Miya Ando’s metal canvases and sculpture articulate themes of contradiction and juxtaposition of ideas.
Her art is impulsive but not violent—and more seductive than confrontational.
Expression and composition work hand in hand within these pieces.
These works simultaneously display the transition between unnatural encroachments on the natural and natural reclamation of environments.
This piece is fun, technically sharp and refined, creating an ironic portrait of an iconic figure painted hyper-realistically commentating on the ongoing dichotomy of abstraction and how they intersect in the lexicon of art history.
What is the self? How can you be individual in the overwhelming power of social, political and cultural conventions and agreements? Can one be authentic in the age of absolute medial visibility, where everything is observed, recorded and shared?
One may see the work as a post-minimalist interpretation in the sense that it is based on repetition, geometric forms, grids and formulas. However Fruheling’s interpretation clearly diverts from the rigid, analytical values of typical Minimalism. It is chaotic, pronged, layered, weightless and barely visible.
With subtle historical references and with poetic and emotional manipulations, VOWELS is a disturbing work that deliberately puts us in an uncomfortable position: the helpless voyeurs of an abused young girl.
Each painting is a therapeutic journey, from first to final brush stroke.
The theme of the video ‘Impermanence Trajectory: the limbic nest’ is the idea of Pancomputationalism and an artificial limbic system seen as a manifestation through AUJIK.