 2 photographs of a flyer by a disgruntled neighbor titled Do You Know Who Your Neighbors Are? Adult Business Operating Out of Upstairs Apt/Studio Residence... alongside a Craigslist listing for the artist's apartment.
Mariko Passion, Mariko Passion: From Whore Revolutionary to Tantra Goddess: Sacred Whore Revolution, 2008-2019
Mariko Passion's Wordpress blog, with entries spanning from March 2008 to January 2019.
htmlText_58E8C0A7_41E2_94AE_41C2_6C11B815C477.html =
Private Practices: AAPI Artist and Sex Worker Collection at the Los Angeles Contemporary Archive
Kayla Tange & Luka Fisher, Inbox: 8 Years of Performance for Camera
In 2015 Luka Fisher and I began to create instax photos together as part of a broader dialogue that we were having around performance documentation, the early loss of our mothers, gender construction and modes of making. These early photos were presented in our zines Confession Box and A Bare Witness and as part of our film Dear Mother but have mostly remained in our private archive until now. Together with CashMachine, Fisher and I issued hand-printed instax reproductions of never-before-seen instax wide photos from our archive as collected in the INBOX portfolios volumes I-III.
Goddess Yuki & Dan Monick, Slowdance Love Motel, 2023
Rainy night in Tokyo the summer of 2023. Session into slow dance at the Hotel R-25 in Dogenzaka.
EthicalDrvgs, 1 Hour Photo Print Set
Series of photographs shot by EthicalDrvgs featuring 4x6" prints of dancers.
Mariko Passion, Arrest Docket Highlight, 2009
Arrest docket. It's a really important document because it shows how we were not given HIPA [sic] rights unless we asked for them in the Craigslist era.
Mariko Passion, Alhambra Unified School District letter, 2011
Kim Ye, Complaint
I (along with my landlord) was sued by my neighbors back in 2017 when I lived near WeHo for running a dungeon out of my back house." 60-70 pages. One copy is redacted and one is not. J-Kim Ye, July 9, 2021.
Kim Ye, Do You Know Who Your Neighbors Are? Flyer and Apartment Listing
3 pages of documents, including 2 photographs of a flyer by a disgruntled neighbor titled Do You Know Who Your Neighbors Are? Adult Business Operating Out of Upstairs Apt/Studio Residence... alongside a Craigslist listing for the artist's apartment.
Mariko Passion, Mariko Passion: From Whore Revolutionary to Tantra Goddess: Sacred Whore Revolution, 2008-2019
Mariko Passion's Wordpress blog, with entries spanning from March 2008 to January 2019.
htmlText_58384D52_41E2_8DE6_41C8_003625C51BF0.html =
Private Practices: AAPI Artist and Sex Worker Collection at the Los Angeles Contemporary Archive
Kayla Tange & Luka Fisher, Inbox: 8 Years of Performance for Camera
In 2015 Luka Fisher and I began to create instax photos together as part of a broader dialogue that we were having around performance documentation, the early loss of our mothers, gender construction and modes of making. These early photos were presented in our zines Confession Box and A Bare Witness and as part of our film Dear Mother but have mostly remained in our private archive until now. Together with CashMachine, Fisher and I issued hand-printed instax reproductions of never-before-seen instax wide photos from our archive as collected in the INBOX portfolios volumes I-III.
Goddess Yuki & Dan Monick, Slowdance Love Motel, 2023
Rainy night in Tokyo the summer of 2023. Session into slow dance at the Hotel R-25 in Dogenzaka.
EthicalDrvgs, 1 Hour Photo Print Set
Series of photographs shot by EthicalDrvgs featuring 4x6" prints of dancers.
Mariko Passion, Arrest Docket Highlight, 2009
Arrest docket. It's a really important document because it shows how we were not given HIPA [sic] rights unless we asked for them in the Craigslist era.
Mariko Passion, Alhambra Unified School District letter, 2011
Kim Ye, Complaint
I (along with my landlord) was sued by my neighbors back in 2017 when I lived near WeHo for running a dungeon out of my back house." 60-70 pages. One copy is redacted and one is not. J-Kim Ye, July 9, 2021.
Kim Ye, Do You Know Who Your Neighbors Are? Flyer and Apartment Listing
3 pages of documents, including 2 photographs of a flyer by a disgruntled neighbor titled Do You Know Who Your Neighbors Are? Adult Business Operating Out of Upstairs Apt/Studio Residence... alongside a Craigslist listing for the artist's apartment.
Mariko Passion, Mariko Passion: From Whore Revolutionary to Tantra Goddess: Sacred Whore Revolution, 2008-2019
Mariko Passion's Wordpress blog, with entries spanning from March 2008 to January 2019.
htmlText_52A148C4_41AD_74E2_41C6_648B22873DCB.html =
Rachel Youn
Pendulum
2022
Dismantled baby swing, steel saw horses, artificial plant, soil
Dimensions variable
Courtesy the artist and Sargent's Daughters
Working across sculpture and installation, Rachel Youn sources materials with a history of aspiration and failure through online secondhand shopping. Venturing into the suburbs, Youn rescues electric massagers from suburban limbo, fastening artificial plants to the machines to create kinetic sculptures that are clumsy, erotic, and absurd. Haunted by their immigrant father’s pursuit of the American Dream, their work identifies with the replica that earnestly desires to be real, and the failed object that simulates care and intimacy. Pendulum continues to explore this desire. Youn repurposes the thrifted and dismantled consumer object of the baby swing as a commodification of nature and nurture. Expanding upon the vernacular of artificial care, Youn also explores artificial technology in the age of environmental unrest. Sweeping small dirt piles across the gallery floor, Pendulum clocks into new forms of labor and care, seeking a vanishing American Dream upon the horizon.
– Rachel Youn, Artist Statement
$7,500, for sales inquiries please contact info@sargentsdaughters.com.
htmlText_55EAA240_41DD_F7E2_41CB_1B20FB245606.html =
Rachel Youn
Pendulum
2022
Dismantled baby swing, steel saw horses, artificial plant, soil
Dimensions variable
Courtesy the artist and Sargent's Daughters
Working across sculpture and installation, Rachel Youn sources materials with a history of aspiration and failure through online secondhand shopping. Venturing into the suburbs, Youn rescues electric massagers from suburban limbo, fastening artificial plants to the machines to create kinetic sculptures that are clumsy, erotic, and absurd. Haunted by their immigrant father’s pursuit of the American Dream, their work identifies with the replica that earnestly desires to be real, and the failed object that simulates care and intimacy. Pendulum continues to explore this desire. Youn repurposes the thrifted and dismantled consumer object of the baby swing as a commodification of nature and nurture. Expanding upon the vernacular of artificial care, Youn also explores artificial technology in the age of environmental unrest. Sweeping small dirt piles across the gallery floor, Pendulum clocks into new forms of labor and care, seeking a vanishing American Dream upon the horizon.
– Rachel Youn, Artist Statement
$7,500, for sales inquiries please contact info@sargentsdaughters.com.
htmlText_52AFA36A_41AF_95A7_41C7_2C4A8ACC8283.html =
Rachel Youn
Pendulum
2022
Dismantled baby swing, steel saw horses, artificial plant, soil
Dimensions variable
Courtesy the artist and Sargent's Daughters
Working across sculpture and installation, Rachel Youn sources materials with a history of aspiration and failure through online secondhand shopping. Venturing into the suburbs, Youn rescues electric massagers from suburban limbo, fastening artificial plants to the machines to create kinetic sculptures that are clumsy, erotic, and absurd. Haunted by their immigrant father’s pursuit of the American Dream, their work identifies with the replica that earnestly desires to be real, and the failed object that simulates care and intimacy. Pendulum continues to explore this desire. Youn repurposes the thrifted and dismantled consumer object of the baby swing as a commodification of nature and nurture. Expanding upon the vernacular of artificial care, Youn also explores artificial technology in the age of environmental unrest. Sweeping small dirt piles across the gallery floor, Pendulum clocks into new forms of labor and care, seeking a vanishing American Dream upon the horizon.
– Rachel Youn, Artist Statement
$7,500, for sales inquiries please contact info@sargentsdaughters.com.
htmlText_55C5FA9D_41AE_9762_41C6_9DFF57206BF9.html =
Rachel Youn
Pendulum
2022
Dismantled baby swing, steel saw horses, artificial plant, soil
Dimensions variable
Courtesy the artist and Sargent's Daughters
Working across sculpture and installation, Rachel Youn sources materials with a history of aspiration and failure through online secondhand shopping. Venturing into the suburbs, Youn rescues electric massagers from suburban limbo, fastening artificial plants to the machines to create kinetic sculptures that are clumsy, erotic, and absurd. Haunted by their immigrant father’s pursuit of the American Dream, their work identifies with the replica that earnestly desires to be real, and the failed object that simulates care and intimacy. Pendulum continues to explore this desire. Youn repurposes the thrifted and dismantled consumer object of the baby swing as a commodification of nature and nurture. Expanding upon the vernacular of artificial care, Youn also explores artificial technology in the age of environmental unrest. Sweeping small dirt piles across the gallery floor, Pendulum clocks into new forms of labor and care, seeking a vanishing American Dream upon the horizon.
– Rachel Youn, Artist Statement
$7,500, for sales inquiries please contact info@sargentsdaughters.com.
htmlText_55F3FCF6_41A6_8CAF_41CD_2B0F81319D48.html =
Rachel Youn
Pendulum
2022
Dismantled baby swing, steel saw horses, artificial plant, soil
Dimensions variable
Courtesy the artist and Sargent's Daughters
Working across sculpture and installation, Rachel Youn sources materials with a history of aspiration and failure through online secondhand shopping. Venturing into the suburbs, Youn rescues electric massagers from suburban limbo, fastening artificial plants to the machines to create kinetic sculptures that are clumsy, erotic, and absurd. Haunted by their immigrant father’s pursuit of the American Dream, their work identifies with the replica that earnestly desires to be real, and the failed object that simulates care and intimacy. Pendulum continues to explore this desire. Youn repurposes the thrifted and dismantled consumer object of the baby swing as a commodification of nature and nurture. Expanding upon the vernacular of artificial care, Youn also explores artificial technology in the age of environmental unrest. Sweeping small dirt piles across the gallery floor, Pendulum clocks into new forms of labor and care, seeking a vanishing American Dream upon the horizon.
– Rachel Youn, Artist Statement
$7,500, for sales inquiries please contact info@sargentsdaughters.com.
htmlText_5212ECB4_41A5_8CA3_41B9_4796281B4E5B.html =
Rachel Youn
Pendulum
2022
Dismantled baby swing, steel saw horses, artificial plant, soil
Dimensions variable
Courtesy the artist and Sargent's Daughters
Working across sculpture and installation, Rachel Youn sources materials with a history of aspiration and failure through online secondhand shopping. Venturing into the suburbs, Youn rescues electric massagers from suburban limbo, fastening artificial plants to the machines to create kinetic sculptures that are clumsy, erotic, and absurd. Haunted by their immigrant father’s pursuit of the American Dream, their work identifies with the replica that earnestly desires to be real, and the failed object that simulates care and intimacy. Pendulum continues to explore this desire. Youn repurposes the thrifted and dismantled consumer object of the baby swing as a commodification of nature and nurture. Expanding upon the vernacular of artificial care, Youn also explores artificial technology in the age of environmental unrest. Sweeping small dirt piles across the gallery floor, Pendulum clocks into new forms of labor and care, seeking a vanishing American Dream upon the horizon.
– Rachel Youn, Artist Statement
$7,500, for sales inquiries please contact info@sargentsdaughters.com.
htmlText_59BDFC83_41E5_B366_41BC_AE74D8EADDEA.html =
Ruka Kashiwagi
Tracings of My Grandmother
2023
Single-channel video
8 minutes
Similar to the dresses worn by the artist’s grandmother, who worked as a “taxi girl”, or paid partner dancer, in Vietnam during the 1950s, the áo dài Kashiwagi dons in Tracings of my Grandmother anchors the film in an ancestral genealogy of performance marked by lacunae in family memory. Kashiwagi uses their body as a gathering point where memory, imagination, and material traces of their grandmother’s life converge. In the darkness beyond the dance floor the syrupy voice of singer Khánh Ly meets us. Diễm Xưa, the song we hear, produced with long-term collaborator Trinh Công Sơn, rocketed Khánh Ly to international fame and made her a household name throughout Vietnam and much of Southeast Asia. In Tracings the song becomes a homing call, beckoning present day viewers into Vietnamese diasporic memory and animating ancestors to dance once more amongst the living. Through a lip-sync performance, Kashiwagi absorbs Khánh Ly’s voice as their grandmother’s. Collective memory stands in where access to family history has been foreclosed. If the lives of “taxi girls” have been forgotten because they exceed grand historical narrative, Kashiwagi sutures their stories back into history through this act of sonic appropriation. Kashiwagi’s mouth contorts to catch the syllables of the song, which often arrive a moment too early or too late. The dance’s slow-motion effect imbues their gestures with physical tension, as if striving against the current of time that ushers them into the past. Where there was once absence, the queer failure of Tracings to stay in time cleaves a new temporality of ancestral possibility.
– Delaney Chieyen Holton, excerpts from “Time is a Grandmother,” essay for Life is Ridiculously Awesome catalog, May 2023
htmlText_59B7DDFC_41E2_8CA2_41CF_626A666127BC.html =
Ruka Kashiwagi
Tracings of My Grandmother
2023
Single-channel video
8 minutes
Similar to the dresses worn by the artist’s grandmother, who worked as a “taxi girl”, or paid partner dancer, in Vietnam during the 1950s, the áo dài Kashiwagi dons in Tracings of my Grandmother anchors the film in an ancestral genealogy of performance marked by lacunae in family memory. Kashiwagi uses their body as a gathering point where memory, imagination, and material traces of their grandmother’s life converge. In the darkness beyond the dance floor the syrupy voice of singer Khánh Ly meets us. Diễm Xưa, the song we hear, produced with long-term collaborator Trinh Công Sơn, rocketed Khánh Ly to international fame and made her a household name throughout Vietnam and much of Southeast Asia. In Tracings the song becomes a homing call, beckoning present day viewers into Vietnamese diasporic memory and animating ancestors to dance once more amongst the living. Through a lip-sync performance, Kashiwagi absorbs Khánh Ly’s voice as their grandmother’s. Collective memory stands in where access to family history has been foreclosed. If the lives of “taxi girls” have been forgotten because they exceed grand historical narrative, Kashiwagi sutures their stories back into history through this act of sonic appropriation. Kashiwagi’s mouth contorts to catch the syllables of the song, which often arrive a moment too early or too late. The dance’s slow-motion effect imbues their gestures with physical tension, as if striving against the current of time that ushers them into the past. Where there was once absence, the queer failure of Tracings to stay in time cleaves a new temporality of ancestral possibility.
– Delaney Chieyen Holton, excerpts from “Time is a Grandmother,” essay for Life is Ridiculously Awesome catalog, May 2023
htmlText_5903A64D_41E2_9FFD_41A3_7F2C573CA196.html =
Ruka Kashiwagi
Tracings of My Grandmother
2023
Single-channel video
8 minutes
Similar to the dresses worn by the artist’s grandmother, who worked as a “taxi girl”, or paid partner dancer, in Vietnam during the 1950s, the áo dài Kashiwagi dons in Tracings of my Grandmother anchors the film in an ancestral genealogy of performance marked by lacunae in family memory. Kashiwagi uses their body as a gathering point where memory, imagination, and material traces of their grandmother’s life converge. In the darkness beyond the dance floor the syrupy voice of singer Khánh Ly meets us. Diễm Xưa, the song we hear, produced with long-term collaborator Trinh Công Sơn, rocketed Khánh Ly to international fame and made her a household name throughout Vietnam and much of Southeast Asia. In Tracings the song becomes a homing call, beckoning present day viewers into Vietnamese diasporic memory and animating ancestors to dance once more amongst the living. Through a lip-sync performance, Kashiwagi absorbs Khánh Ly’s voice as their grandmother’s. Collective memory stands in where access to family history has been foreclosed. If the lives of “taxi girls” have been forgotten because they exceed grand historical narrative, Kashiwagi sutures their stories back into history through this act of sonic appropriation. Kashiwagi’s mouth contorts to catch the syllables of the song, which often arrive a moment too early or too late. The dance’s slow-motion effect imbues their gestures with physical tension, as if striving against the current of time that ushers them into the past. Where there was once absence, the queer failure of Tracings to stay in time cleaves a new temporality of ancestral possibility.
– Delaney Chieyen Holton, excerpts from “Time is a Grandmother,” essay for Life is Ridiculously Awesome catalog, May 2023
htmlText_50B239B4_41A3_B4A3_41C1_A8FD69B22B9C.html =
Thuong Hoai Tran
Cao Đài Temple
2022 - 2023
Handwoven jacquard, cotton, metallic yarn, feng shui coins, and wooden dowels
Dimensions variable
Cao Đài Temple is a handwoven jacquard installation that is based off of an archived family photograph. While utilizing the labor-intensive medium, the gesture of weaving for hours upon hours has created a space of contemplation about family lineage. The feng shui coins, physically weighing down each strip of weaving while joining the top and bottom halves together, symbolize an act of offering to past ancestors–similarly to burning joss paper—connecting those who have passed with those who are living. The installation suggests a space of contemplation and an act of offering or remembrance. At its overwhelmingly large-scale, the weaving is simulating architecture and acts as a portal for transporting viewers who are experiencing the space.
– Thuong Hoai Tran, Artist Statement
htmlText_5161BA4A_41A6_B7E6_41B8_89CD46B624F9.html =
Thuong Hoai Tran
Cao Đài Temple
2022 - 2023
Handwoven jacquard, cotton, metallic yarn, feng shui coins, and wooden dowels
Dimensions variable
Cao Đài Temple is a handwoven jacquard installation that is based off of an archived family photograph. While utilizing the labor-intensive medium, the gesture of weaving for hours upon hours has created a space of contemplation about family lineage. The feng shui coins, physically weighing down each strip of weaving while joining the top and bottom halves together, symbolize an act of offering to past ancestors–similarly to burning joss paper—connecting those who have passed with those who are living. The installation suggests a space of contemplation and an act of offering or remembrance. At its overwhelmingly large-scale, the weaving is simulating architecture and acts as a portal for transporting viewers who are experiencing the space.
– Thuong Hoai Tran, Artist Statement
htmlText_503C23F3_41AF_B4A6_41CD_5E3937DF407F.html =
Thuong Hoai Tran
Cao Đài Temple
2022 - 2023
Handwoven jacquard, cotton, metallic yarn, feng shui coins, and wooden dowels
Dimensions variable
Cao Đài Temple is a handwoven jacquard installation that is based off of an archived family photograph. While utilizing the labor-intensive medium, the gesture of weaving for hours upon hours has created a space of contemplation about family lineage. The feng shui coins, physically weighing down each strip of weaving while joining the top and bottom halves together, symbolize an act of offering to past ancestors–similarly to burning joss paper—connecting those who have passed with those who are living. The installation suggests a space of contemplation and an act of offering or remembrance. At its overwhelmingly large-scale, the weaving is simulating architecture and acts as a portal for transporting viewers who are experiencing the space.
– Thuong Hoai Tran, Artist Statement
htmlText_554296E4_41E3_9CA3_41CD_2462A48DBA19.html =
Thuong Hoai Tran
Ông Bà (Tran Minh Thao, Nguyen Thi Xoan, Nguyen Thi Dinh, Nguyen Van Ban)
2021 - 2023
Handwoven painted warp, cotton, metallic yarn, and feng shui coins
88-98 x 33 inches
Towering from heights of 88”-98” tall, each weaving becomes a monumental image of my family member's portrait when standing in their presence. The intricate process of creating a weaving starts with the meticulous process of painting their image with dye onto every single strand of yarn. When woven together, the strands produce a ghostly and haunting image. As I weave on my floor loom, I add and switch between sections of red, yellow, and metallic threads throughout the pieces. As the image gets closer to the bottom, I begin to pull the yarn directly out of the image to further disrupt the portraits to symbolize the complexities between our relationships and the fuzzy, painful histories and memories that often go unspoken. After the weaving is completed, I finish them through the time-consuming process of tying feng shui coins to the ends of the threads. The feng shui coins simulate Vietnamese Nguyen Dynasty coins and reference the act of burning joss paper– an act of offering wealth to the spirits in the afterlife. The laborious process of weaving serves as a gesture of dedication through the time-consuming process involved for every portrait, resulting in a body of work that pays homage to my family, and the sacrifices they have made.
– Thuong Hoai Tran, Artist Statement
htmlText_56CCCAD1_41E2_B4E5_4185_D0901A43839A.html =
Thuong Hoai Tran
Ông Bà (Tran Minh Thao, Nguyen Thi Xoan, Nguyen Thi Dinh, Nguyen Van Ban)
2021 - 2023
Handwoven painted warp, cotton, metallic yarn, and feng shui coins
88-98 x 33 inches
Towering from heights of 88”-98” tall, each weaving becomes a monumental image of my family member's portrait when standing in their presence. The intricate process of creating a weaving starts with the meticulous process of painting their image with dye onto every single strand of yarn. When woven together, the strands produce a ghostly and haunting image. As I weave on my floor loom, I add and switch between sections of red, yellow, and metallic threads throughout the pieces. As the image gets closer to the bottom, I begin to pull the yarn directly out of the image to further disrupt the portraits to symbolize the complexities between our relationships and the fuzzy, painful histories and memories that often go unspoken. After the weaving is completed, I finish them through the time-consuming process of tying feng shui coins to the ends of the threads. The feng shui coins simulate Vietnamese Nguyen Dynasty coins and reference the act of burning joss paper– an act of offering wealth to the spirits in the afterlife. The laborious process of weaving serves as a gesture of dedication through the time-consuming process involved for every portrait, resulting in a body of work that pays homage to my family, and the sacrifices they have made.
– Thuong Hoai Tran, Artist Statement
htmlText_55BE4B65_41E2_95A2_41CB_1D9842C84018.html =
Thuong Hoai Tran
Ông Bà (Tran Minh Thao, Nguyen Thi Xoan, Nguyen Thi Dinh, Nguyen Van Ban)
2021 - 2023
Handwoven painted warp, cotton, metallic yarn, and feng shui coins
88-98 x 33 inches
Towering from heights of 88”-98” tall, each weaving becomes a monumental image of my family member's portrait when standing in their presence. The intricate process of creating a weaving starts with the meticulous process of painting their image with dye onto every single strand of yarn. When woven together, the strands produce a ghostly and haunting image. As I weave on my floor loom, I add and switch between sections of red, yellow, and metallic threads throughout the pieces. As the image gets closer to the bottom, I begin to pull the yarn directly out of the image to further disrupt the portraits to symbolize the complexities between our relationships and the fuzzy, painful histories and memories that often go unspoken. After the weaving is completed, I finish them through the time-consuming process of tying feng shui coins to the ends of the threads. The feng shui coins simulate Vietnamese Nguyen Dynasty coins and reference the act of burning joss paper– an act of offering wealth to the spirits in the afterlife. The laborious process of weaving serves as a gesture of dedication through the time-consuming process involved for every portrait, resulting in a body of work that pays homage to my family, and the sacrifices they have made.
– Thuong Hoai Tran, Artist Statement
htmlText_5525D4F7_41E5_9CAE_41AF_98813AEBF73A.html =
Thuong Hoai Tran
Ông Bà (Tran Minh Thao, Nguyen Thi Xoan, Nguyen Thi Dinh, Nguyen Van Ban)
2021 - 2023
Handwoven painted warp, cotton, metallic yarn, and feng shui coins
88-98 x 33 inches
Towering from heights of 88”-98” tall, each weaving becomes a monumental image of my family member's portrait when standing in their presence. The intricate process of creating a weaving starts with the meticulous process of painting their image with dye onto every single strand of yarn. When woven together, the strands produce a ghostly and haunting image. As I weave on my floor loom, I add and switch between sections of red, yellow, and metallic threads throughout the pieces. As the image gets closer to the bottom, I begin to pull the yarn directly out of the image to further disrupt the portraits to symbolize the complexities between our relationships and the fuzzy, painful histories and memories that often go unspoken. After the weaving is completed, I finish them through the time-consuming process of tying feng shui coins to the ends of the threads. The feng shui coins simulate Vietnamese Nguyen Dynasty coins and reference the act of burning joss paper– an act of offering wealth to the spirits in the afterlife. The laborious process of weaving serves as a gesture of dedication through the time-consuming process involved for every portrait, resulting in a body of work that pays homage to my family, and the sacrifices they have made.
– Thuong Hoai Tran, Artist Statement
htmlText_57B4EC7A_41E5_73A6_41B5_76F4BDE1BC04.html =
Thuong Hoai Tran
Ông Bà (Tran Minh Thao, Nguyen Thi Xoan, Nguyen Thi Dinh, Nguyen Van Ban)
2021 - 2023
Handwoven painted warp, cotton, metallic yarn, and feng shui coins
88-98 x 33 inches
Towering from heights of 88”-98” tall, each weaving becomes a monumental image of my family member's portrait when standing in their presence. The intricate process of creating a weaving starts with the meticulous process of painting their image with dye onto every single strand of yarn. When woven together, the strands produce a ghostly and haunting image. As I weave on my floor loom, I add and switch between sections of red, yellow, and metallic threads throughout the pieces. As the image gets closer to the bottom, I begin to pull the yarn directly out of the image to further disrupt the portraits to symbolize the complexities between our relationships and the fuzzy, painful histories and memories that often go unspoken. After the weaving is completed, I finish them through the time-consuming process of tying feng shui coins to the ends of the threads. The feng shui coins simulate Vietnamese Nguyen Dynasty coins and reference the act of burning joss paper– an act of offering wealth to the spirits in the afterlife. The laborious process of weaving serves as a gesture of dedication through the time-consuming process involved for every portrait, resulting in a body of work that pays homage to my family, and the sacrifices they have made.
– Thuong Hoai Tran, Artist Statement
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