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Paulo Arao "Tried Angles"
About the Artist
(b. 1997, Manila, Philippines; lives Brooklyn, NY) Paulo Arao is a multimedia artist specializing in sewn paintings, fabric collage, and textile construction. Many of Arao’s works reflect the artist's identity as a queer Filipino man. With an appreciation for a pre-Colonial Philippines, Arao presents the indigenous Filipino culture in which queer people were seen as otherworldly beings treated with respect and adoration. Embracing a part of the culture that has been attempted to be erased, Arao encourages the viewer to view his art “the wrong way” and interpret as they see fit.
Representative of native indigenous patterns of the Philippines, the bold colors and large shapes of this print are Arao’s method of layering aspects of traditional Filipino culture and the artist’s personal narrative as a queer Pinoy. Arao calls out the traditional practice of weaving in this print. Weaving textiles in the Philippines is an ancient art that was known to connect the earth to the heavens. The great amount of skill required to create perfect geometric shapes tells a story.
About the Artwork
Here, Arao invites the viewer to notice the imperfect geometry. Upon first glance, one may perceive a sense of symmetry across the middle of the piece. With the top half of the work seeming to reflect over the x axis, it appears to be the traditional applications of Filipino patterns; relying heavily on symmetry and mathematical precision. Upon further inspection, the audience slowly realizes there is a great lacking of symmetry and even a change in colors which contradicts the traditional values of the art entirely.
The pattern shown with many triangles and lines is an example of the pattern called mata mata. The triangular shapes are often used to represent mountains, rice grains, and the bounty of the earth. When used on blankets and tapestries, these symbols often represented a mountainous area or the symbolic nature of a mountain’s strength. Arao’s use of imperfect geometry and mismatched color schemes supports his ideas of breaking the rigid schemes and mindsets of the past to evolve into a more fluid future.
The Philippines have indigenous roots in which queer individuals were treated as otherworldly beings to whom much respect and admiration was owed. Following colonization, many new religions condemned queer folk and queer oppression is now the societal norm. Arao aims to remind viewers of the origins of his culture as the narrative shifts back to giving LGBTQIA+ people the respect and honor they were stripped of.
(b. 1997, Manila, Philippines; lives Brooklyn, NY) Paulo Arao is a multimedia artist specializing in sewn paintings, fabric collage, and textile construction. Many of Arao’s works reflect the artist's identity as a queer Filipino man. With an appreciation for a pre-Colonial Philippines, Arao presents the indigenous Filipino culture in which queer people were seen as otherworldly beings treated with respect and adoration. Embracing a part of the culture that has been attempted to be erased, Arao encourages the viewer to view his art “the wrong way” and interpret as they see fit.
Representative of native indigenous patterns of the Philippines, the bold colors and large shapes of this print are Arao’s method of layering aspects of traditional Filipino culture and the artist’s personal narrative as a queer Pinoy. Arao calls out the traditional practice of weaving in this print. Weaving textiles in the Philippines is an ancient art that was known to connect the earth to the heavens. The great amount of skill required to create perfect geometric shapes tells a story.
About the Artwork
Here, Arao invites the viewer to notice the imperfect geometry. Upon first glance, one may perceive a sense of symmetry across the middle of the piece. With the top half of the work seeming to reflect over the x axis, it appears to be the traditional applications of Filipino patterns; relying heavily on symmetry and mathematical precision. Upon further inspection, the audience slowly realizes there is a great lacking of symmetry and even a change in colors which contradicts the traditional values of the art entirely.
The pattern shown with many triangles and lines is an example of the pattern called mata mata. The triangular shapes are often used to represent mountains, rice grains, and the bounty of the earth. When used on blankets and tapestries, these symbols often represented a mountainous area or the symbolic nature of a mountain’s strength. Arao’s use of imperfect geometry and mismatched color schemes supports his ideas of breaking the rigid schemes and mindsets of the past to evolve into a more fluid future.
The Philippines have indigenous roots in which queer individuals were treated as otherworldly beings to whom much respect and admiration was owed. Following colonization, many new religions condemned queer folk and queer oppression is now the societal norm. Arao aims to remind viewers of the origins of his culture as the narrative shifts back to giving LGBTQIA+ people the respect and honor they were stripped of.
(b. 1997, Manila, Philippines; lives Brooklyn, NY) Paulo Arao is a multimedia artist specializing in sewn paintings, fabric collage, and textile construction. Many of Arao’s works reflect the artist's identity as a queer Filipino man. With an appreciation for a pre-Colonial Philippines, Arao presents the indigenous Filipino culture in which queer people were seen as otherworldly beings treated with respect and adoration. Embracing a part of the culture that has been attempted to be erased, Arao encourages the viewer to view his art “the wrong way” and interpret as they see fit.
Representative of native indigenous patterns of the Philippines, the bold colors and large shapes of this print are Arao’s method of layering aspects of traditional Filipino culture and the artist’s personal narrative as a queer Pinoy. Arao calls out the traditional practice of weaving in this print. Weaving textiles in the Philippines is an ancient art that was known to connect the earth to the heavens. The great amount of skill required to create perfect geometric shapes tells a story.
About the Artwork
Here, Arao invites the viewer to notice the imperfect geometry. Upon first glance, one may perceive a sense of symmetry across the middle of the piece. With the top half of the work seeming to reflect over the x axis, it appears to be the traditional applications of Filipino patterns; relying heavily on symmetry and mathematical precision. Upon further inspection, the audience slowly realizes there is a great lacking of symmetry and even a change in colors which contradicts the traditional values of the art entirely.
The pattern shown with many triangles and lines is an example of the pattern called mata mata. The triangular shapes are often used to represent mountains, rice grains, and the bounty of the earth. When used on blankets and tapestries, these symbols often represented a mountainous area or the symbolic nature of a mountain’s strength. Arao’s use of imperfect geometry and mismatched color schemes supports his ideas of breaking the rigid schemes and mindsets of the past to evolve into a more fluid future.
The Philippines have indigenous roots in which queer individuals were treated as otherworldly beings to whom much respect and admiration was owed. Following colonization, many new religions condemned queer folk and queer oppression is now the societal norm. Arao aims to remind viewers of the origins of his culture as the narrative shifts back to giving LGBTQIA+ people the respect and honor they were stripped of.
(b. 1997, Manila, Philippines; lives Brooklyn, NY) Paulo Arao is a multimedia artist specializing in sewn paintings, fabric collage, and textile construction. Many of Arao’s works reflect the artist's identity as a queer Filipino man. With an appreciation for a pre-Colonial Philippines, Arao presents the indigenous Filipino culture in which queer people were seen as otherworldly beings treated with respect and adoration. Embracing a part of the culture that has been attempted to be erased, Arao encourages the viewer to view his art “the wrong way” and interpret as they see fit.
Representative of native indigenous patterns of the Philippines, the bold colors and large shapes of this print are Arao’s method of layering aspects of traditional Filipino culture and the artist’s personal narrative as a queer Pinoy. Arao calls out the traditional practice of weaving in this print. Weaving textiles in the Philippines is an ancient art that was known to connect the earth to the heavens. The great amount of skill required to create perfect geometric shapes tells a story.
About the Artwork
Here, Arao invites the viewer to notice the imperfect geometry. Upon first glance, one may perceive a sense of symmetry across the middle of the piece. With the top half of the work seeming to reflect over the x axis, it appears to be the traditional applications of Filipino patterns; relying heavily on symmetry and mathematical precision. Upon further inspection, the audience slowly realizes there is a great lacking of symmetry and even a change in colors which contradicts the traditional values of the art entirely.
The pattern shown with many triangles and lines is an example of the pattern called mata mata. The triangular shapes are often used to represent mountains, rice grains, and the bounty of the earth. When used on blankets and tapestries, these symbols often represented a mountainous area or the symbolic nature of a mountain’s strength. Arao’s use of imperfect geometry and mismatched color schemes supports his ideas of breaking the rigid schemes and mindsets of the past to evolve into a more fluid future.
The Philippines have indigenous roots in which queer individuals were treated as otherworldly beings to whom much respect and admiration was owed. Following colonization, many new religions condemned queer folk and queer oppression is now the societal norm. Arao aims to remind viewers of the origins of his culture as the narrative shifts back to giving LGBTQIA+ people the respect and honor they were stripped of.
Liu Ye "Bubbles"
About the Artist
(b. 1964, Beijing, China; lives Bejing, China) Painter Liu Ye creates lush canvases that juxtapose the east and the west, history and national identity. His subjects derive from the fairy tales of Hans Christian Andersen, and imagery passed down to him from his father, a children’s book author during the Cultural Revolution in China. Typical of Ye’s style, young girls with small bodies and large moon-like faces populate his paintings.
About the Artwork
Ye is part of a generation of artists that grew up during the Cultural Revolution and were visually affected by the kitsch aesthetic of propaganda art. His political and cultural background led him to create seemingly childlike or naïve worlds full of fantasies and fairy tales; however, Ye contrasts his lighthearted style with imagery alluding to global catastrophes. The fairy tales that inspires his work are the same Western fairy tales banned in China during the Cultural Revolution. The act of reading these banned Western stories was deemed an act of political revolt. Were it revealed that Ye’s father was passing Western propaganda along to his child, Ye’s family could experience great consequences. Stating that many of his characters are versions of a self-portrait, one can view the child balancing on a bubble with the discontent expression as a reflection on Ye’s experiencing navigating childhood while living under the political and social unrest growing up in Communist China.
Shellie Zhang "Still Life With Dragon Fruit"
About the Artist
(b. 1991, Bejing, China; lives Toronto, ON) Shellie Zhang explores multicultural society and its signs, symbols, and language through the techniques of mass communication. Growing up in China and living internationally, Zhang is interested in immigration and assimilation among different cultures and how these happenings effect individual experiences. With an understanding that technology has created a means for cultures to connect and grow together, Zhang finds value in the traditions and practices that cultures have refused to change. Her work aims to find the foundations of cultures as well as culture’s state and the changes it experiences due to globalization.
About the Artwork
Images in her series, Offerings to both Past and Future, are a familiar scene in Chinese homes that center around family and blessings. It is typical in many Asian households to have a full bowl of fruit on display. The sound of the Chinese word for pineapple sounds similar to “good luck coming your way” and reflects the general attitude towards fruit. This Chinese onomatopoeia exemplifies why fruit is so often included in Feng Shui and home décor applications in China. Fruit is often given as gifts during the Lunar New Year to promote the attainment of wealth and goof luck in the coming year. These bowls are also used as shrines in which people can place offerings to their loved ones who have passed in order to honor them and to ask for their blessings.
Zhang also uses this work to shed light on an aspect of Chinese culture often judged and mocked by dominant Western culture. Understanding that food is often a site of criticism and racism towards Asian people, Zhang honors the food in a way of celebration and honor in this lively still life featuring the dragon fruit; calling out the Chinese symbol of strength and resilience: the dragon.
(b. 1991, Bejing, China; lives Toronto, ON) Shellie Zhang explores multicultural society and its signs, symbols, and language through the techniques of mass communication. Growing up in China and living internationally, Zhang is interested in immigration and assimilation among different cultures and how these happenings effect individual experiences. With an understanding that technology has created a means for cultures to connect and grow together, Zhang finds value in the traditions and practices that cultures have refused to change. Her work aims to find the foundations of cultures as well as culture’s state and the changes it experiences due to globalization.
About the Artwork
Images in her series, Offerings to both Past and Future, are a familiar scene in Chinese homes that center around family and blessings. It is typical in many Asian households to have a full bowl of fruit on display. The sound of the Chinese word for pineapple sounds similar to “good luck coming your way” and reflects the general attitude towards fruit. This Chinese onomatopoeia exemplifies why fruit is so often included in Feng Shui and home décor applications in China. Fruit is often given as gifts during the Lunar New Year to promote the attainment of wealth and goof luck in the coming year. These bowls are also used as shrines in which people can place offerings to their loved ones who have passed in order to honor them and to ask for their blessings.
Zhang also uses this work to shed light on an aspect of Chinese culture often judged and mocked by dominant Western culture. Understanding that food is often a site of criticism and racism towards Asian people, Zhang honors the food in a way of celebration and honor in this lively still life featuring the dragon fruit; calling out the Chinese symbol of strength and resilience: the dragon.
Aya Uekawa "Forest Bath"
About the Artist
(b. 1979,Tokyo, Japan; lives Beacon, NY) Aya Uekawa's work explores cultural identity through ambiguous and quiet female figures. Uekawa paints in nihonga, the classical Japanese style of painting. Uekawa cites Uemera Shoen, a decorated 20th century painter of bijin-ga, as an artistic influence.
About the Artwork
From a series of paintings of Japanese Samurai women during the Warring State Period (1467 – 1615) when many samurai families were at war against each other. During this time of great tragedy, samurai women braced themselves for the terrors and difficulties of war and worked to provide for and protect their families. This difficult time in Japanese samurai history is to be seen as a metaphor for the pandemic; one of the most challenging times in the history of the world. This work honors those going through difficult times.
(b. 1979,Tokyo, Japan; lives Beacon, NY) Aya Uekawa's work explores cultural identity through ambiguous and quiet female figures. Uekawa paints in nihonga, the classical Japanese style of painting. Uekawa cites Uemera Shoen, a decorated 20th century painter of bijin-ga, as an artistic influence.
About the Artwork
From a series of paintings of Japanese Samurai women during the Warring State Period (1467 – 1615) when many samurai families were at war against each other. During this time of great tragedy, samurai women braced themselves for the terrors and difficulties of war and worked to provide for and protect their families. This difficult time in Japanese samurai history is to be seen as a metaphor for the pandemic; one of the most challenging times in the history of the world. This work honors those going through difficult times.
Weng Fen "Staring at the Sea #2"
About the Artist
(b. 1961 Hainan City, China; lives Hainan City, China) The transitional phases and changes in China since its opening up in the 1980s, both physically and emotionally, have been the source of inspiration for Weng Fen and his work. The shift in life that came with this urbanization was a point of anticipation, fear and curiosity. Many of his subjects are faced away from the camera in an attempt to remove personal identity so that the work may speak on the shared experiences of the Chinese people. Whether looking ahead to the growth and development of booming urban cities or looking back on the rural, traditional lives they have lived through for many centuries, his subjects accept the transitional phase they are living through.
About the Artwork
Weng Fen explores the possibility of finding an otherworldly utopia, which culminates in the acclaimed Staring at The Sea series. The figures that populate Fen’s photographs are visible only from behind: looking out in awe, their bodies are dwarfed by the expanse of water that spreads out before them. Fen characterizes the natural environment that he photographs as “utopian dreamlands for the common people”. The artist invites us to ponder what these views of nature may mean to different people, and ultimately, what they mean to us.
(b. 1961 Hainan City, China; lives Hainan City, China) The transitional phases and changes in China since its opening up in the 1980s, both physically and emotionally, have been the source of inspiration for Weng Fen and his work. The shift in life that came with this urbanization was a point of anticipation, fear and curiosity. Many of his subjects are faced away from the camera in an attempt to remove personal identity so that the work may speak on the shared experiences of the Chinese people. Whether looking ahead to the growth and development of booming urban cities or looking back on the rural, traditional lives they have lived through for many centuries, his subjects accept the transitional phase they are living through.
About the Artwork
Weng Fen explores the possibility of finding an otherworldly utopia, which culminates in the acclaimed Staring at The Sea series. The figures that populate Fen’s photographs are visible only from behind: looking out in awe, their bodies are dwarfed by the expanse of water that spreads out before them. Fen characterizes the natural environment that he photographs as “utopian dreamlands for the common people”. The artist invites us to ponder what these views of nature may mean to different people, and ultimately, what they mean to us.
Jiha Moon "Nahanls Forty Winks"
About the Artist
(b. 1973, DaeGu, Korea; lives Atlanta, GA) Jiha Moon’s art is inspired by a wide range of Eastern and Western art, often blending elements of traditional art with pop culture elements. Her themes often include fluidity of identity, globalization, and the information overload of the 21st century. She says of her work, “I am a cartographer of cultures and an icon maker in my lucid worlds.” The artist takes visual cues from Eastern and Western art history, including colors and designs from popular culture, Korean temple paintings and folk art, internet emoticons and icons, fruit stickers and labels of products from all over the world.
About the Artwork
Jiha Moon often incorporates imagery from a variety of cultures. In this artwork the artist combines traditional Korean style through the classically styled mountains and clouds with bright colors and exaggerated expressions of cartoon-like characters. Throughout the scene are fragments of a dragon--a symbol of serenity, wisdom and justice--flying through the air. Moon depicts her experience as a Korean artist assimilating to American culture as well as the ways in which different cultures spread in a globalized world.
(b. 1973, DaeGu, Korea; lives Atlanta, GA) Jiha Moon’s art is inspired by a wide range of Eastern and Western art, often blending elements of traditional art with pop culture elements. Her themes often include fluidity of identity, globalization, and the information overload of the 21st century. She says of her work, “I am a cartographer of cultures and an icon maker in my lucid worlds.” The artist takes visual cues from Eastern and Western art history, including colors and designs from popular culture, Korean temple paintings and folk art, internet emoticons and icons, fruit stickers and labels of products from all over the world.
About the Artwork
Jiha Moon often incorporates imagery from a variety of cultures. In this artwork the artist combines traditional Korean style through the classically styled mountains and clouds with bright colors and exaggerated expressions of cartoon-like characters. Throughout the scene are fragments of a dragon--a symbol of serenity, wisdom and justice--flying through the air. Moon depicts her experience as a Korean artist assimilating to American culture as well as the ways in which different cultures spread in a globalized world.
Yoshitomo Nara "Cosmic Girl" Eyes Wide Open & Eyes Closed"
About the Artist
(b. 1959, Hirosaki, Aomori Prefecture, Japan; lives Nasusuhiobara, Tochigi Prefecture, Japan) Yoshitomo Nara’s multifaceted approach to art making has produced painting, sculpture, and prints that carry an irreverent sense of humor about the ways in which children understand the world around them. His work features childlike characters that are sweet yet sinister. The contrast of a cute child with expressions of rebellious rage highlights the history of modern art in Japan. The boom of anime and manga that came after the bombings of Hiroshima and Nagasaki is a result of the people of Japan needing something sweet and pure after the atrocities of war.
About the Artwork
The character in this work depicts a serene, doe-eyed child seemingly coming to peace. A softly lit scene of a young girl creates an ambiance of innocence. The large, detailed eyes draw the audience’s attention while they are taking in all that is around them; the beauty, chaos and change. The eyes close to avoid becoming overwhelmed. From atomic bombs to natural disasters, the people of Japan have endured a line of traumatic events so closely following each other that a phenomenon of ignoring collective trauma occurs. Individuals have attributed this to avoiding weakness and shame in a community that values strength and resiliency. In many Asian cultures, it is common knowledge that the nail that sticks out gets hammered down and the same principal explains why individuals in the community often don’t seek care for mental health. One can view this piece as a reflection of the Japanese people’s quiet recognition of collective trauma, the innocence that was stripped from generations, and hope that the future will be brighter than the past.
(b. 1959, Hirosaki, Aomori Prefecture, Japan; lives Nasusuhiobara, Tochigi Prefecture, Japan) Yoshitomo Nara’s multifaceted approach to art making has produced painting, sculpture, and prints that carry an irreverent sense of humor about the ways in which children understand the world around them. His work features childlike characters that are sweet yet sinister. The contrast of a cute child with expressions of rebellious rage highlights the history of modern art in Japan. The boom of anime and manga that came after the bombings of Hiroshima and Nagasaki is a result of the people of Japan needing something sweet and pure after the atrocities of war.
About the Artwork
The character in this work depicts a serene, doe-eyed child seemingly coming to peace. A softly lit scene of a young girl creates an ambiance of innocence. The large, detailed eyes draw the audience’s attention while they are taking in all that is around them; the beauty, chaos and change. The eyes close to avoid becoming overwhelmed. From atomic bombs to natural disasters, the people of Japan have endured a line of traumatic events so closely following each other that a phenomenon of ignoring collective trauma occurs. Individuals have attributed this to avoiding weakness and shame in a community that values strength and resiliency. In many Asian cultures, it is common knowledge that the nail that sticks out gets hammered down and the same principal explains why individuals in the community often don’t seek care for mental health. One can view this piece as a reflection of the Japanese people’s quiet recognition of collective trauma, the innocence that was stripped from generations, and hope that the future will be brighter than the past.
Nam June Paik "Robespierre, Does the revolution justify the violence? from the series Evolution, Revolution, Res…"
About the Artist
(b. 1932, Seoul, Korea; d. 2006, Miami, FL) An artist with a long and extremely prolific career, Nam June Paik is considered the father of video art. Sony selected Paik before any other artist to be gifted their first portable video camera. Born in Korea, the artist fled with his family to Japan during the Korean War, where he attended University of Tokyo. Paik lived and worked in Europe and the US, where he died in 2006. Straddling the three cultures—American, European and Asian, Paik explored issues of communication, globalization and the impact of technological through his work. In addition to performance and video, Paik was a sculptor and used televisions and radios to create the work. Through these materials, Paik commented on the power of media and explored ways of undermining its messages.
About the Artwork
This print was modeled after the artist’s series of pioneering video-robot-sculptures exhibited at the Musée d’Art Moderne de la Ville de Paris in 1989, commemorating the bicentenary of the French Revolution. Each robot represents a key figure from the Revolution, including Diderot, Robespierre, Danton, Rousseau, Olympe de Gouges, Marat, Voltaire and David. Text in the form of Hanja (Korean for Chinese characters), and line drawings surround each robot. The words and sketches relate to the principles of the central figure and include such ideals as equality, liberty and democracy.
(b. 1932, Seoul, Korea; d. 2006, Miami, FL) An artist with a long and extremely prolific career, Nam June Paik is considered the father of video art. Sony selected Paik before any other artist to be gifted their first portable video camera. Born in Korea, the artist fled with his family to Japan during the Korean War, where he attended University of Tokyo. Paik lived and worked in Europe and the US, where he died in 2006. Straddling the three cultures—American, European and Asian, Paik explored issues of communication, globalization and the impact of technological through his work. In addition to performance and video, Paik was a sculptor and used televisions and radios to create the work. Through these materials, Paik commented on the power of media and explored ways of undermining its messages.
About the Artwork
This print was modeled after the artist’s series of pioneering video-robot-sculptures exhibited at the Musée d’Art Moderne de la Ville de Paris in 1989, commemorating the bicentenary of the French Revolution. Each robot represents a key figure from the Revolution, including Diderot, Robespierre, Danton, Rousseau, Olympe de Gouges, Marat, Voltaire and David. Text in the form of Hanja (Korean for Chinese characters), and line drawings surround each robot. The words and sketches relate to the principles of the central figure and include such ideals as equality, liberty and democracy.
Kang Hee Kim "Stairway to the Moon"
About the Artist
(b. 1991 Korea; lives New York, NY) Photographer KangHee Kim juxtaposes every day moments with ethereal scenes. Kim manipulates and overlays digital images in Photoshop to create other worlds of fantasy and escape while drawing inspiration from everyday moments such as riding the bus.
Originally a painter, she discovered photography through the introduction of the iPhone and Instagram. This led to her taking a black and white film class during her junior year at Maryland Institute College of Art.
About the Artwork
From her photography series Dreamer, Kang Hee Kim takes landscape photographs from the streets of New York and collages them with details from other locations she has visited. Combining these elements from everyday life into a surreal scene creates a sense of escapism and freedom. Due to her restrictive VISA status, she has been unable to leave the United States to visit her home or family for over ten years. Kim finds liberation and possibility—freedom from her legal status-- in this dreamscape.
(b. 1991 Korea; lives New York, NY) Photographer KangHee Kim juxtaposes every day moments with ethereal scenes. Kim manipulates and overlays digital images in Photoshop to create other worlds of fantasy and escape while drawing inspiration from everyday moments such as riding the bus.
Originally a painter, she discovered photography through the introduction of the iPhone and Instagram. This led to her taking a black and white film class during her junior year at Maryland Institute College of Art.
About the Artwork
From her photography series Dreamer, Kang Hee Kim takes landscape photographs from the streets of New York and collages them with details from other locations she has visited. Combining these elements from everyday life into a surreal scene creates a sense of escapism and freedom. Due to her restrictive VISA status, she has been unable to leave the United States to visit her home or family for over ten years. Kim finds liberation and possibility—freedom from her legal status-- in this dreamscape.
Pipo Nguyen-duy "Farmers on The Way"
About the Artist
(b. 1962 – Hue, Vietnam) Pipo Nguyen-duy grew up in Hue, Vietnam, a city residing thirty miles from the 18th Parallel, a demilitarized zone where he regularly heard gunfire. He lived here until the arrival of a Tet offensive in 1968 that caused him to immigrate to the United States in 1975. The Tet offensives were campaigns run by the Viet Cong as an attempt to force the United States to negotiate or withdraw from the Vietnam War. These campaigns would strike heavily populated areas where many U.S military personnel were stationed alongside large populations of Vietnamese civilians. After his move, Nguyen-duy spent 2 years in India studying to be a Buddhist monk before finishing his education at Carleton College in southern Minnesota.
About the Artwork
Pipo Nguyen began working on the series, East of Eden, while documenting Vietnamese war amputees. This series addresses hope and regeneration and celebrates the resilience and beauty of humanity. The staged tableaus of children in school uniforms are stylistically reminiscent of 19th-century British landscape painting, where the environment and its inhabitants exist in harmony. Of his work, the artist says, “One can view this work as an attempt to come to terms with my past and to offer those of whom that are violently marked by the war the opportunity to tell their stories”.
(b. 1962 – Hue, Vietnam) Pipo Nguyen-duy grew up in Hue, Vietnam, a city residing thirty miles from the 18th Parallel, a demilitarized zone where he regularly heard gunfire. He lived here until the arrival of a Tet offensive in 1968 that caused him to immigrate to the United States in 1975. The Tet offensives were campaigns run by the Viet Cong as an attempt to force the United States to negotiate or withdraw from the Vietnam War. These campaigns would strike heavily populated areas where many U.S military personnel were stationed alongside large populations of Vietnamese civilians. After his move, Nguyen-duy spent 2 years in India studying to be a Buddhist monk before finishing his education at Carleton College in southern Minnesota.
About the Artwork
Pipo Nguyen began working on the series, East of Eden, while documenting Vietnamese war amputees. This series addresses hope and regeneration and celebrates the resilience and beauty of humanity. The staged tableaus of children in school uniforms are stylistically reminiscent of 19th-century British landscape painting, where the environment and its inhabitants exist in harmony. Of his work, the artist says, “One can view this work as an attempt to come to terms with my past and to offer those of whom that are violently marked by the war the opportunity to tell their stories”.
Tom Rossiter "This Generation"
About the Artist
(b. 1949 Baltimore, MD; lives Chicago, IL) Architect and photographer Tom Rossiter documents elements of nature and culture that he finds both in his hometown of Chicago, and his travels throughout America and Asia. Whether he is photographing people, architecture, or the landscape, he aims to uncover the raw information and ambiance of the person or place to capture the most emotionally rich scenes. He translates his interest in ecology and sustainability as well as his experience in designing buildings into his photography.
About the Artwork
This photograph was taken at Sanjusangen-do or Temple of 1001 Buddhas in Kyoto Japan. The monks here, the “this generation” being depicted, are observing a gomaki fire ceremony whereby a large bonfire is made of green and dry pine. The gomaki are the pieces of cedar onto which prayers are written when making a donation in the temple. Every six months the gomaki are gathered and burned in the belief that the prayers are sent to the Buddha while the smoke serves as a protection from evil.
(b. 1949 Baltimore, MD; lives Chicago, IL) Architect and photographer Tom Rossiter documents elements of nature and culture that he finds both in his hometown of Chicago, and his travels throughout America and Asia. Whether he is photographing people, architecture, or the landscape, he aims to uncover the raw information and ambiance of the person or place to capture the most emotionally rich scenes. He translates his interest in ecology and sustainability as well as his experience in designing buildings into his photography.
About the Artwork
This photograph was taken at Sanjusangen-do or Temple of 1001 Buddhas in Kyoto Japan. The monks here, the “this generation” being depicted, are observing a gomaki fire ceremony whereby a large bonfire is made of green and dry pine. The gomaki are the pieces of cedar onto which prayers are written when making a donation in the temple. Every six months the gomaki are gathered and burned in the belief that the prayers are sent to the Buddha while the smoke serves as a protection from evil.
Isaac Julian "Mazu, Turning (Ten Thousand Waves)"
About the Artist
(b. 1960 London, England; lives London, England) Isaac Julian is a filmmaker and installation artist. Composing different artistic elements such as film, photography, dance and music, Julian creates powerful visual narratives in his cinematic ensembles. Considered as a leading contemporary video artist, Julian is known for his skill in large scale, multi-screen installations in which his meticulously researched subjects can be displayed. This practice creates a platform in which the various elements can perform as individual works as well as a collection. His attention to detail forces him to do extensive research on matters such as music composition or fashion design; elements that contribute to the look and feel of a piece that are normally additional details get as much attention as the filming itself. Julian’s stunning work is a result of meticulous attention to detail and research in his attempts to create sensory satisfying pieces that tell fascinating stories that are respected and admired around the world. With subject matters often rooted in deeply cultural contexts, Julian’s work features cultural and philosophical themes that are he studies extensively before turning on the camera.
About the Artwork
Filmed in remote areas of China and in contemporary Shanghai, Isaac Julien's epic 9-screen audio-visual installation Ten Thousand Waves combines the quiet elegance of an ancient landscape with the bustle of a modern super-city. Created over the course of four years, Julian spent time in China with academics and artists becoming familiar with the country and its people in order to explore Chinese tradition and superstition. The work was originally inspired by the Morecambe Bay Tragedy of 2004 in which 23 immigrant cockle farmers were killed on the job by a massive wave. This still photograph from Julien's film captures the beauty of the environment and of Masu, the Fujian goddess hero who leads lost fisherman to safety in a 16th-century fable.
(b. 1960 London, England; lives London, England) Isaac Julian is a filmmaker and installation artist. Composing different artistic elements such as film, photography, dance and music, Julian creates powerful visual narratives in his cinematic ensembles. Considered as a leading contemporary video artist, Julian is known for his skill in large scale, multi-screen installations in which his meticulously researched subjects can be displayed. This practice creates a platform in which the various elements can perform as individual works as well as a collection. His attention to detail forces him to do extensive research on matters such as music composition or fashion design; elements that contribute to the look and feel of a piece that are normally additional details get as much attention as the filming itself. Julian’s stunning work is a result of meticulous attention to detail and research in his attempts to create sensory satisfying pieces that tell fascinating stories that are respected and admired around the world. With subject matters often rooted in deeply cultural contexts, Julian’s work features cultural and philosophical themes that are he studies extensively before turning on the camera.
About the Artwork
Filmed in remote areas of China and in contemporary Shanghai, Isaac Julien's epic 9-screen audio-visual installation Ten Thousand Waves combines the quiet elegance of an ancient landscape with the bustle of a modern super-city. Created over the course of four years, Julian spent time in China with academics and artists becoming familiar with the country and its people in order to explore Chinese tradition and superstition. The work was originally inspired by the Morecambe Bay Tragedy of 2004 in which 23 immigrant cockle farmers were killed on the job by a massive wave. This still photograph from Julien's film captures the beauty of the environment and of Masu, the Fujian goddess hero who leads lost fisherman to safety in a 16th-century fable.
Dinh Q. Lê "Splendor & Darkness (STPI)"
About the Artist
(b. 1968 Hà Tiên, Vietnam; lives Ho Chi Minh City, Vietnam) Dinh Q. Lê has used photography to examine the delicate intersections between both Vietnamese and American culture and histories. Lê’s interwoven photographs combine his experience of American culture with his understanding of his homeland. He distorts, splices, and interweaves photographs into large scale tapestries that revolve around the theme of the Vietnam War; specifically with the untold stories of the survivors who endured the first helicopter war.
Lê also co-founded the Vietnam Foundation for the Arts (VNFA), based between Los Angeles and Ho Chi Minh City – an organization that supports Vietnamese artists and promotes artistic exchange between cultural workers from Vietnam and around the world. With funding from VNFA, Lê and three other artists co-founded San Art, the first not-for-profit contemporary art space and reading room in Ho Chi Minh City. He is currently a member of the peer committee for Art Network Asia and a member of the Asia Society’s international council.
About the Artwork
The works in this series represent the crimes against humanity in the Tuol Sleng genocide of Cambodia. Featuring Cambodian temple of Angkor Wat and faces of victims, Lê connects two instances in Cambodia’s history; the battle scenes at the temple and the imprisonment and killing of civilians. Lê presents these two intrinsically violent moments to honor and memorialize the victims.
(b. 1968 Hà Tiên, Vietnam; lives Ho Chi Minh City, Vietnam) Dinh Q. Lê has used photography to examine the delicate intersections between both Vietnamese and American culture and histories. Lê’s interwoven photographs combine his experience of American culture with his understanding of his homeland. He distorts, splices, and interweaves photographs into large scale tapestries that revolve around the theme of the Vietnam War; specifically with the untold stories of the survivors who endured the first helicopter war.
Lê also co-founded the Vietnam Foundation for the Arts (VNFA), based between Los Angeles and Ho Chi Minh City – an organization that supports Vietnamese artists and promotes artistic exchange between cultural workers from Vietnam and around the world. With funding from VNFA, Lê and three other artists co-founded San Art, the first not-for-profit contemporary art space and reading room in Ho Chi Minh City. He is currently a member of the peer committee for Art Network Asia and a member of the Asia Society’s international council.
About the Artwork
The works in this series represent the crimes against humanity in the Tuol Sleng genocide of Cambodia. Featuring Cambodian temple of Angkor Wat and faces of victims, Lê connects two instances in Cambodia’s history; the battle scenes at the temple and the imprisonment and killing of civilians. Lê presents these two intrinsically violent moments to honor and memorialize the victims.
Neil Meyerhoff "Monk sweeping path at Thien Mu Pagoda along Perfume River (Hue, Vietnam)"
About the Artist
(b. 1949, Baltimore, MD; lives) Photographer Neil Meyerhoff is best known for his extreme-wide-angle photographs of places as varied as Cuba, Vietnam, and Japan. With a photography career spanning more than thirty years, Meyerhoff has spent his life traveling the world learning about the day to day life of different cultures.
About the Artwork
Artist Neil Meyerhoff uses a small 35mm camera that produces eye-popping, unbroken images across a full 71-degree field of view to create his images. The normal vision of the human eye, by contrast, is only about 45 degrees. The effect is to make marvelously concrete the panorama – literally, to “see all” as the scene is large enough that the viewer is invited into the settings. Meyerhoff’s panorama, here showing monks at work, resonate in color and detail and convey a richness of information and captures a moment not normally offered to monks as subjects. Monks are spiritual individuals that often devote their life to their practice. This shot captures a moment outside of prayer and reminds the viewers that outside of their practice, they are unique and personable individuals.
(b. 1949, Baltimore, MD; lives) Photographer Neil Meyerhoff is best known for his extreme-wide-angle photographs of places as varied as Cuba, Vietnam, and Japan. With a photography career spanning more than thirty years, Meyerhoff has spent his life traveling the world learning about the day to day life of different cultures.
About the Artwork
Artist Neil Meyerhoff uses a small 35mm camera that produces eye-popping, unbroken images across a full 71-degree field of view to create his images. The normal vision of the human eye, by contrast, is only about 45 degrees. The effect is to make marvelously concrete the panorama – literally, to “see all” as the scene is large enough that the viewer is invited into the settings. Meyerhoff’s panorama, here showing monks at work, resonate in color and detail and convey a richness of information and captures a moment not normally offered to monks as subjects. Monks are spiritual individuals that often devote their life to their practice. This shot captures a moment outside of prayer and reminds the viewers that outside of their practice, they are unique and personable individuals.
Takashi Murakami "Kansei Like the River Flow"
About the Artist
(b. 1962 Tokyo, Japan; lives Itabashi City, Japan) Takashi Murakami blurs the lines between high and low art by merging the styles of traditional Japanese painting and contemporary Japanese anime and culture. Creating a style that he has labeled “superflat,” Murakami references the two-dimensional style of cartoons as well as tech devices like flat-screen televisions and computer monitors. Murakami explains, "In Japan, there is no high and there is no low. It's all flat."
About the Artwork
In Takashi Murakami’s Kansei series, the artist re-envisions wildflowers and mountain streams in a colorful, pop art style with paint drips, graphic patterns and flowers with faces. The title of the collection refers to the Japanese concept of sensing a situation or an artifact and building an individual emotional response to it. Other common motifs across Murakami’s oeuvre—which spans paintings, sculptures, prints and more—include smiling flowers, bears, and the Mickey Mouse–inspired character Mr. DOB.
(b. 1962 Tokyo, Japan; lives Itabashi City, Japan) Takashi Murakami blurs the lines between high and low art by merging the styles of traditional Japanese painting and contemporary Japanese anime and culture. Creating a style that he has labeled “superflat,” Murakami references the two-dimensional style of cartoons as well as tech devices like flat-screen televisions and computer monitors. Murakami explains, "In Japan, there is no high and there is no low. It's all flat."
About the Artwork
In Takashi Murakami’s Kansei series, the artist re-envisions wildflowers and mountain streams in a colorful, pop art style with paint drips, graphic patterns and flowers with faces. The title of the collection refers to the Japanese concept of sensing a situation or an artifact and building an individual emotional response to it. Other common motifs across Murakami’s oeuvre—which spans paintings, sculptures, prints and more—include smiling flowers, bears, and the Mickey Mouse–inspired character Mr. DOB.
Cleveland Clinic AR+ Exhibition
Title: Asian Pacific Islander Exhibition
Software Used: Hygraph, Artwork Archive, Microsoft Office, Figma
Description: A large part of my internship at the Cleveland Clinic was the development of the AR+ app. This exhibition is my biggest accomplishment during my time at the Cleveland Clinic.
My Asian heritage means the world to me and I look for opportunities to connect to the Asian Pacific Islander community often. Inspired by a previous intern's Latin Heritage exhibition "Intercambio Internacional" (still on view on the app under virtual exhibition), I created an exhibition honoring the API community and the unique and powerful stories of API artists. Though making up 6% of the Cleveland Clinic's workforce, I could not find an event, virtual or in person, honoring the API community while others have been honored or spotlighted. I believe in the power of representation and am honored to have been able to create this.
I invite you to look at the Clinic's only Filipino artist Paolo Arao's "Tried Angles" for a brief history of Filipino Indigenous Mythology!
Find it in the app store under Cleveland Clinic AR+
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