March 28+29, 2018, Yaw Theater, Seattle, WA

stage installation for evening-length performance on the ephemerality of dance. In collaboration with choreographer Noelle Chun. Dancers: Vanessa DeWolf, Hendri Walujo, Linsyanne Owen, Noelle Chun.

March 28+29, 2018, Yaw Theater, Seattle, WA

stage installation for evening-length performance on the ephemerality of dance. In collaboration with choreographer Noelle Chun. Dancers: Vanessa DeWolf, Hendri Walujo, Linsyanne Owen, Noelle Chun.

March 28+29, 2018, Yaw Theater, Seattle, WA

stage installation for evening-length performance on the ephemerality of dance. In collaboration with choreographer Noelle Chun. Dancers: Vanessa DeWolf, Hendri Walujo, Linsyanne Owen, Noelle Chun.

August-December 2017, Seattle Center Sculpture Walk

nylon netting, kimono fabric

August-December 2017, Seattle Center Sculpture Walk

nylon netting, kimono fabric

Storefronts Seattle

installation of 30 Perler Fusible Bead abstractions encased in acrylic boxes

Artist Statement

My art practice responds to impermanence, by making work that engages me further into personal experiences that I wish to hold onto, for a longer time.  Impermanence is fixed.  Impermanence is omnipresent.  And yet, as humans, we must constantly remind ourselves of it, to make sense of this world.  My daughter has been growing up, day by day, year by year, the same person, but in many ways a different and new person.  I look for ways to connect my artist life to my parenting life, and sometimes discover new concepts and creative energy from simply being with my daughter.  

My art practice also considers identity, and how I see myself in a country where I live with a sense of otherness, despite being a fifth-generation American.  To feel a sense of grounding and also to fill a cultural void in my western art education, I study the traditional visual language of my ancestors, and often employ their patterns and motifs in my work.

 

My paintings and drawings feature the concept of impermanence, tracing my daughter’s early drawings into the work, and connecting them to the traditional patterns and motifs of our ancestors.  In the Camouflage Net installation, I used kimono fabric to send pride of ancestry back in time to my incarcerated community who made thousands of nets for the US Army during World War II.  In the stage installation for the dance work Ma, I responded to the performers expression of the ephemerality of dance by creating formal spaces of presence and absence.  

I approach my work, rooted in painting, while my media choices shift back and forth, from painting to its outermost parameters into installation.  Since my media choices spring from the concepts of each project, my work might appear divergent.  But the aspect of my work, that visually unites it all, is a geekery in formalism ingrained from my foundation in painting.  

CV

 

 

EDUCATION

BFA 2005, Painting, Pacific Northwest College of Art, Portland, OR

BA 1997, Journalism, George Washington University, Washington, DC

 

EDUCATION
EXTENSION

2017-2018, Edwin T. Pratt Memorial Scholarship, Pratt Fine Art Center, Seattle, WA

February 2017, Public Art Bootcamp, Seattle Office of Arts and Culture, Seattle, WA

September 2016, Artist Trust Visual Edge Program, Port Townsend, WA

 

SELECTED EXHIBITIONS

SOLO SHOWS        

  • March 27+28, 2018, Ma, Yaw Theater, Seattle, WA, collaboration with choreographer Noelle Chun, stage installation for evening-length dance performance
  • February 2018, Craft Abstracts + Ancestral Landscapes, CORE Gallery, Seattle, WA, solo show
  • August 2017-January 2018, Camouflage Net Project, Seattle Sculpture Walk, Seattle, WA, site-specific outdoor art installation
  • August-November 2017, Craft Abstracts, Seattle Storefronts, South Lake Union, Seattle WA, storefront window installation
  • March-May 2017, Seattle Mayor’s Art Gallery, City Hall, Seattle, WA, solo show
  • November 2016-January 2017, Golden Screen, Poetry Garden, Seattle Center, Seattle, WA, site-specific outdoor installation
  • July 2015, Recent Work, Milepost5, Portland, OR, solo show
  • December 2011, Recent Work, green., Portland, OR, solo show
  • June 2007, Recent Work, Alchemy, Portland, OR, solo show
  • July 2005, Tara Tamaribuchi and Roxana Hannah, Pacific Northwest College of Art, Portland, OR, shared show

 

 

GROUP SHOWS

  • November-December 2016, High Blood, Tacoma Spaceworks Gallery, Tacoma, WA, group show
  • July-September, 2016, Cultural Perspectives, Seattle Municipal Tower Gallery, Seattle, WA, group show
  • June 2013, Children’s Healing Art Project, Portland, OR, group show
  • February 2006, Tara Tamaribuchi and Amelia Santiago, The Goodfoot, Portland, OR, shared show
  • May 2005, BFA Thesis Exhibition, Pacific Northwest College, Portland, OR, group show

 

 

PERFORMANCE

  • September 2015, Dancer, Nepo 5K, Noelle Chun choreographer, Nepo 5K Finish Line, Seattle, WA
  • April 2015, Dancer, It’s Not Raining It’s Tuesday, Noelle Chun choreographer, Converge Dance Festival, Velocity Dance Center, Seattle, WA
  • June 2013, Dancer, Bodyvox Community Dance Team, Starlight Parade, Portland, OR
    September 2012, Dancer, Le Grand Continental, Sylvan Emard choreographer, Pioneer Square, Portland, OR
  • 2001-2014, Classical Japanese Dancer, Tachibana Dance of Oregon, Sahomi Tachibana choreographer, Portland OR, annual performances and community outreach include Portland International Airport, Portland Art Museum, Newmark Theater, Portland Japanese Garden, Oregon Buddhist Temple, The International School, Richmond Elementary School.

 

AWARDS

  • Edwin T. Pratt Memorial Scholarship, Pratt Fine Art Center, Seattle, WA
  • Portable Works Purchase Award, Seattle Public Utilities
  • Sound Transit STArt Public Art Roster
  • City of Seattle Ethnic Artist Roster

 

COLLECTIONS

  • Arash Ferdowsi, San Francisco, CA
  • Seattle Public Utilities, Seattle, WA
  • City of Seattle, Seattle, WA

 

RELATED 

EXPERIENCE

  • September 2017-present, Nutcracker Ballet, Cornish College of the Arts, Preparatory Dance, Props Master, Seattle, WA, designed, fabricated and repaired props
  • February 2015-present, Visual Art and Ceramics Program Coordinator, John Stanford International School PTSA, Seattle, WA
  • September 2007-August 2009, Continuing Education Program Coordinator, Pacific Northwest College of Art

 

BIBLIOGRAPHY

  • Bisbee, Aya, “Camouflage Net Project brings light to injustice,” The International Examiner, Seattle, WA, November 8, 2017. 11. 
  • Laura Walton Allen, Interview, Original Lines Podcast, Seattle, WA, January 27, 2018 

 

 

ORGANIZATIONS

 

CORE Gallery — member

Asian American Women Artists Association – member

Categories

  • Visual Arts
  • Seattle, WA
  • East Asian
  • Abstract
  • Conceptual
  • Dance
  • Drawing
  • Installation
  • Mixed Media
  • Painting