Laurie Kang

www.lauriekang.com // laurieka@gmail.com
Untitled (2014)
About a year ago I made a piece (Untitled, 2013) by dipping 50 exposed sheets of photographic paper into chemical fixative and hanging them, frieze-like, to fit the exhibit-able wall space of a gallery. Their unfixed sensitivity allowed them to develop over the course of the show. The pieces darkened more or less in relation to their proximity to natural light; their edges curled when it was rainy out and relaxed when the humidity passed. They took on a life of their own, turning colours and shapes that were out of my control, judgment, desire even. Presently that work lives as a stack in a box, shaded from light exposure and further development.
This marks the second iteration of the project. Untitled (2014): 23 dips, each sheet existing discretely this time. Still, the same thoughts and questions persist. The paper is an alchemized material, a neutral surface formulated to be predictable, consistent, subservient. Can this mute fixity shift?  I imagine a slippery space in between this and some other undefined point, a site where material is self-expressive and up for collaboration. Where surface is actually a skin – sensitive, permeable, individual, ever becoming.
-Laurie Kang, May 2014

Untitled (2014)

About a year ago I made a piece (Untitled, 2013) by dipping 50 exposed sheets of photographic paper into chemical fixative and hanging them, frieze-like, to fit the exhibit-able wall space of a gallery. Their unfixed sensitivity allowed them to develop over the course of the show. The pieces darkened more or less in relation to their proximity to natural light; their edges curled when it was rainy out and relaxed when the humidity passed. They took on a life of their own, turning colours and shapes that were out of my control, judgment, desire even. Presently that work lives as a stack in a box, shaded from light exposure and further development.

This marks the second iteration of the project. Untitled (2014): 23 dips, each sheet existing discretely this time. Still, the same thoughts and questions persist. The paper is an alchemized material, a neutral surface formulated to be predictable, consistent, subservient. Can this mute fixity shift?  I imagine a slippery space in between this and some other undefined point, a site where material is self-expressive and up for collaboration. Where surface is actually a skin – sensitive, permeable, individual, ever becoming.

-Laurie Kang, May 2014

— 3 months ago with 20 notes

Dreg Drag Becoming Arrangement

Mirror polished aluminum, Chromogenic paper, fixative, gel medium, starphire glass

18” x 24”

— 4 months ago with 4 notes

Dreg Drag Becoming Arrangement

Mirror polished aluminum, chromogenic paper and fixative, starphire glass

30” x 48”

— 4 months ago with 2 notes
Detail of new things

Detail of new things

— 4 months ago with 4 notes
Parallelogram study - August 13 2013

Parallelogram study - August 13 2013

— 5 months ago with 4 notes
Parallelogram Study - March 6 2014

Parallelogram Study - March 6 2014

— 5 months ago with 41 notes
Parallelogram Study - March 4 2014

Parallelogram Study - March 4 2014

— 6 months ago with 48 notes
Parallelogram Study - March 3 2014

Parallelogram Study - March 3 2014

— 6 months ago with 14 notes
Install view - Sensitive chromogenic paper, found-chosen-manufactured structures, inkjet print from collaboration with a scanner

Install view - Sensitive chromogenic paper, found-chosen-manufactured structures, inkjet print from collaboration with a scanner

— 6 months ago with 10 notes