22: First the background questions, where did you grow up and how did you get involved with art?
OPHELIA CHONG:I grew up in the wilds of Canada, in the city of Toronto. I remember my first collage, in grade five; it was a collage made of magazine bits and it was blue and green. During my formative years I was an explorer, I would ride my bike from mid-town to the lake and back; I would disappear for a whole day, exploring the city on my three-speed bike. I quickly outgrew Toronto and packed up and left for Los Angeles. I went to the Art Center College of Design and graduated with a BFA in Painting. I am an adjunct professor there in the Photography Dept.
OPHELIA CHONG: I love seeing the possibilities of color. Of using the pieces of paper as paint, my X-acto knife the brush.
22: What about the fusion of collage and design appeals to you? Are they really just versions of the same thing?
OPHELIA CHONG: It’s all the same thing, I see it all as color and form, no matter what medium it is.
22: You also seem to have a penchant for typography and presses where did that start?
OPHELIA CHONG: Shapes, I love the curves of typography. When I was younger I would sit in class sketching serif fonts. I loved the thin with the thick, the swoosh and staccato of forms in typography. When I first used a Vandercook Press six years ago, I was hooked. I love the ink pressing into the paper, the randomness of where the letters fell onto pieces of ephemera that I put through the press. How each piece was a singular piece of art. Never to be repeated twice. I use only vintage magazines to print on, therefore each piece is non-repeatable.
22: Can you explain your 35mm slide work (surreal cereal) process a little? What inspired working with collage this way? Any specific artists?
22:Who are some of your favorite designers or artists in general?
OPHELIA CHONG:All art from the 16th – 18th century. Fritz Sauter ( a Swiss printmaker), 15th century Gothic churches, Orson Welles, Paul Rand, [Richard] Neutra, music for the clavichord, the flavor of the week and anything that makes me want to grab an X-acto knife.
22: How did you start working on the slips of paper series? What was your first collage for that?
OPHELIA CHONG: I started in 1999, but if I had to trace it back, since I could use scissors. I picked up a small Moleskine sketch book in 1999 and started sticking bits of paper in it to relieve the stress I was going through at my job as a Creative Director. I filled books and books with “slips of paper”, not really going towards an end goal, just to keep myself from the digital world. All my work is non-digital.
22: How do you balance your professional life with your artistic career, do the two ever clash? Or do they enhance each other?
OPHELIA CHONG: I melded both into one. I have a rep in NYC for my illustration, and I now have a studio that I sit in all day working. I love it. Work = Love = Happiness
22:What are you currently working on? Any upcoming projects?
OPHELIA CHONG: I am writing more, I write commentary for KCET ( a local TV station in Los Angeles) and for howtosplitanatom.com . I have work traveling from Barcelona to NYC, it will take 2 years to finish my travels. My letterpress work is at the Hunt Gallery at Webster University in St.Louis. My project now is to keep cutting paper and I know I will never tire of it; the only time I get into trouble is when I cut up something someone was still reading. Never leave anything you want to read around me, it just might end up in a collage.
Opening Night Preview:
Wednesday April 13th, 2011
5-9 PM (Invitation Only)
Where: Park Avenue Armory
Exhibition Dates: April 14-17, 2011
Thursday: 11am – 7pm
Friday: 11am – 6pm
Saturday: 11am – 7pm
Sunday: Noon – 6pm
Show Location: Park Avenue at 67th St.
Lyons Wier Gallery is pleased to present a solo exhibition of new sculptural work by artist Jan Huling and an entrance installation by ceramicist Sin-ying Ho at SOFA NEW YORK 2011.
Neither sketched nor planned, Jan Huling‘s three-dimensional works draw inspiration from her travels to India and Mexico, as well as imagined, playful scenes reminiscent of childhood fairy tales and fantasies. Huling’s work is approachable yet evocative, incorporating spiritual iconography alongside humorous artifacts of contemporary popular culture. The armatures for Huling’s sculptures are an unpredictable mix of forms ranging from Kewpie and Munny dolls to birds and tiny life-sized insects. This exploration of shape and scale adds to the whimsical charm of her work.
In addition to seed beads, Huling’s colorful sculptures incorporate a variety of found objects, such as buttons, coins, tokens and costume jewelry. Huling’s slow and meticulous beading process, the intricacy of her swirling, hypnotic patterns, and the spontaneous manner with which Huling approaches each new project results in sculpture that is both delicate and alluring to touch – simply put, she transforms the ordinary into the extraordinary.