The world is in virtual and physical transformation: my intention is to express the transient evolution of concepts through my choice of materials. My independent study in cochineal revolves around the anthropology of marginalized Philippine-American culture— the connotations of cross pollination between world history and philosophy. My deep reflection on Philippine ancestral textiles raises questions about postcolonial culture, the paragon with being born in the Philippines and raised in America, and how identity is shaped by the socio-ecological and political climate. I explore intersections of visual art to articulate the complexities and impermanence in identity.
Colors are produced by boiling natural dyes such as tumeric, cochineal, and madder with iron, oxalic acids, aluminum, and copper, and tin elements. By deconstructing the use of the dyes, the process becomes a medium in painting, dyeing, and recording, using time as notation— working as descriptive moments. Folding, cutting, or submerging fabric into the color can produce a plethora of results. The malleable quality of dyes are elusive, tantalizing my curiosity to subvert the material to my manipulation.
“Matter is a specialized form of energy; radiant energy is the only form in which energy can exist in the absence of matter. When dematerialization takes place, it means in terms of physical phenomena, the conversion of a state on matter in to that of radiant energy; this follows that energy can never be created or destroyed... Some art should be directly material and that other art should produce a material entity only as a necessary by-product of the need to record the idea...”
-Art & Language, excerpts from a letter to Lucy R. Lippard and John Chandler, “Concerning the Article ‘The Dematerialization of Art” (23 March 1968)