ROCKSCAPE SUIT, 2017
Rock-scape suit is a ghillie suit designed by Sammy Lee for the Obscured Self, a fashion show held at Redline in April 28th, 2017. This project is about homelessness, invisibility and displacement in Five Points neighborhood, Denver, Colorado where my current studio is located in. Larger rocks are being placed as preferred covering materials by the landlords, since these meet City's landscape guideline and drive out homeless people congregating and sleeping on their property. Rock-scape suit can be worn to disguise oneself as a proper and approved (landscape) material.
A VERY PROPER TABLE SETTING, ONGOING SERIES, 2017-
“A Very Proper Table Setting" is a cross-cultural experiment that involves setting tables: visitors are invited to set up imaginary meals for someone special while using mainly all Korean serving vessels. When a participant has a specific dish in mind to set up from his or her own culture, yet unable to find a perfectly suitable serving vessel for it, one realizes that he or she is in unfamiliar territory, similar to what newly-settled immigrants experience. Serving vessels and cutleries carry social norms, etiquettes, and suggestions that are unique to each culture. Participants will have to reinvent meanings, significances, and functions from Korea to serve his and her backgrounds and expectations. Notes from the exercises -such as diner's name, information on meal and neighborhood - will firstly be documented, will be used as a guide for me to assemble communal dining tables, then these table arrangements will be cast with papers.
For most paper casting projects, I am interested in taking forms from objects that carry physical and socio-cultural solidity.
I excavate layers of meaning as I explore cultural interpretation, context, and personal memories around the object. I delineate the embedded social norms and re-frame what each element symbolizes. The method of casting involves reconstructing psychological space first, then draping a felted substrate over the subject, feeling the forms with my fingertips, then brushing and stippling over specific detail. This process creates bas-relief or three-dimensional frottage, similar to an impression achieved by rubbing a monument, like a gravestone. These works often have an archaeological quality as viewers can re-imagine meanings to viewers' context, beyond the art(ifact).