In preparation for my solo show next year at Galleri Urbane in Dallas, I have reworked and expanded my plush sculpture idea. I added two more pieces to the sculpture and took it out from under the painting it originally was made to be displayed with. Now double in size, the sculpture lives in the middle of a space. It can be viewed in 3-D and I’m even considering the possibility of it being interactive at least during the opening of the exhibition. Here are a couple of views of the sculpture:
Cluster Flee, 2016, fabric and stuffing, four 15′ long plush elements, view 1
As I wrote in a previous post, this sculpture is rendered in large pillow-like shapes to reflect the moment I had to flee my home and leave behind any sense of normalcy I or my children had of domestic happiness. This included being in our own home, in our own beds; a basic comfort children depend on for security. The plush sculpture also represents the emotional need to go to sleep for a long duration of time. I designed the fabric by photographing the IKEA step stool my younger daughter insisted on taking with us as we fled our home. The image of that child approaching me with her stool and claiming that she did not know if she would be able to reach the sink where we were going will forever sum up that night. Traumatized as she was, she showed a face of bravery perhaps I was too anxious to convey. This month marks the first anniversary of the 911 call and yet she still follows me from room to room as my shadow imploring me not to leave her side. She requests that either myself or her sister accompany her to any room in the house she does not want to be alone in. I announce when I’m going outside or heading to my studio so she doesn’t have to search for me in a panic. This I learned the hard way. It seems the last year of my life that everything has been the hard way.
Cluster Flee, 2016, fabric and stuffing, four 15′ long plush elements, view 2
A client in New York sent me this picture of my work installed in her dining room. I had previously consulted on the chandelier and most recently on the color she chose to paint the credenza; it is a deep black/green lacquer. Once all the furniture items were finally installed, she had my paintings hung and it brought all the elements together for a beautiful grouping of art and architecture:
Codigo 1-5, 2014, 15″ x 20″, acrylic on panel, Kim/Suzuki Residence, New York, 2016
I’m excited that a piece I created for the show entitled Pinceladas Colectivas while an artist in residence in Valencia, Spain is now travelling. After the inaugural exhibition in Valencia at Imprevisual Galería, the show is currently being displayed in the City of Buñol at La Sala de Exposiciones del Antiguo Molino de Buñol.
I just realized that my piece for this collective project was perhaps the only interactive “man” since in order to see the entire piece, the viewer needs to flip through the layers of canvas in order to view all the paintings. The background was added later for display purposes by the artist who created, organized, and began this project.
This month I have titled the post “Permanent”. As I reflect on the one year anniversary of fleeing our home, I can’t help but reflect on the stress and anxiety, trauma and crying, pain and weight loss. The sleepless nights and financial strife will wane eventually but what is a constant is that I will never stop protecting my children or myself. This pain is not permanent and if we can make it through the year that was, we can make it through anything. What will be permanent is the resilience and fortitude that now makes up part of who I am.
This month’s music: Shy Girls