This series explores the boundaries between the real and the virtual within the context of David Wojnarowicz's "Rimbaud in New York" series. Using an anime alter-ego of the artist in collaboration with "Rambo," the two go on a Boston adventure.
This performance piece converses with Monet's painting, Japonisme, depicting Camille posing in a Uchikake Kimono. To permanently document the controversy around Monet's painting at the Museum of Fine Arts, over July 2015, a fellow artist, Azita Moradkhani, paints Jeremy's body in Camille's Uchikake- appearing almost like tattoos down his right side. After 6 hours of painting the body, Jeremy stands in a antique wash basin and attempts to scratch, peel, and rub away the kimono with hot sake. The remaining marks pose the question, can we move beyond orientalism and exoticism in American contemporary culture ?
Azita Moradkhani's website: http://www.azimore.com/
Photo documentation: Nickolas Procopi
Fumi-e takes viewers on a ritual process, harnessing all 5 senses at different stages, represented by 3 alter places. At each alter, the humble Noh performer requests viewers to perform certain actions, from tasting pungent nato to defacing alien deities. At the third alter, the Noh performer commits Seppuku and their requests upon the viewer become heavier and agressive until life itself has been properly sacrificed by the audience. This piece questions the audience's choices and values against an alien ritual within a formal performance atmosphere.
This series explores mixed medias to create installations around ideas of comfort, sexuality, and spirituality in the digital age. The artist uses materials and aesthetics that speak to plasticity, virtual reality, and tradition within one condensed space, resulting in hyper-stimulation. He then uses photography and a rigorous editing process to select out simplified moments to filter out a stronger curated installation space.
Within Gold Clouds is a sculptural installation that materializes my struggle to come to terms with my Japanese- American upbringing. I spent months dissecting Japanese history- from the arrival of Buddhism to contemporary anime, to learn the difference between lyrical space (a space that does not fit within the framework of realism) and epic space (a space that contains a universal order). The idea, which resonated most for me during my studies, was the use of abstract clouds in traditional Japanese landscape paintings. At first the scenes appear unified by scale, flat space, and moments of detail within a great fog. However, the use of large opaque clouds abstracts space and perspective. The elegant distortion of space resonated with my practice, and I began to situate my visual vocabulary within the passages that artists and historians speculate on what lies within, to create a seemingly Japanese aesthetic.