This was a big year for mind-expanding group exhibitions, and I was honored to be included among three exhibitions, 2 virtual and 1 in person (Taiwan, although I couldn’t be there myself).
The current one is Art in the Plague Year, at the California Museum of Art, which just opened. I thought this was such an interesting idea- what new ideas have we been thinking about during the pandemic, that doesn’t literally picture COVID or its impacts?
We are now engaged with history. In a fog of uncertainty, this alone is clear: history tells us pandemics trigger periods of change. They lay bare social inequities, racial rifts, and economic injustices. They contain the seeds of new futures.
Personally, I had a a powerful moment where I understood the need to branch out beyond my regular work and dive further into animism, the spiritual framework behind my Nanai and Chinese ancestries. And since animism is about relationship to land, it’s a perfect candidate for landscape work.
But the big question was: how to turn something so abstract and beyond normal perception into photography? I didn’t want to stage images, and setup lighting or otherwise manipulate the scene, as I find it too difficult to balance different photographic personalities. I am distinctly a documentary photographer and believe in the power of the journalistic still image.
As soon as I asked the question, the answer appeared in front of me, as the forest I was hiking through transformed into a river of floating orange spirit lights, dancing above my head and on the trunks of the fir trees. I had never seen anything like it before, but I knew that the moment and the particular place had given me insight into how I would approach the idea of animism, now my ongoing project titled, Thin Places.
The first bit of it is online with other impressive perspectives at the California Museum of Photography’s online exhibition.