AndrewShire Gallery is pleased to present this is the same, but different, an exhibition by San Pedro, California-based artist Yong Sin whose collage works on panels prefigure both the coincidental and the strategic social forces that guide and govern human relationships.
The exhibition will consist of small painted drawings of human figures and squares on paper that have been precisely cut out and collaged onto larger panels. Sin uses these shapes to experiment with group structures and configurative dynamics that can signal vulnerability, contentment, or foolishness in daily dealings with others. Her faceless persons and geometric forms produce unexpected patterns that play an active part in the occurrence Sin identifies as the "perceptual maze" in her work. Anonymity, collective memory and meaninglessness are all options to be considered in the maze where none of the contours or colors of each presumably copied piece is ever exactly the same. While her pictures map out roles that connect us to others, they also hint at fates Sin envisions within mortal interaction and survival. We are left to ponder our belief in private and shared experiences intended to be socially "perfect" but never are perfect when they are encountered, cultivated or expended.
Born in Seoul, Korea, Yong Sin is a graduate of Otis College of Art and Design. Her artworks are in the collection of the Los Angeles County Museum of Art and Microsoft Corporation among others.
The exhibition will include paintings selected from 20/20, an ongoing project by Los Angeles artist and educator, Barry Markowitz who explores the links between different categories of human heads, electronic information sourcing and painted surface. Markowitz adopts a subject like Rappers or Official Enemies as a basis for his actions that will later be indicated in a work of art, then "googles" it via the Internet. In sequential order of their appearance on his computer monitor, he transfers the resultant first twenty images to a single wood panel surface. Then, as they are drawn and painted according to the artist's impulse, facial characterstics are mostely lost. This process is repeated again for every new panel. The transparency of Markowitz's viewpoint is perched on the brink of uncertainty as the significance of each image is emptied out and something new emerges. 20/20 leaves all likely decisions to the viewers who inevitably select their own meanings in Markowitz's paintings.
Barry Markowitz received the J. Paul Getty Trust/California Community Foundation Grant for midcareer artists in 1996 and an MFA from California State University, L.A. in 2001. His work is in the collections of Leonardo DiCaprio, Balthazar and Rosetta Getty and Museum of Contemporary Art, Los Angeles.