Thursday, June 9, 2011


Carrie Yamaoka
30 by 13, 2010
mylar, urethane resin and mixed media on wood panel
30 x 13 inches

Driven to Abstraction
 Featuring work by

Andrea Belag
Lisa Corinne Davis
Amy Ellingson
Catherine Howe
Rebecca Smith
Dannielle Tegeder
Canan Tolon
Carrie Yamaoka

June 9 – July 23, 2011
Opening reception: Thursday, June 9, 6 – 8 PM


My work runs a certain gamut of form, riding a fine line between painting and sculpture. I have been working with a ground of reflective silver mylar film, encapsulated in layers of resin for the past 15 years. The resin is sometimes tinted with color, sometimes clear. A piece may hang on the wall like a painting; at other times it may start on the wall and drape down onto the floor, extending into the room—becoming more of a sculptural entity. My interest in the almost alchemical qualities of process, chemistry and photography have led me away from traditional painting media and towards the use of unconventional materials.

Process and a controlled negotiation with chance play a central role in the way that I make the work. Air bubbles, and tiny bubbles created by the curing resin form a layer of incident forged in the making of the piece. Imperfections punctuate the surface and become information to be taken in. I am interested in the mutability of materials, color and light.

Photographs of the work can be misleading– there is no painted image. My work is emptied of pictorial content, but full of incident. Because I am working with a reflective ground, the image or picture arrived at, in any given moment, is contingent upon the viewer’s stance in relation to the work, and her/his navigation through the space that the painting occupies and reflects. The picture is not static; it is constantly shifting. The viewer makes and re-makes the picture(s) from the conditions that I’ve set up. The viewer becomes both subject and object. Or, the viewer within the space in which the piece is being viewed, becomes the subject. To extend that idea further, the exigencies of how one views and interacts with the work becomes the subject.


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