topic

Laboring at home and abroad

In Migrants for Export (University of Minnesota Press, 2010), sociologist Robyn Magalit Rodriguez defines the Philippines as a “labor brokerage state”: a country “which actively prepares, mobilizes, and regulates its citizens for migrant work abroad.” This orientation by the Philippines state fundamentally shapes the lives of Filipinos everywhere. At home, the state’s focus on exporting labor manifests in a failure to cultivate the domestic economy, rendering the lives of Filipinos in the Philippines precarious and monetarily impoverished. Abroad, the state’s willingness to facilitate Filipinos’ migrant work and simultaneous inability to guarantee any protections renders Filipinos globally dispersed and vulnerable, exposing Filipinos abroad to enormous exploitation and abuse.

Ironing Oceans

Bovey Lee

2011 Chinese xuan (rice) paper on silk, hand cut Courtesy of Bovey Lee

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Bovey Lee

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I am a cut paper artist currently based in Los Angeles, California, USA. Born in Hong Kong and having practiced Chinese calligraphy since the age of ten, I studied painting and drawing in my formative years and completed my B.A. degree in Fine Arts at the Chinese University of Hong Kong. In 1993, I came to the United States as a painter and earned my first Master of Fine Arts degree from the University of California at Berkeley. Subsequently, I earned a second M.F.A. in computer graphics and interactive media at Pratt Institute in New York in 1999. From 2000-2014, I lived and worked in Pittsburgh where I created my first cut paper work in summer 2005. Since 2008, I have maintained a full-time studio practice. Exhibitions include Museum Kunst der Westkueste, Foehr, Germany; Museum of Craft & Design, San Francisco; Nevada Museum of Art; Mesa Contemporary Arts Museum, Arizona; Cornell Museum of Art & American Culture, Delray Beach, Florida; Wing Luke Museum, Seattle, Washington; Brooklyn Museum of Art; Shelburne Museum, Vermont; Museum Bellerive, Zurich, Switzerland; National Glass Centre, Sunderland, UK; Blackburn Museum, UK; Museum of Fine Arts, Beijing, China; Fukuoka Museum of Art, Japan; Hong Kong Museum of Art; Museum Rijswijk, The Netherlands; among others. Over a dozen books featuring my cut paper include Paper Secret I&II (Hightone, Guangzhou); Paper Play (Sandu, Guangzhou); Freehand (Chronicle Book, San Francisco); 500 Paper Objects (Lark Crafts, Asheville); Art of Paper (Monsa, Barcelona); Paradise of Paper Art (Designerbooks, Beijing); Material World (Virgin Books, London); Paper Works (Sandu, Guangzhou); Push Paper (Lark Books, New York); l’art de la decoupe (Editions Alternatives, Paris); The New Encyclopedia of Origami and Papercraft Techniques (Quarto, London); and High Touch, Illusive 3, Papercraft 2, and Papercraft (Gestalten, Berlin). Institutional collections include the Ashmolean Museum of Art and Archaeology, Oxford University, UK; Pacific Asia Museum, Pasadena, California; Hong Kong Museum of Art; The Chinese University of Hong Kong; BNY Mellon Corporate Art Collection; Fidelity Corporate Art Collection; Headland Capital Partners, Greater China & Asia; Park Hyatt Sanya, China; and Progressive Corporate Art Collection. Corporate commissions and editorials include Lancome, China; APM, Hong Kong; The Washington Post; Panasonic; The New York Times Magazine; Art@Government Buildings, Hong Kong; Hugo Boss; Pacific Place, Hong Kong; F.P. Journe; and Annabelle Magazine, Switzerland; among others. Grotto Fine Art in Hong Kong; Rena Bransten Gallery in San Francisco, California; and Gavlak Gallery in Palm Beach, Florida and Los Angeles, California represent my works. Selected works are also available at Fost Gallery, Singapore.

My hand cut paper explores the tension between man and the environment in the context of power, sacrifice, and survival. These three “motivators,” as I call them, drive all our desires and behaviors toward one another and the environment. We live in a time when we overdo everything from technology to urbanization to consumption. My recent work is informed by our precarious relationship with nature in the twenty-first century, i.e., what we do to the environment with our super machines and technologies and what nature does back to us in reaction. I hand cut each work on a single sheet of Chinese xuan (rice) paper backed with silk; both are renewable and eco-friendly materials. The tools I use are simple: a cutting mat, an X-acto knife and blades, staples, clips, and paperweights. Before the final hand cutting process, I compose the images using the computer and software. I then print out the digital images and use them to cut with. The images are photographic and I translate them into patterns of solid and void, while cutting free-hand without any rulers or stencils. My work is like drawing with a knife and is rooted in my study of Chinese calligraphy and pencil drawing. Cutting paper is a visceral reaction and natural response to my affection for immediacy, detail, and subtlety. The physical and mental demand from cutting is extreme and thrilling; it slows me down and allows me to think clearly and decisively.

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X
  • Born: Hong Kong, China
  • Based: Los Angeles, CA, USA

comments

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Ironing Oceans (detail)

Bovey Lee

2011 Chinese xuan (rice) paper on silk, hand cut Courtesy of Bovey Lee

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Bovey Lee

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I am a cut paper artist currently based in Los Angeles, California, USA. Born in Hong Kong and having practiced Chinese calligraphy since the age of ten, I studied painting and drawing in my formative years and completed my B.A. degree in Fine Arts at the Chinese University of Hong Kong. In 1993, I came to the United States as a painter and earned my first Master of Fine Arts degree from the University of California at Berkeley. Subsequently, I earned a second M.F.A. in computer graphics and interactive media at Pratt Institute in New York in 1999. From 2000-2014, I lived and worked in Pittsburgh where I created my first cut paper work in summer 2005. Since 2008, I have maintained a full-time studio practice. Exhibitions include Museum Kunst der Westkueste, Foehr, Germany; Museum of Craft & Design, San Francisco; Nevada Museum of Art; Mesa Contemporary Arts Museum, Arizona; Cornell Museum of Art & American Culture, Delray Beach, Florida; Wing Luke Museum, Seattle, Washington; Brooklyn Museum of Art; Shelburne Museum, Vermont; Museum Bellerive, Zurich, Switzerland; National Glass Centre, Sunderland, UK; Blackburn Museum, UK; Museum of Fine Arts, Beijing, China; Fukuoka Museum of Art, Japan; Hong Kong Museum of Art; Museum Rijswijk, The Netherlands; among others. Over a dozen books featuring my cut paper include Paper Secret I&II (Hightone, Guangzhou); Paper Play (Sandu, Guangzhou); Freehand (Chronicle Book, San Francisco); 500 Paper Objects (Lark Crafts, Asheville); Art of Paper (Monsa, Barcelona); Paradise of Paper Art (Designerbooks, Beijing); Material World (Virgin Books, London); Paper Works (Sandu, Guangzhou); Push Paper (Lark Books, New York); l’art de la decoupe (Editions Alternatives, Paris); The New Encyclopedia of Origami and Papercraft Techniques (Quarto, London); and High Touch, Illusive 3, Papercraft 2, and Papercraft (Gestalten, Berlin). Institutional collections include the Ashmolean Museum of Art and Archaeology, Oxford University, UK; Pacific Asia Museum, Pasadena, California; Hong Kong Museum of Art; The Chinese University of Hong Kong; BNY Mellon Corporate Art Collection; Fidelity Corporate Art Collection; Headland Capital Partners, Greater China & Asia; Park Hyatt Sanya, China; and Progressive Corporate Art Collection. Corporate commissions and editorials include Lancome, China; APM, Hong Kong; The Washington Post; Panasonic; The New York Times Magazine; Art@Government Buildings, Hong Kong; Hugo Boss; Pacific Place, Hong Kong; F.P. Journe; and Annabelle Magazine, Switzerland; among others. Grotto Fine Art in Hong Kong; Rena Bransten Gallery in San Francisco, California; and Gavlak Gallery in Palm Beach, Florida and Los Angeles, California represent my works. Selected works are also available at Fost Gallery, Singapore.

My hand cut paper explores the tension between man and the environment in the context of power, sacrifice, and survival. These three “motivators,” as I call them, drive all our desires and behaviors toward one another and the environment. We live in a time when we overdo everything from technology to urbanization to consumption. My recent work is informed by our precarious relationship with nature in the twenty-first century, i.e., what we do to the environment with our super machines and technologies and what nature does back to us in reaction. I hand cut each work on a single sheet of Chinese xuan (rice) paper backed with silk; both are renewable and eco-friendly materials. The tools I use are simple: a cutting mat, an X-acto knife and blades, staples, clips, and paperweights. Before the final hand cutting process, I compose the images using the computer and software. I then print out the digital images and use them to cut with. The images are photographic and I translate them into patterns of solid and void, while cutting free-hand without any rulers or stencils. My work is like drawing with a knife and is rooted in my study of Chinese calligraphy and pencil drawing. Cutting paper is a visceral reaction and natural response to my affection for immediacy, detail, and subtlety. The physical and mental demand from cutting is extreme and thrilling; it slows me down and allows me to think clearly and decisively.

location

X
  • Born: Hong Kong, China
  • Based: Los Angeles, CA, USA

comments

X

Ironing Oceans (detail)

Bovey Lee

2011 Chinese xuan (rice) paper on silk, hand cut Courtesy of Bovey Lee

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X

Bovey Lee

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I am a cut paper artist currently based in Los Angeles, California, USA. Born in Hong Kong and having practiced Chinese calligraphy since the age of ten, I studied painting and drawing in my formative years and completed my B.A. degree in Fine Arts at the Chinese University of Hong Kong. In 1993, I came to the United States as a painter and earned my first Master of Fine Arts degree from the University of California at Berkeley. Subsequently, I earned a second M.F.A. in computer graphics and interactive media at Pratt Institute in New York in 1999. From 2000-2014, I lived and worked in Pittsburgh where I created my first cut paper work in summer 2005. Since 2008, I have maintained a full-time studio practice. Exhibitions include Museum Kunst der Westkueste, Foehr, Germany; Museum of Craft & Design, San Francisco; Nevada Museum of Art; Mesa Contemporary Arts Museum, Arizona; Cornell Museum of Art & American Culture, Delray Beach, Florida; Wing Luke Museum, Seattle, Washington; Brooklyn Museum of Art; Shelburne Museum, Vermont; Museum Bellerive, Zurich, Switzerland; National Glass Centre, Sunderland, UK; Blackburn Museum, UK; Museum of Fine Arts, Beijing, China; Fukuoka Museum of Art, Japan; Hong Kong Museum of Art; Museum Rijswijk, The Netherlands; among others. Over a dozen books featuring my cut paper include Paper Secret I&II (Hightone, Guangzhou); Paper Play (Sandu, Guangzhou); Freehand (Chronicle Book, San Francisco); 500 Paper Objects (Lark Crafts, Asheville); Art of Paper (Monsa, Barcelona); Paradise of Paper Art (Designerbooks, Beijing); Material World (Virgin Books, London); Paper Works (Sandu, Guangzhou); Push Paper (Lark Books, New York); l’art de la decoupe (Editions Alternatives, Paris); The New Encyclopedia of Origami and Papercraft Techniques (Quarto, London); and High Touch, Illusive 3, Papercraft 2, and Papercraft (Gestalten, Berlin). Institutional collections include the Ashmolean Museum of Art and Archaeology, Oxford University, UK; Pacific Asia Museum, Pasadena, California; Hong Kong Museum of Art; The Chinese University of Hong Kong; BNY Mellon Corporate Art Collection; Fidelity Corporate Art Collection; Headland Capital Partners, Greater China & Asia; Park Hyatt Sanya, China; and Progressive Corporate Art Collection. Corporate commissions and editorials include Lancome, China; APM, Hong Kong; The Washington Post; Panasonic; The New York Times Magazine; Art@Government Buildings, Hong Kong; Hugo Boss; Pacific Place, Hong Kong; F.P. Journe; and Annabelle Magazine, Switzerland; among others. Grotto Fine Art in Hong Kong; Rena Bransten Gallery in San Francisco, California; and Gavlak Gallery in Palm Beach, Florida and Los Angeles, California represent my works. Selected works are also available at Fost Gallery, Singapore.

My hand cut paper explores the tension between man and the environment in the context of power, sacrifice, and survival. These three “motivators,” as I call them, drive all our desires and behaviors toward one another and the environment. We live in a time when we overdo everything from technology to urbanization to consumption. My recent work is informed by our precarious relationship with nature in the twenty-first century, i.e., what we do to the environment with our super machines and technologies and what nature does back to us in reaction. I hand cut each work on a single sheet of Chinese xuan (rice) paper backed with silk; both are renewable and eco-friendly materials. The tools I use are simple: a cutting mat, an X-acto knife and blades, staples, clips, and paperweights. Before the final hand cutting process, I compose the images using the computer and software. I then print out the digital images and use them to cut with. The images are photographic and I translate them into patterns of solid and void, while cutting free-hand without any rulers or stencils. My work is like drawing with a knife and is rooted in my study of Chinese calligraphy and pencil drawing. Cutting paper is a visceral reaction and natural response to my affection for immediacy, detail, and subtlety. The physical and mental demand from cutting is extreme and thrilling; it slows me down and allows me to think clearly and decisively.

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X
  • Born: Hong Kong, China
  • Based: Los Angeles, CA, USA

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SHAPING AND EDGING

Kimberly Alidio

2015 Poetry Kimberly Alidio

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Kimberly Alidio

b. 1971
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Kimberly Alidio is a high school teacher, a tenure-track dropout and the author of a poetry collection, After projects the resound (Black Radish, 2016) and a chapbook, solitude being alien (dancing girl press, 2013). Born in West Baltimore and raised in Baltimore County, Maryland, she lives in East Austin, Texas.

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  • Born: Baltimore, MD, USA
  • Based: Austin, TX, USA

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Baking McMansion

Bovey Lee

2011 Chinese xuan (rice) paper on silk, hand cut 24 in. x 30.5 in. Courtesy of Bovey Lee

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Bovey Lee

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I am a cut paper artist currently based in Los Angeles, California, USA. Born in Hong Kong and having practiced Chinese calligraphy since the age of ten, I studied painting and drawing in my formative years and completed my B.A. degree in Fine Arts at the Chinese University of Hong Kong. In 1993, I came to the United States as a painter and earned my first Master of Fine Arts degree from the University of California at Berkeley. Subsequently, I earned a second M.F.A. in computer graphics and interactive media at Pratt Institute in New York in 1999. From 2000-2014, I lived and worked in Pittsburgh where I created my first cut paper work in summer 2005. Since 2008, I have maintained a full-time studio practice. Exhibitions include Museum Kunst der Westkueste, Foehr, Germany; Museum of Craft & Design, San Francisco; Nevada Museum of Art; Mesa Contemporary Arts Museum, Arizona; Cornell Museum of Art & American Culture, Delray Beach, Florida; Wing Luke Museum, Seattle, Washington; Brooklyn Museum of Art; Shelburne Museum, Vermont; Museum Bellerive, Zurich, Switzerland; National Glass Centre, Sunderland, UK; Blackburn Museum, UK; Museum of Fine Arts, Beijing, China; Fukuoka Museum of Art, Japan; Hong Kong Museum of Art; Museum Rijswijk, The Netherlands; among others. Over a dozen books featuring my cut paper include Paper Secret I&II (Hightone, Guangzhou); Paper Play (Sandu, Guangzhou); Freehand (Chronicle Book, San Francisco); 500 Paper Objects (Lark Crafts, Asheville); Art of Paper (Monsa, Barcelona); Paradise of Paper Art (Designerbooks, Beijing); Material World (Virgin Books, London); Paper Works (Sandu, Guangzhou); Push Paper (Lark Books, New York); l’art de la decoupe (Editions Alternatives, Paris); The New Encyclopedia of Origami and Papercraft Techniques (Quarto, London); and High Touch, Illusive 3, Papercraft 2, and Papercraft (Gestalten, Berlin). Institutional collections include the Ashmolean Museum of Art and Archaeology, Oxford University, UK; Pacific Asia Museum, Pasadena, California; Hong Kong Museum of Art; The Chinese University of Hong Kong; BNY Mellon Corporate Art Collection; Fidelity Corporate Art Collection; Headland Capital Partners, Greater China & Asia; Park Hyatt Sanya, China; and Progressive Corporate Art Collection. Corporate commissions and editorials include Lancome, China; APM, Hong Kong; The Washington Post; Panasonic; The New York Times Magazine; Art@Government Buildings, Hong Kong; Hugo Boss; Pacific Place, Hong Kong; F.P. Journe; and Annabelle Magazine, Switzerland; among others. Grotto Fine Art in Hong Kong; Rena Bransten Gallery in San Francisco, California; and Gavlak Gallery in Palm Beach, Florida and Los Angeles, California represent my works. Selected works are also available at Fost Gallery, Singapore.

My hand cut paper explores the tension between man and the environment in the context of power, sacrifice, and survival. These three “motivators,” as I call them, drive all our desires and behaviors toward one another and the environment. We live in a time when we overdo everything from technology to urbanization to consumption. My recent work is informed by our precarious relationship with nature in the twenty-first century, i.e., what we do to the environment with our super machines and technologies and what nature does back to us in reaction. I hand cut each work on a single sheet of Chinese xuan (rice) paper backed with silk; both are renewable and eco-friendly materials. The tools I use are simple: a cutting mat, an X-acto knife and blades, staples, clips, and paperweights. Before the final hand cutting process, I compose the images using the computer and software. I then print out the digital images and use them to cut with. The images are photographic and I translate them into patterns of solid and void, while cutting free-hand without any rulers or stencils. My work is like drawing with a knife and is rooted in my study of Chinese calligraphy and pencil drawing. Cutting paper is a visceral reaction and natural response to my affection for immediacy, detail, and subtlety. The physical and mental demand from cutting is extreme and thrilling; it slows me down and allows me to think clearly and decisively.

location

X
  • Born: Hong Kong, China
  • Based: Los Angeles, CA, USA

comments

X

Baking McMansion (detail)

Bovey Lee

2011 Chinese xuan (rice) paper on silk, hand cut 24 in. x 30.5 in. Courtesy of Bovey Lee

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X

Bovey Lee

image description
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I am a cut paper artist currently based in Los Angeles, California, USA. Born in Hong Kong and having practiced Chinese calligraphy since the age of ten, I studied painting and drawing in my formative years and completed my B.A. degree in Fine Arts at the Chinese University of Hong Kong. In 1993, I came to the United States as a painter and earned my first Master of Fine Arts degree from the University of California at Berkeley. Subsequently, I earned a second M.F.A. in computer graphics and interactive media at Pratt Institute in New York in 1999. From 2000-2014, I lived and worked in Pittsburgh where I created my first cut paper work in summer 2005. Since 2008, I have maintained a full-time studio practice. Exhibitions include Museum Kunst der Westkueste, Foehr, Germany; Museum of Craft & Design, San Francisco; Nevada Museum of Art; Mesa Contemporary Arts Museum, Arizona; Cornell Museum of Art & American Culture, Delray Beach, Florida; Wing Luke Museum, Seattle, Washington; Brooklyn Museum of Art; Shelburne Museum, Vermont; Museum Bellerive, Zurich, Switzerland; National Glass Centre, Sunderland, UK; Blackburn Museum, UK; Museum of Fine Arts, Beijing, China; Fukuoka Museum of Art, Japan; Hong Kong Museum of Art; Museum Rijswijk, The Netherlands; among others. Over a dozen books featuring my cut paper include Paper Secret I&II (Hightone, Guangzhou); Paper Play (Sandu, Guangzhou); Freehand (Chronicle Book, San Francisco); 500 Paper Objects (Lark Crafts, Asheville); Art of Paper (Monsa, Barcelona); Paradise of Paper Art (Designerbooks, Beijing); Material World (Virgin Books, London); Paper Works (Sandu, Guangzhou); Push Paper (Lark Books, New York); l’art de la decoupe (Editions Alternatives, Paris); The New Encyclopedia of Origami and Papercraft Techniques (Quarto, London); and High Touch, Illusive 3, Papercraft 2, and Papercraft (Gestalten, Berlin). Institutional collections include the Ashmolean Museum of Art and Archaeology, Oxford University, UK; Pacific Asia Museum, Pasadena, California; Hong Kong Museum of Art; The Chinese University of Hong Kong; BNY Mellon Corporate Art Collection; Fidelity Corporate Art Collection; Headland Capital Partners, Greater China & Asia; Park Hyatt Sanya, China; and Progressive Corporate Art Collection. Corporate commissions and editorials include Lancome, China; APM, Hong Kong; The Washington Post; Panasonic; The New York Times Magazine; Art@Government Buildings, Hong Kong; Hugo Boss; Pacific Place, Hong Kong; F.P. Journe; and Annabelle Magazine, Switzerland; among others. Grotto Fine Art in Hong Kong; Rena Bransten Gallery in San Francisco, California; and Gavlak Gallery in Palm Beach, Florida and Los Angeles, California represent my works. Selected works are also available at Fost Gallery, Singapore.

My hand cut paper explores the tension between man and the environment in the context of power, sacrifice, and survival. These three “motivators,” as I call them, drive all our desires and behaviors toward one another and the environment. We live in a time when we overdo everything from technology to urbanization to consumption. My recent work is informed by our precarious relationship with nature in the twenty-first century, i.e., what we do to the environment with our super machines and technologies and what nature does back to us in reaction. I hand cut each work on a single sheet of Chinese xuan (rice) paper backed with silk; both are renewable and eco-friendly materials. The tools I use are simple: a cutting mat, an X-acto knife and blades, staples, clips, and paperweights. Before the final hand cutting process, I compose the images using the computer and software. I then print out the digital images and use them to cut with. The images are photographic and I translate them into patterns of solid and void, while cutting free-hand without any rulers or stencils. My work is like drawing with a knife and is rooted in my study of Chinese calligraphy and pencil drawing. Cutting paper is a visceral reaction and natural response to my affection for immediacy, detail, and subtlety. The physical and mental demand from cutting is extreme and thrilling; it slows me down and allows me to think clearly and decisively.

location

X
  • Born: Hong Kong, China
  • Based: Los Angeles, CA, USA

comments

X

Baking McMansion (detail)

Bovey Lee

2011 Chinese xuan (rice) paper on silk, hand cut 24 in. x 30.5 in. Courtesy of Bovey Lee

contributor

X

Bovey Lee

image description
  • See All Works
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I am a cut paper artist currently based in Los Angeles, California, USA. Born in Hong Kong and having practiced Chinese calligraphy since the age of ten, I studied painting and drawing in my formative years and completed my B.A. degree in Fine Arts at the Chinese University of Hong Kong. In 1993, I came to the United States as a painter and earned my first Master of Fine Arts degree from the University of California at Berkeley. Subsequently, I earned a second M.F.A. in computer graphics and interactive media at Pratt Institute in New York in 1999. From 2000-2014, I lived and worked in Pittsburgh where I created my first cut paper work in summer 2005. Since 2008, I have maintained a full-time studio practice. Exhibitions include Museum Kunst der Westkueste, Foehr, Germany; Museum of Craft & Design, San Francisco; Nevada Museum of Art; Mesa Contemporary Arts Museum, Arizona; Cornell Museum of Art & American Culture, Delray Beach, Florida; Wing Luke Museum, Seattle, Washington; Brooklyn Museum of Art; Shelburne Museum, Vermont; Museum Bellerive, Zurich, Switzerland; National Glass Centre, Sunderland, UK; Blackburn Museum, UK; Museum of Fine Arts, Beijing, China; Fukuoka Museum of Art, Japan; Hong Kong Museum of Art; Museum Rijswijk, The Netherlands; among others. Over a dozen books featuring my cut paper include Paper Secret I&II (Hightone, Guangzhou); Paper Play (Sandu, Guangzhou); Freehand (Chronicle Book, San Francisco); 500 Paper Objects (Lark Crafts, Asheville); Art of Paper (Monsa, Barcelona); Paradise of Paper Art (Designerbooks, Beijing); Material World (Virgin Books, London); Paper Works (Sandu, Guangzhou); Push Paper (Lark Books, New York); l’art de la decoupe (Editions Alternatives, Paris); The New Encyclopedia of Origami and Papercraft Techniques (Quarto, London); and High Touch, Illusive 3, Papercraft 2, and Papercraft (Gestalten, Berlin). Institutional collections include the Ashmolean Museum of Art and Archaeology, Oxford University, UK; Pacific Asia Museum, Pasadena, California; Hong Kong Museum of Art; The Chinese University of Hong Kong; BNY Mellon Corporate Art Collection; Fidelity Corporate Art Collection; Headland Capital Partners, Greater China & Asia; Park Hyatt Sanya, China; and Progressive Corporate Art Collection. Corporate commissions and editorials include Lancome, China; APM, Hong Kong; The Washington Post; Panasonic; The New York Times Magazine; Art@Government Buildings, Hong Kong; Hugo Boss; Pacific Place, Hong Kong; F.P. Journe; and Annabelle Magazine, Switzerland; among others. Grotto Fine Art in Hong Kong; Rena Bransten Gallery in San Francisco, California; and Gavlak Gallery in Palm Beach, Florida and Los Angeles, California represent my works. Selected works are also available at Fost Gallery, Singapore.

My hand cut paper explores the tension between man and the environment in the context of power, sacrifice, and survival. These three “motivators,” as I call them, drive all our desires and behaviors toward one another and the environment. We live in a time when we overdo everything from technology to urbanization to consumption. My recent work is informed by our precarious relationship with nature in the twenty-first century, i.e., what we do to the environment with our super machines and technologies and what nature does back to us in reaction. I hand cut each work on a single sheet of Chinese xuan (rice) paper backed with silk; both are renewable and eco-friendly materials. The tools I use are simple: a cutting mat, an X-acto knife and blades, staples, clips, and paperweights. Before the final hand cutting process, I compose the images using the computer and software. I then print out the digital images and use them to cut with. The images are photographic and I translate them into patterns of solid and void, while cutting free-hand without any rulers or stencils. My work is like drawing with a knife and is rooted in my study of Chinese calligraphy and pencil drawing. Cutting paper is a visceral reaction and natural response to my affection for immediacy, detail, and subtlety. The physical and mental demand from cutting is extreme and thrilling; it slows me down and allows me to think clearly and decisively.

location

X
  • Born: Hong Kong, China
  • Based: Los Angeles, CA, USA

comments

X

Baking McMansion (detail)

Bovey Lee

2011 Chinese xuan (rice) paper on silk, hand cut 24 in. x 30.5 in. Courtesy of Bovey Lee

contributor

X

Bovey Lee

image description
  • See All Works
  • facebook
  • visit website

I am a cut paper artist currently based in Los Angeles, California, USA. Born in Hong Kong and having practiced Chinese calligraphy since the age of ten, I studied painting and drawing in my formative years and completed my B.A. degree in Fine Arts at the Chinese University of Hong Kong. In 1993, I came to the United States as a painter and earned my first Master of Fine Arts degree from the University of California at Berkeley. Subsequently, I earned a second M.F.A. in computer graphics and interactive media at Pratt Institute in New York in 1999. From 2000-2014, I lived and worked in Pittsburgh where I created my first cut paper work in summer 2005. Since 2008, I have maintained a full-time studio practice. Exhibitions include Museum Kunst der Westkueste, Foehr, Germany; Museum of Craft & Design, San Francisco; Nevada Museum of Art; Mesa Contemporary Arts Museum, Arizona; Cornell Museum of Art & American Culture, Delray Beach, Florida; Wing Luke Museum, Seattle, Washington; Brooklyn Museum of Art; Shelburne Museum, Vermont; Museum Bellerive, Zurich, Switzerland; National Glass Centre, Sunderland, UK; Blackburn Museum, UK; Museum of Fine Arts, Beijing, China; Fukuoka Museum of Art, Japan; Hong Kong Museum of Art; Museum Rijswijk, The Netherlands; among others. Over a dozen books featuring my cut paper include Paper Secret I&II (Hightone, Guangzhou); Paper Play (Sandu, Guangzhou); Freehand (Chronicle Book, San Francisco); 500 Paper Objects (Lark Crafts, Asheville); Art of Paper (Monsa, Barcelona); Paradise of Paper Art (Designerbooks, Beijing); Material World (Virgin Books, London); Paper Works (Sandu, Guangzhou); Push Paper (Lark Books, New York); l’art de la decoupe (Editions Alternatives, Paris); The New Encyclopedia of Origami and Papercraft Techniques (Quarto, London); and High Touch, Illusive 3, Papercraft 2, and Papercraft (Gestalten, Berlin). Institutional collections include the Ashmolean Museum of Art and Archaeology, Oxford University, UK; Pacific Asia Museum, Pasadena, California; Hong Kong Museum of Art; The Chinese University of Hong Kong; BNY Mellon Corporate Art Collection; Fidelity Corporate Art Collection; Headland Capital Partners, Greater China & Asia; Park Hyatt Sanya, China; and Progressive Corporate Art Collection. Corporate commissions and editorials include Lancome, China; APM, Hong Kong; The Washington Post; Panasonic; The New York Times Magazine; Art@Government Buildings, Hong Kong; Hugo Boss; Pacific Place, Hong Kong; F.P. Journe; and Annabelle Magazine, Switzerland; among others. Grotto Fine Art in Hong Kong; Rena Bransten Gallery in San Francisco, California; and Gavlak Gallery in Palm Beach, Florida and Los Angeles, California represent my works. Selected works are also available at Fost Gallery, Singapore.

My hand cut paper explores the tension between man and the environment in the context of power, sacrifice, and survival. These three “motivators,” as I call them, drive all our desires and behaviors toward one another and the environment. We live in a time when we overdo everything from technology to urbanization to consumption. My recent work is informed by our precarious relationship with nature in the twenty-first century, i.e., what we do to the environment with our super machines and technologies and what nature does back to us in reaction. I hand cut each work on a single sheet of Chinese xuan (rice) paper backed with silk; both are renewable and eco-friendly materials. The tools I use are simple: a cutting mat, an X-acto knife and blades, staples, clips, and paperweights. Before the final hand cutting process, I compose the images using the computer and software. I then print out the digital images and use them to cut with. The images are photographic and I translate them into patterns of solid and void, while cutting free-hand without any rulers or stencils. My work is like drawing with a knife and is rooted in my study of Chinese calligraphy and pencil drawing. Cutting paper is a visceral reaction and natural response to my affection for immediacy, detail, and subtlety. The physical and mental demand from cutting is extreme and thrilling; it slows me down and allows me to think clearly and decisively.

location

X
  • Born: Hong Kong, China
  • Based: Los Angeles, CA, USA

comments

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Brown Chanel Handbag

Stephanie Syjuco

2006 - 2015 Photograph of crochet project Courtesy of the artist From "The Counterfeit Crochet Project (Critique of a Political Economy)

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Stephanie Syjuco

b. 1974
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Stephanie Syjuco creates large-scale spectacles of collected cultural objects, cumulative archives, and temporary vending installations, often with an active public component that invites viewers to directly participate as producers or distributors. Working primarily in sculpture and installation, her projects leverage open-source systems, shareware logic, and flows of capital, creating frictions between high ideals and everyday materials. This has included starting a global collaborative project with crochet crafters to counterfeit high-end consumer goods; presenting a parasitic art counterfeiting event, "COPYSTAND: An Autonomous Manufacturing Zone" for Frieze Projects, London (2009); and “Shadowshop,” an alternative vending outlet embedded at The San Francisco Museum of Modern Art exploring the ways in which artists are navigating the production, consumption, and dissemination of their work (2010-11). A recent collaboration with the  FLACC Workplace for Visual Artists in Genk, Belgium, involved 3-D scanning of Belgian and Congolese antiquities to produce hybrid ceramic objects addressing the legacy of colonialism, empire, and trade routes.
 
Born in the Philippines, she received her M.F.A. from Stanford University and B.F.A. from the San Francisco Art Institute. She is the recipient of numerous awards, including a 2014 John Simon Guggenheim Fellowship Award and a 2009 Joan Mitchell Painters and Sculptors Award. Her work has been included in exhibitions at Museum of Modern Art PS1 In New York, the Whitney Museum of American Art, The 12th Havana Biennale, The Bucharest Biennale, The San Francisco Museum of Modern Art, ZKM Center for Art and Technology, Germany; Z33 Space for Contemporary Art, Belgium; Universal Studios Gallery Beijing; and the California Biennial at the Orange County Museum of Art, among others. She is an Assistant Professor in Sculpture at the University of California, Berkeley, and lives and works in San Francisco.

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  • Born: The Philippines
  • Based: San Francisco, CA, USA

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Dolce and Gabbana Handbag

Stephanie Syjuco

2006 - 2015 Photograph of crochet project Courtesy of the artist From "The Counterfeit Crochet Project (Critique of a Political Economy) Created by Diana, Portland, OR, (2007)

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Stephanie Syjuco

b. 1974
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Stephanie Syjuco creates large-scale spectacles of collected cultural objects, cumulative archives, and temporary vending installations, often with an active public component that invites viewers to directly participate as producers or distributors. Working primarily in sculpture and installation, her projects leverage open-source systems, shareware logic, and flows of capital, creating frictions between high ideals and everyday materials. This has included starting a global collaborative project with crochet crafters to counterfeit high-end consumer goods; presenting a parasitic art counterfeiting event, "COPYSTAND: An Autonomous Manufacturing Zone" for Frieze Projects, London (2009); and “Shadowshop,” an alternative vending outlet embedded at The San Francisco Museum of Modern Art exploring the ways in which artists are navigating the production, consumption, and dissemination of their work (2010-11). A recent collaboration with the  FLACC Workplace for Visual Artists in Genk, Belgium, involved 3-D scanning of Belgian and Congolese antiquities to produce hybrid ceramic objects addressing the legacy of colonialism, empire, and trade routes.
 
Born in the Philippines, she received her M.F.A. from Stanford University and B.F.A. from the San Francisco Art Institute. She is the recipient of numerous awards, including a 2014 John Simon Guggenheim Fellowship Award and a 2009 Joan Mitchell Painters and Sculptors Award. Her work has been included in exhibitions at Museum of Modern Art PS1 In New York, the Whitney Museum of American Art, The 12th Havana Biennale, The Bucharest Biennale, The San Francisco Museum of Modern Art, ZKM Center for Art and Technology, Germany; Z33 Space for Contemporary Art, Belgium; Universal Studios Gallery Beijing; and the California Biennial at the Orange County Museum of Art, among others. She is an Assistant Professor in Sculpture at the University of California, Berkeley, and lives and works in San Francisco.

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  • Born: The Philippines
  • Based: San Francisco, CA, USA

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