Look at Me Hungry
curated by Mel Prest

April 13–May 25, 2019
Opening Reception: Saturday, April 13, 6pm–8pm

The works in this exhibition evolve from an obsessiveness and immersion in the process of making — something like hunger — while evoking the tension between being fully realized abstract “things” and pieces disintegrating into their many components. Crossing boundaries between painting, sculpture and installation, the artists in the show lay bare their creative processes through works that embody time and the presence of their hand.

Watch video interviews with the artists

View the catalog


About the Artists

Kim Bennett operates within a reimagined art history — as if women’s work had always been considered important and need not be revised. This fictive history provides a jumping off point for her textile-based practice, in which she explores female creative production through embroidery.

Arthur Huang explores conscious and unconscious everyday memory along the spectrum of neuroscience and visual arts through two ongoing projects — the Memory Walks Project and the Daily Drawings Project.

In Xi Nan’s view, we subconsciously design and reside in our own psychological spaces, as well as in reality. She is fascinated by architecture and mechanical apparatuses, which serve as metaphorical devices for her to reflect, express and evaluate her artwork and her inner world. In her sculptural and performing work, Xi invites viewers to experience the fragility and vulnerability of her anxiety, as well as to reflect upon their own inner struggles.

Joyce Nojima punctures, disfigures, welds and draws with a heated iron rod. Tentative gestures are interrupted by thick yet translucent scars. These marks echo the dichotomy between rhythm and atonality, thoughtfulness and impetuousness. She searches for beauty in destruction, becoming lost in the surfaces she creates.

Sandra Ono’s work is informed by biology, physiology and politics. She often uses synthetic and ubiquitous utilitarian products that come in close contact with our bodies — such as bandages, earrings or eye shadow — and transforms those materials to construct biomorphic forms that give weight and dimension to metaphorical internal states.

James Sansing explores the balance between several dichotomies: abstract and narrative, nature and human-made, heavy and fragile. When he starts a sculpture, it is an abstract work focused on form, line and color to create a composition. Although there is no set story, dystopia is a common theme —a landscape where nature and relics of an organized society merge to create a landscape of chance.