Los Angeles-for Su-Yu-Sin, an artist from Los Angeles, born in Taiwan, pigments are Metonini for the Earth. Present exhibition SU, Seek for the sky for gold Within the Museum of Arts of the Okhinj Calls, conventional nicknames and representations of Colour are passed over, revealing a coverage of belief. Paints in those works are taken from minerals and powders, which she amassed from volcanic soil, herbal clay or discarded exoskeletons of ocean creatures alongside the mountains and shores. Thus, its photos in response to analysis shut the space between the thing and subject material, depicting the herbal phenomena-violent eruptions of volcanoes, calm rain, which falls throughout the typhoon, the herbal and artificial components that cause them to up.
Su tendency to get out of uncooked fabrics stems from her coaching in conventional Chinese language portray and Jap Toothbrushwhich use herbal minerals as pigments. The pairs of the Ziying Duan curator display the connections between brief monitors created with those colours at the barriers. For instance, “With or without Sun No. 3 (the coastal road on the eastern side of Taiwan)” and “Salt Caves (California coasts)” (all paintings of 2024) depict synthetic caves of the local town of SU at the jap Sukhua freeway and of course carved salt caves in Los Angeles, the place she now lives.
Even supposing the loss of fences at the Sukhua freeway and a steep touchdown within the Pacific Ocean makes it probably the most insidious transit routes on the earth, SU and plenty of others proceed to make use of the street, as that is the one solution to the town. Increasing caves alongside this highway are ruins of the tactics of native Taiwanese staff, constructed with a perfect chance for his or her existence throughout the colonial rule of the Jap dynasty and the Qing dynasty. Then again, “salt caves” mirror herbal sea caves, which can be slowly destroyed by way of salt through the years. The ensuing architectural feat, after all, paperwork the coast of the Pacific Ocean, making a portal that extends in the back of the sea, connecting it with Taiwan. On the identical time, those works illustrate how landscapes broaden by way of their nature through the years or, regardless of human industrialization.
Susina main points, “blue-green landscape in the rains” (2024), azurit, purple coral (musical Tubipora), shell, sulfur, ilmenite, inexperienced soil, honey, yellow osher, kaolin clay and different guide pigments on picket, honey, yellow oh oh oh oh
Different works, such because the “blue-green landscape in the rain”, put across a way of gradual, non violent motion when the clouds duvet the mountain impregnated with the rain. Inexperienced and blue palette is encouraged by way of Chinese language colour Zinlu -Sin-green-and-appropriate in conventional Chinese language portray. Those artists used mineral and botanical pigments with medicinal homes to put across the sensation of therapeutic within the pictures of the Buddhist and Taoist areas. Equivalent next investments of SU: in its essay 2020, “Color Study leading to materialism”, she writes about Zinlu The consistent state of the float in saturation or chrome, in addition to brightness all the way through historical past: “”Qind and inexperienced (Lou) are not two sorts of colour that shall be carried out and carried out as ornament on bones; It is a skeleton, intentionally refracting mild and dividing house, appearing how language and visible enjoy transfer in blocking off. ”
In every other position, “detonation and the time that he spent in the world (the test for the atomic bomb, New Mexico)” displays the arena’s first nuclear bomb within the new Mexican wasteland. The desk canvas involves existence in fireplace sun shades from Cinnabar, powder-like mercury sulfide utilized in Chinese language artwork for millennia, and bright-orange-yellow from Realgar, poisonous mineral of arsenic sulfide. The paintings displays the instant that human eyes may just now not understand, exhibited with inflammable and poisonous minerals, repeating the prerequisites of the minute that without end modified our planet and humanity.
In any respect, Seek for the sky for gold Explits how herbal geological occasions and business revolutions duvet the creating narrative of subject material migration and basic historical past. The works imagine the colour to technological shifts, encouraging us to imagine pigments outdoor their conventional CMYK construction and redirect the focal point to the unique codes of the Earth.
SU yu-xin, “with the sun or without the Sun No. 3 (the coastal road on the eastern side of Taiwan)” (2024), hematite, red shale
Su yu-xin, “Half a break (Mount Merapy)” (2024), sulfur, soil, shoal bone bleached, blue coral (Heliopora Coerulea), Halloysitum Rubrum and different hand-crafted pigments on Lena stretched over a picket body
Set up view of Su-ohnu, “salt caves (coasts of California)” (2024), stone salt, sulfur, obsidian, hematite, iwa-leogu, ceremonial dinner, inexperienced soil, gofun, ookalt and different hand-crafted pigments stretched over a picket body
Su yu-xin, “Map of my and other things” (2024), natural copper, chalcopritis, azurit, natural silver, blue coral (Heliopora Coerulea), malachite, gofun, copper oxide, soil, acrylic paint and different guide pigments on a tree
Su yu-xin: looking for the sky for gold Continues on the Museum of Arts of the Okhinj County (Street 3333 Street of the Artwork of Costa Mesa, California) till Would possibly 25. The exhibition was once supervised by way of Zing Duan with the improve of Courtney Finn, Albert Lopez and all OCMA staff.
