“There is a crack in everything, that’s how the light gets in” -Leonard Cohen
San Francisco, California, February 4, 2017
The Plant Show
Curated by Simran Johnston
July 29 – September 25, 2016
The Plant Show, an exhibition of objects made by contemporary artists with the function of bringing plant life into the home.
Adam Frezza & Terri Chiao
B. Thom Stevenson
custom printed cotton, foam core, and elastic
one size fits all
These two garments were collaboratively made with Riley Pile, for a show entitled “Icky Body” in September 2015.
13 1/2” x 13 1/2” x 5’
wood, plexiglass, copper, fountain pump, water
12” x 12” x 3’
wood, plexiglass, LEDs, servo motor, water
3. Gut Feeling
13 3/4” x 13 3/4” x 13”
wood, plexiglass, fountain pump, bubbles, water
Documentation from the exhibition Body Machines, at LESS SPACE in Oakland, May 2015.
walkie takie and recorded audio
Walkie Check was an installation made for the exhibition Invisible Labor, as a part of Bay Area Now 7 at Yerba Buena Center for the Arts. A walkie talkie casually stood on a pedestal and provided audio interruptions into the YBCA gallery space.
Press for the show:
Andrew Witt, “Bay Area Now 7,” Augest 22, 2014, Art Forum
pecans, eggs, paint, photo transfers, napkin
My grandmother, Siu Fong Yu Wong, and I never spoke the same language. As an immigrant
Chinese mother working in her husband’s laundry in Los Angeles Siu Fong Yu Wong (or Pooh),
in many ways was silenced. Being a mixed race girl born in the Bay Area, the depth of my
Chinese fluency floated on the tops of bowls of duck noodles and in Pooh’s meatballs. Food
always drove communication between my grandmother and I, as well as between my
grandmother and American society. Her meatballs typified her assimilation to nineteenfifties
housewifery (as did her jello), while still having the flavor of a dumpling.
In an odd turn of events, Pooh spent the last few years of her life in the culinary heartland of the
states, the South. She came to live the American dream, living in a respectable suburb of
Atlanta. Ironically, just two states over in Mississippi, resided the Whittingtons, my white maternal
family line. This southern confluence had complexity woven like a latticework pie crust. And it
was indeed pie that was the only way I could speak with Pooh about ideas of place, domesticity,
labor, and culture. So one afternoon using pecans, eggs, flour, butter, and sugar we talked.
This piece, Ingredients for Pecan Pie, is an assemblage of that conversation.
Ingredients for Pecan Pie is also in honor of dear Pooh, who after a long life past away
Now! Now! Neverland! is an immersive theatrical experience based on J.M. Barrie’s Peter Pan. Developed with 15 artists over a month, the work considers what our concepts of Home and Neverland are in a contemporary context. Originally performed at Colonia Nova, Berlin, July 2013.
Jessica Lauren Elizabeth Taylor
Michael Burditt Norton
Michael Burditt Norton
A presentation of synesthetic beanbags, humming audio, housed in a paper maché dome; chicken wire, paper maché, light, fabric, spices, hay, stuffing, lentils, corn kernels, oatmeal and various materials, series of digital drawings.
We are born with a sponge for a brain, ready to absorb the stimuli of the world and cognitively develop by honing our reception of that information. Blocks, puzzles, crafts, and books are used as basic developmental tools for shaping our perception and introduce us to a particular educational/social/cultural/communication structure. These basic tools evolve into disciplines such as Graphic Design, which pervasively codify social structure. Learning A New Logic: See, Squish, Smell calls attention to our reasoning utilities and re-contextualize our social behaviors around creating meaning. Learning A New Logic: See, Squish, Smell, presents an alternative sphere that is intended to revisit the path of both cognitive development and schema development.
wood, foam, fabric, video projection.
the egg sculpture acts as a screen for the film projection of the performance.
The Singularity Dance was performed twice at Sarah Lawrence College in 2009. It consisted of two projectors each linked to a video camera which was attached to each dancer’s body. The camera’s picked would record the dancer at the opposite side of the room and the projector would them project their image back on to that vary performer being recorded, resulting in a dual video feedback loop. Us dancers then mirrored our movements to each other to an audio translation of a matrix equation.
The video was recorded through a camera, attached to my dancing body, entrapped in a feedback loop.