alexandra chiou

Art and the Dialectic of Possibility

Art and the Dialectic of Possibility
by Timothy Brown, Hillyer Director

Elaine Qiu, Kim Richards, and Alexandra Chiou are three solo artists who offer a dialectic of possibility when faced with difficult moments in life. Dialectics start with oppositions that can leave us at an impasse, but each artist finds a way to work through challenging situations by finding peace through personal and collective reflection, guidance when life is unbearable, and joy when overwhelmed by loss.

Elaine Qiu in her exhibition “Every Place We’ve Been” embraces the duality of personal and collective loss, using scrolls and overlapping narratives to unite us across boundaries, while providing space for visitors to grieve and interpret meaning in their own way. As the artist states:

“I create works not just to express but to connect. I am interested in exploring dichotomies, such as power and vulnerability, reality and fiction, rebirth and decay, mystery and conviction, belonging and displacement.”

The liminality of the in-between space that Qiu alludes to is an invitation for viewers to connect across time and space. Scrolls are hung from the ceiling in undulating patterns that make it difficult to determine where the story begins or ends. The binary framework of the personal and the collective is reflected in her use of translucent paper that is painted on both sides. The scrolls thus serve as intersections, spaces where “verso” and “recto” merge, but which are revealed as a shared space of infinite possibilities.

“I want to invite the visitors to reflect on the fluid and dynamic essence of time and identity, and discover that the past is not fixed but a narrative in constant revision.”

In her exhibition “Into the Wilderness,” Kim Richards identifies the universal human condition of hopelessness and/or “impossible situations” we find ourselves in, and offers Biblically inspired paintings to remind us that we are not alone—God is there to lead us and help us find peace.

Most of the paintings feature a solitary figure, a young African American woman (her daughter in real life), who at first appears lost, alone, or abandoned to her own thoughts. The viewer may sense that there is an opposition at work that separates the subject from her objective conditions—a state of mind that places her “in the wilderness.” Similar to the liminal space in Qiu’s work, Richards employs the use of symbol and metaphor to extend the narrative. For example, in her painting “Rest,” Richards includes a raven and a rotten bag of fruit. The raven represents God and the holy spirit, and the fruit serves as a metaphorical way of laying down our burdens. Through these juxtapositions, the solitary figure is guided beyond the finitude of her corporeal existence by the everlasting presence of the holy spirit. As the artist states:

“The paintings in this exhibition embody a narrative of being called by God to help us face the unexpected challenges that lie ahead, so that we can travel through the wilderness, restored and at peace.”

In her exhibition, “Remember/Renew,” Alexandra Chiou celebrates the life and legacy of her late father and her healing journey after his passing. The challenge for Chiou is giving material form to abstract ideas and feelings such as hope, love, joy, and wonder when confronted with an overwhelming sense of loss. The passing of her father was compounded by her family’s decision to move to another location, leaving behind cherished memories.

Through her intricate use of painted cut paper, assembled in complex layers, Chiou uses her art to work through loss and separation by recognizing the dual value of memories and nature. In her piece, “Rebirth,” Chiou recalls a moment in her father’s life when he immigrated to the United States from Taiwan. Recognizing the fluid, boundless, and courageous nature of her father’s migratory experience, Chiou sought in this work to capture movement and transformation. Similar to Richards’s quest for peace, Chiou finds tranquility in the resuscitation of memories and their realization through nature-inspired, abstract forms. As the artist states:

“I hope that viewers can come here and find a sense of healing and a sense of stillness. Also I hope that viewers just remember to be kind to themselves and to celebrate life and all the small moments, big moments, and everything in between.”

The artwork by Elaine Qiu, Kim Richards, and Alexandra Chiou offers a dialectic of possibility that transcends trauma, loss, and abandonment. Through their art, viewers discover peace and beauty amid the “wilderness” that is encountered in our personal and collective experiences.

Newly Selected Artists: Elaine Qiu, Kim Richards, and Alex Chiou
March 2–March 31, 2024

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Cut Canvas and Quiet Beauty: Q & A with Alexandra Chiou

“Initially, I was drawn to the idea of primordial landscapes free of man-made structures. Over time, my interest in unexplored terrains has morphed into a fascination with the beginnings of life, and the connections we humans share with our surrounding geography—for instance, the parallel between rivers and the blood that flows through our veins, and the cave as a womb.”

In terms of process and medium, I began as an oil painter creating large scale paintings with vibrant colors. Over time, I wanted to achieve greater transparency and airiness in my work, and moved towards pen, ink and acrylic paint. Most recently, I have incorporated layered cut paper into my work, adding new textures and more dimension to my pieces. I have also created several layered non-rectilinear works on paper, further accentuating my interest in the organic and my desire to meld the spheres of painting and sculpture. Ultimately, I plan to continue developing my interest in science, philosophy and natural history to further investigate this idea of the human body as a habitat and environment in itself.”

alexandrachiou.com

You say that your travels have strongly influenced your work; Are there any specific sites or cultures that has inspired this exhibit?

Many pieces in this exhibit are inspired by my travels in the American Southwest national parks including Bryce, Zion and Joshua Tree. I am constantly amazed by the overwhelming abundance of life that can be found in unexpected places. Such subtleties and quiet beauty can be found in many dry desert landscapes if you look with open eyes.

How do you think your development of materials, from oil painting to textured work with cut paper, has influenced your pieces? 

I have always considered myself first and foremost a painter, but over the years have started creating more dimensional, sculptural works. Many of my works are living, breathing organisms that can also be read as landscapes. While oil painting is enjoyable, it always felt a bit heavy, and I wanted to create work that was more light and airy. I have worked with cut paper for some time now and just recently starting working with cut canvas. I really like how canvas is durable and bendable and has different textures. I definitely want to keep experimenting with these canvas pieces for the near future.

How in your own words would you describe the relationship between the human body and the environment?

There are so many physical and conceptual parallels between land and the human body. Our bodies are ecosystems brimming with life.  Blood flows through veins, just like the way water flows through a river. We have our own mountains, valleys and jungles just like the ones we see in the surrounding geography. Likewise, there’s a parallel between illness of the body and illness of the land, pollution. Given the increasing urgency regarding the health of our environment and climate change, it’s really important that we constantly evaluate and appreciate our connection to the land around us. If we don’t take proper care of it, we will also suffer.

You recently had a residency at Strathmore; can you tell us about your experience there and how it has helped you grow as an artist?

The Strathmore Fine AIR program was a really great experience. It allowed me the time, resources and support to try new things and really push myself artistically. It was during this period that I first began experimenting with dimensional works on paper and created a series that is the precursor to my current body of work. Many of my first pieces could be read as both miniature landscapes and organisms, reflecting my desire to create living, breathing works.

Also, during the program I got to interact with a community of artists and received regular feedback on my pieces that was invaluable.  In addition, I enjoyed working with my mentor artist and creating collaborative work over the course of a year; that was a totally new process for me, and I look forward to future opportunities to collaborate artistically.

What other artists do you take inspirations from? 

There are so many! I’ve always admired Henri Matisse for his great use of color and line. More recently, I’ve been looking at work by Sam Gilliam, Katharina Grosse, Mary Little and Jackie Tileston, to name a few.

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