[Feb.2009 to Mar.2010]
In the year that I worked at Kaikaikiki studios in NY, I became interested in the separation of artist and work. By using the exact methods of another’s artistic process, I wondered how much of the painting I could claim as my own. The image is a fictional scene of my family on a lake, in the spirit of ancient Chinese brush paintings, with the balance of ‘dragon vein’ composition, water, and mountains. On my grandmother’s shirt are patterns of smiling faces-- an iconic Murakami symbol. Overall, the image blends contemporary culture with ancient aesthetic themes and compositions, as well as personal imaginings: a small image of my father floating in a Super100 Aeroplane in a vast open sky. The ownership of each part is arguable. The process is copied, as is the compositional rules and themes. The fantasized scene might be claimed as my own, but they come from a piecing together of actual memories, part of which I can credit my family members for creating. Down the line, the painting’s physical qualities are attached by as many strings as the meaning of clothing, or the identity of obscure objects.