As an interdisciplinary artist, experimentation and research fuel my work. It is crucial for me to use whatever medium necessary to facilitate my concepts and ideas. I am often dealing with thoughts around body image and aging, memory and loss, as well as the meanings behind generosity and nurturing.
In the last couple of years, food has become the primary medium in which I work. It is a strong material in that it serves as a basic need for survival, and yet is an extremely contentious medium instigating a divide between class, geography, economics, politics, and body image. Food can also be a rewarding mechanism for evoking memories of the familiar, satisfying the longing for comfort, or fulfilling a desire for luxury. While I am not a chef or a caterer, I am interested in the dynamics around hospitality and service. The relationship between food and service has a long history, often reinforcing hierarchical roles between individuals. I seek to open up those lines of order, and make it very clear that while I am engaged in a service role, there is no rank.
Working with other people both collaboratively and socially drive my practice. A large portion of my work is ephemeral, leaving a greater sense of urgency for human connection within the life-span of each project. I believe that time is very precious and fleeting, and I strive for my work to reflect that care and preciousness. In the book Denial of Death, Ernest Becker discusses the duality of human existence. The dilemma that we believe we are capable of deep, symbolic and emotional connections, yet we cannot change the fact that we will go back into the earth one day, and that maybe there is nothing beyond that. He believes that through heroic acts, individuals can overcome the dilemma of mortality. The idea that if we create something meaningful in our lives, it has the potential to last forever, which gives us hope in our finite physical existence. He states:
His body is a material fleshy casing that is alien to him in many ways—the strangest and most repugnant way being that it aches and bleeds and will decay and die. Man is literally split in two: he has an awareness of his own splendid uniqueness in that he sticks out of nature with a towering majesty, and yet he goes back into the ground a few feet in order to blindly and dumbly rot and disappear forever. It is a terrifying dilemma to be in and to have to live with.
I am interested in viewing the dinners that I create as a microcosm of this idea: each individual makes up a part of the whole, and each person walks away with their own unique experience, after spending time socially within a group. While they are in the group, new relationships are established, meaningful ideas are shared, a greater connection is made.
Extending these ephemeral moments, I am working on my own issues of aging and body type, the transformation of skin and the fleeting passage of time. My work can be bodily and abject, but also, beyond the physicality, it is an attempt at emotional correspondence toward a better understanding of self and those around me.
Lives and works in Los Angeles
2012 UCLA School of Arts and Architecture, BA, Art
“Back To My Me”, Lipps/Hubbs Gallery, Photography Lab, UCLA, Los Angeles
“Consumption”, Undergraduate Gallery, UCLA, Los Angeles
homecut, 1748 West Adams, Los Angeles
Sundown Stock & Exchange, For Your Art, Los Angeles
The Los Angeles Seminary for Embodied And Civic Arts, Los Angeles
One Night Black & White, PØST, Los Angeles
Inaugural Dinner, collaboration with Sasha Bergstrom-Katz, The Pit, Los Angeles
Gold Box, Machine Project, Los Angeles
homeLA, Summercamp’s Project Project, El Sereno
“C-Note”, Jaus Gallery, Los Angeles, UNICEF Benefit for Syrian Children
homeLA, Pacific Palisades
homeLA, Mt. Washington, Los Angeles
Birthday!, New Paragraph, Pacific Palisades
In The Dead of Winter, New Paragraph, Pacific Palisades
homeLA, Pacific Palisades
ARTISTS + INSTITUTIONS: COMMON GROUND, Notch, MAK Center, Los Angeles
ARTISTS + INSTITUTIONS: AUSTERITY MEASURES, Notch, MAK Center, Los Angeles
ARTISTS + INSTITUTIONS: BRUSH FIRE PROGRAM, Notch, MAK Center, Los Angeles
Gape, ATX, Los Angeles
Now What, Icon Project Space, Los Angeles
EMMEFFAY #5, New Wight Gallery, UCLA, Los Angeles
Juried Exhibition, Curated by Kimberli Meyer, New Wight Gallery, UCLA, Los Angeles
MERCHANDISE 7X, Notch, UCI Center of Contemporary Art, Irvine, CA
Muttermilch, Carter and Citizen Gallery, Los Angeles,
Cheese Dream, UCLA, Los Angeles
Juried Exhibition, Curated by Clara Kim, New Wight Gallery, UCLA, Los Angeles
Here’s your hat. Now what’s your hurry?, Senior Show, New Wight Gallery, UCLA, LA
Mass Transit, Bootleg Theater, Los Angeles
Co-founder of Feed Us Fund Us, a supper club that raises money for artist mini-grants by hosting and cooking prix fixe dinners.
Co-founder of New Paragraph, a Los Angeles based curatorial group
Active member of Notch, an ensemble collective that works with hospitality and culinary interventions
VIA Magazine-Issue 03-DINING AND DIRECT AID by Emily Anne Kuriyama p.66 (Feed Us Fund Us)
Sterling Ruby Studio – Studio Assistant
Ovitz Family Collection – Art Intern
UCLA Photography Lab – Lab Technician