En la sociedad china, los faroles rojos alguna vez estuvieron asociados a los burdeles como un fetiche de la sexualidad y la venta del cuerpo. Las imágenes divididas de los faroles simbolizan el divorcio entre el cuerpo físico y el cuerpo espiritual de las mujeres marginalizadas. Presentada junto a un código de barras estilizado -tan familiar en la sociedad de consumo contemporánea-, la pintura intenta referir a las maneras en que el cuerpo de las mujeres puede ser tratado como mercancía.

 

In my paintings, installations and performance art, I explore the ideas of “travel,” “transition,” and “adaptation” in different levels and spectrums – physically, temporally, culturally, linguistically, emotionally, and spiritually. As I immigrated to the United States in my late-teenage year/early adulthood, the experience of cultural shift and abrupt loss of the communities in which I had been actively engaged changed my view of myself, my root, and my relationship to the “other” worlds. In my artworks, I am interested in contesting the psychological landscape and temporal shift affected by memories, history, as well as the cultural and built environments. I use references of mythologies, folk arts productions, historical iconographies, as well as maps of reality and imagination in my art-making. The works I create often incorporate words, references of classical poems in calligraphy, and metallic colors to manifest the shimmering past.