Shoshana Wayne Gallery is pleased to present a solo exh ibition of Chie Fueki’s new paintings.  This is the artist ’s fourth show with the gallery.  Tom McGrath writes the following abridged text specifically on this particular body of work.

A cursory glance at Chie Fueki’s new exhibition at Shoshana Wayne reveals an artist known for her glam surfaces\, outré fa stidious rendering\, decalcomaniacal motifs\, and pop-folk iconography at h er most visually superlative. But don’t let Fueki’s characteristically sedu ctive optics camouflage their true content: a lingering gaze over Fueki’s e xhibition as a whole reveals something more peculiar woven throughout the c ounter-veiling spectacle\, a deeper enigma at the heart of what lay “all on the surface”. 

A series of paintings on panels of relatively equal dimensions surround the viewer lining the walls around the circumference of the gallery. Each panel bears the likeness of the same woman\, wearing the same hat\, facing the same dir ection in a circuit broken only by her symmetrically mirrored image in a co uple of calculated irregularities. The subject of Fueki's portraits seems t o fix her gaze elsewhere at the very insistence that she is everywhere at o nce. 

Fueki’s work has a lways dabbled in the elliptical parallelism between high renaissance art\, 80‘s scroll screen computer game graphics\, art nouveau naturalism\, early modern orphism in painting and fashion\, Japanese folklore and Shinto animi sm\; the rediscovery of the radical psychedelic tropicalismo of her childho od spent in 70’s Brazil\, and the flat fixations of Anime culture.  The com plex curvature of her figuration seems to combine the lyrical subtlety and baroque trajectory of Bezier curves\, with older forms of vector graphics a nd Euclidian geometries\, analogously present in non-albertian non-western representations of space such as the Edo period woodblock prints or Hiroshi ge.

The surfaces in each painting are layered with painted paper and collaged onto the surfaces\, w hich are painted on again.  The flower motif repeated in several works are sometimes hand painted\, sometimes silk screen collaged. Fueki’s pattern an d decoration is steeped in codes of feminism and analogous reversals of nor mative identity roles through the optical exchange of figure and ground\, o rigin and motif.  

Fueki ’s repetition and sequencing places her in a dialogue within a certain pitt ing of seriality against the narrative sequence of the image.  Her repetiti on plays in the culture of the copy\; where the contradiction between the p rocedural and the intuitive is the narrative foil to the larger questions o f image ownership and dissemination\; franchise remakes\, networks\, new ma nners\, friendships and social atomization. More importantly\, as a child o f third culture experience\, (having grown up in Brazil to Japanese parents \, relocating to New York in the 90’s)\, Fueki’s imagery is an issue of bot h speculative identity and questionable ownership.

Assuming that Fueki’s portrait is an assemblage of different identities and likenesses\, how do we as viewers know from whe nce she came? Certain clues refer back to Fueki’s stylistic synthesis of Tr opicalia and super flat aesthetics. The hat of Fueki’s protagonist bears un canny resemblance to that of a famous Brazilian pop singer\, Nara Leão\, on the cover of her album “dez anos depois”\, and on the cover of the classic Tropicalia record “Bread and Circuses” (where she appears in a photo held by Caetano Veloso). She looks a little like an echo park folkie\, a little like Carmen Sandiego. But who is she really?

Each of Fueki’s serially similar canvases seems to con tain elements of a structural nature breaking through the dense figure-grou nding of pattern- literally\, silhouettes of various flora transposed throu gh a dense network of grids and lattices.  Fueki’s other botanical schema e voke the textile and wallpaper designs of William Morris.  But Fueki is no anti-modern child of nature. As in her previous work\, the natural is rende red with such technical precision as to seem “technological” in a way that evokes early 3-d modeling\, computer graphics and isometric architectures l eaping out of their diagrammatic 2-dimensionality.
Like an y work of art operation\, we can assume that our understanding of even the most pictorial and decorous image is one of apophasis: what’s at stake is a combination of what elements are visibly present\, with those issues rende red conspicuously absent.  In other words\, Chie Fueki’s paintings\, camouf laged in botanical tropicalia and diagrammed between perspectival systems\, aren’t about the glancing circuit of her mysterious protagonist\, they are about the eye of the beholder.

Chie Fueki was born in Yokohama\, Japan and raised in Sao Paulo\, B razil.  She received her MFA from Yale University.  She currently lives and works in West Chester\, PA and Brooklyn\, NY.  Fueki was included in the < em>Greater New York show at PS.1\; and has been featured in a number o f publications including the New York Times\, Bomb Magazine\, The New Yorke r\, Art Asia Pacific\, Art in America\, Art News\, Time Out New York\, and The Village Voice.

LOCATION:Shoshana Wayne Gallery\,Bergamot Station 2525 Michigan Ave.\, B1\n Santa Monica\, CA 90404 SUMMARY:These Constellations are Our Closest Stars\, Chie Fueki END:VEVENT BEGIN:VEVENT DTSTAMP:20171020T075447Z UID:267163 DTSTART:20130413T170000 DTEND:20130413T190000 LOCATION:Shoshana Wayne Gallery\,Bergamot Station 2525 Michigan Ave.\, B1\n Santa Monica\, CA 90404 SUMMARY:These Constellations are Our Closest Stars\, Chie Fueki END:VEVENT END:VCALENDAR