About Me

Changing the kitchen-table still life into art

Now and again the motivation behind art, and especially a still life, is to help us to remember the progression of time and of the fleeting hours everyone need to decide and after that achieve their life objectives.

It's, considerably more than any critique of consumerism that her gestures to pop art may infer, that drives Yoonmi Nam's work, presently appearing as ceramics after a lifetime as a printmaker.

Nam, University of Kansas educator of visual art, will have a performance show titled For Now comprising of a couple of prints and for the most part ceramic works Sept. 20 through Oct. 30 at Haw Contemporary in Kansas City, Missouri. An opening gathering is set from 6 to 9 p.m. Friday.

What I'm really interested in is how we think about time and sense time. I guess it's more about how I sense time, Nam said. Then, hopefully, I can also subtly have the viewer experience what I'm thinking about while I am making the works.?

In the event that the greater part of the works in the present show are a departure from quite a while ago, as far as being ceramics and not prints, they keep on drawing motivation from the East-West social experience, including customer culture, that Nam explores as a local of Korea living in the United States. Nam has instructed at KU since 2001.

Of late, she stated, she has been thinking of the kitchen table as a site for a temporary staging of a still life. Things come, and things go. Junk mail comes, and junk mail goes. Takeout dinners come, and takeout dinners go. So it's always changing, but it's a very unplanned, unintentional kind of arrangement that happens on the kitchen table.

Nam says in the artist explanation on her site: In my sculptural works, I use these familiar disposable objects as subject matter and explore their materiality, ephemerality and their persistence.?

Subsequently, she has made get clamshell takeout boxes out of glass and shopping sacks out of fragile Japanese Gampi paper. Her show incorporates comparative takeout compartments executed in ceramic just as prints that compare traditional Japanese ikebana cut-flower structures with paper soft drink or cup-of-soup vases. There is likewise a progression of ceramics shaped like sketchbooks exposing, their pages containing wavy matrixes of lines like woven fabric. Nam plans to show the 3D protests on tabletops in the gallery.

It's simply the second time she will demonstrate her ceramics in an independent exhibition, and Nam said she is thankful for the guidance and advice from her partners in the KU Department of Visual Art and at Anderson Ranch Arts Center.

She said her utilization of molds to the make ceramics in the show feels very familiar because it has that element of the process that's very much present in printmaking, where you work on some kind of a matrix ? whether it's copper or stone or something ? and then the final result is what you get off of that matrix.?

While Nam encourages traditional printmaking procedures like stone lithography and woodblock, the prints in her present show are created with an alternate, progressively current procedure utilizing light, chemicals and aluminum plates known as photolithography.

It's everything some portion of her desire to continue growing her knowledge.

Before I started learning how to do work in clay, it was more just a desire to go further dimensionally and manipulate materials,? Nam said. ?But then, as I was doing this mold-making and casting, the process just felt really familiar to the way my brain works ? step by step.?