The individual’s relationship to their environment is always mediated by material understanding and experience. Through diverse investigations of these experiences this work questions what the relationship of the individual to their current culture truly is. In playful and sometimes flippant ways these heavily materialistic works engage with the inherent tension that underlies all these experiences and relationships. Material can be held and plainly quantified, but the feeling and meaning of existing in a material space is more elusive. This work exploits the gap between material and sensation.
Japheth Asiedu-Kwarteng: “The repetitive processes of weaving, assemblage, gluing, nailing and collaging (of ceramic, wood, canvas, and rope) which translate symbolically to visual texts to be read and engaged by my audiences, is my means of giving credence to the time, labor and efforts associated with traditional weaving methods. Through the aforementioned techniques, I deconstruct and reconstruct kente patterns to expand the symbolism, use and relevance of kente cloth.”
Priscilla Kar Yee Lo: “I was drawn to glass not only because of how empowered I felt working with such a temperamental material, but because it is inherently paradoxical, simultaneously existing as a liquid and a solid. The duality of glass, which is constantly in a state of fragility and permanency, mirrors the hegemonic constraints that still linger and influence the world.”
Richard Oliver Reed: “Contrasting light and projection with obfuscated ceramic and wood seeks to complexify the relationship between what we perceive as real and unreal. The space created by this installation serves as a place away from reality where the relationship between the material and immaterial can be questioned.”