• Lotus Laurie Kang
  • CV
  • Molt, Horizon Art Foundation
  • Mesoderm, 2022-ongoing
  • Do Redo Repeat, Catriona Jeffries
  • Great Shuttle, New Museum
  • Earth Surge, Helena Anrather and Franz Kaka
  • Her Own Devices, Franz Kaka
  • In Practice: Total Disbelief, SculptureCenter
  • Beolle, Oakville Galleries
  • Eidetic Tides, SAAG
  • Guts
  • Terrene
  • If I have a body, Remai Modern
  • Asphodel Meadows
  • NADA House, Governors Island
  • Channeller, Interstate Projects
  • A Body Knots, Gallery TPW
  • Fascia Lines, Projet Pangee
  • Line Litter, Franz Kaka
  • How deep is your love?, Cooper Cole
  • Nesticulations, In Limbo
  • Knots
  • Babble On, Rockaway Topless
  • The Mouth Holds the Tongue, The Power Plant
  • Untitled, Erin Stump Projects
Lotus Laurie Kang
CV
Molt, Horizon Art Foundation
Mesoderm, 2022-ongoing
Do Redo Repeat, Catriona Jeffries
Great Shuttle, New Museum
Earth Surge, Helena Anrather and Franz Kaka
Her Own Devices, Franz Kaka
In Practice: Total Disbelief, SculptureCenter
Beolle, Oakville Galleries
Eidetic Tides, SAAG
Guts
Terrene
If I have a body, Remai Modern
Asphodel Meadows
NADA House, Governors Island
Channeller, Interstate Projects
A Body Knots, Gallery TPW
Fascia Lines, Projet Pangee
Line Litter, Franz Kaka
How deep is your love?, Cooper Cole
Nesticulations, In Limbo
Knots
Babble On, Rockaway Topless
The Mouth Holds the Tongue, The Power Plant
Untitled, Erin Stump Projects

Channeller, Interstate Projects, New York

December 14 – January 27, 2018/19
Opening Reception December 14, 6-9pm

Flesh-colored surfaces envelop Laurie Kang’s coiling sculptures. Composed of flexible metal tracks, photographic paper and film, the twisting structure loosely frames the media creating a series of deconstructive, ambiguous vistas. A practice of material misuse and boundary transgression, Kang uses industrial materials in a sensitive way to probe definitions of body.

The sculptures that cut through the space are pliable; the metal portion is a skeleton that guides the work in multiple, associative directions. Viewable from each side and able to be walked through, the question of negative space is null; they elude what is interior, exterior, context or content. By extension, the viewer is implicated in their own unfixed spatial relationship to the work.

In turning the ‘body’ of the sculpture inside out and repositioning its parts, Kang works at the boundaries that limit how bodies are understood. The references to interiority locate her work in non-binary spaces where structures around body politics can be questioned and reimagined (1). This is materialized through the photographic paper and film which will continuously change as they are exposed to the environmental light at Interstate Projects. Kang is interested in the potential of material that is ‘misused’, and through this process, suggests working through -as opposed to within- the structures we critique (2).

The sculptures are not singular, finite bodies. Referring to them as “mutated gardens” or “frayed double helixes” her process of building, weaving, imaging and tearing is deeply personal, and subtly cites the multiplicity of knowledge she has inherited from her familial matriarchs. In the presumed gaps of consciousness between generations and places, Kang sees a space where varied untraceable sites of labor from multiple bodies can commune, and transgress boundaries together.

- Magdalyn Asimakis

1) Kang references Trinh Minh-ha’s questioning of ‘voids’ as negative space, instead considering it as an area of productivity and spirituality. In Minh-Ha, Trinh, Not You/Like You: Post-Colonial Women and the Interlocking Questions of Identity and Difference, 1997.

2) A reference to Haraway,Donna J., Staying with the Trouble: Making Kin in the Chthulucene, 2016.


With thanks to the Ontario Arts Council and the Canada Council for the Arts for their support in this exhibition. 




Fascia, Larval, In, Out
Flex-c track, steel studs, airline cable, hardware, unfixed and unprocessed photographic paper and darkroom chemicals (continually sensitive), unfixed film (continually sensitive), magnets, conduit, electrical box, pigmented silicone 

Carrier I
pigmented silicone, plastic bag

Carrier III
pigmented silicone, plastic bag

Carrier II
pigmented silicone, plastic bag

Channeller, Interstate Projects, New York

December 14 – January 27, 2018/19
Opening Reception December 14, 6-9pm

Flesh-colored surfaces envelop Laurie Kang’s coiling sculptures. Composed of flexible metal tracks, photographic paper and film, the twisting structure loosely frames the media creating a series of deconstructive, ambiguous vistas. A practice of material misuse and boundary transgression, Kang uses industrial materials in a sensitive way to probe definitions of body.

The sculptures that cut through the space are pliable; the metal portion is a skeleton that guides the work in multiple, associative directions. Viewable from each side and able to be walked through, the question of negative space is null; they elude what is interior, exterior, context or content. By extension, the viewer is implicated in their own unfixed spatial relationship to the work.

In turning the ‘body’ of the sculpture inside out and repositioning its parts, Kang works at the boundaries that limit how bodies are understood. The references to interiority locate her work in non-binary spaces where structures around body politics can be questioned and reimagined (1). This is materialized through the photographic paper and film which will continuously change as they are exposed to the environmental light at Interstate Projects. Kang is interested in the potential of material that is ‘misused’, and through this process, suggests working through -as opposed to within- the structures we critique (2).

The sculptures are not singular, finite bodies. Referring to them as “mutated gardens” or “frayed double helixes” her process of building, weaving, imaging and tearing is deeply personal, and subtly cites the multiplicity of knowledge she has inherited from her familial matriarchs. In the presumed gaps of consciousness between generations and places, Kang sees a space where varied untraceable sites of labor from multiple bodies can commune, and transgress boundaries together.

- Magdalyn Asimakis

1) Kang references Trinh Minh-ha’s questioning of ‘voids’ as negative space, instead considering it as an area of productivity and spirituality. In Minh-Ha, Trinh, Not You/Like You: Post-Colonial Women and the Interlocking Questions of Identity and Difference, 1997.

2) A reference to Haraway,Donna J., Staying with the Trouble: Making Kin in the Chthulucene, 2016.


With thanks to the Ontario Arts Council and the Canada Council for the Arts for their support in this exhibition. 




Fascia, Larval, In, Out
Flex-c track, steel studs, airline cable, hardware, unfixed and unprocessed photographic paper and darkroom chemicals (continually sensitive), unfixed film (continually sensitive), magnets, conduit, electrical box, pigmented silicone 

Carrier I
pigmented silicone, plastic bag

Carrier III
pigmented silicone, plastic bag

Carrier II
pigmented silicone, plastic bag