Eye's scream

bubble tile

Year: 2020
Medium: sculpture and photography | silicon, pigment, piano finish taper wood base, metal print (dye-sublimation printing on aluminum)
Dimension: approx. 6 x 6 x 4½ in, including the base (sculpture), 11 x 17 in each (photography)

Fingerprints is a silicone sculpture that captures an imprint of my hand in an aim to reflect unrest in response to immigration and racism.

My name, 林嘉貞, was left behind in my native country of Taiwan the moment I entered the U.S. Customs and Border Protection building. I immediately became another person once I entered U.S. territory. In the U.S., I insisted on not having an easy-to-pronounce English name; instead, I kept my translated name, Jia-Jen Lin—which, however, has often been recognized to be Chinese due to the pinyin system I chose to use 19 years ago. Having my fingerprints taken at Customs represents my knowledge that I will always have to press my fingers harder; otherwise, the immigration system will not recognize me as a legal immigrant who has become an American citizen through naturalization.


Fingerprints

Photography, image from ongoing series, inkjet print, 58 X 37 cm, 2021

Untitled

Silkscreen-printing on porcelain⁣
Installation dimensions: 18,5 x 115 x 9 cm (H x L x W)⁣


𝘖𝘶𝘵 𝘰𝘧 𝘴𝘪𝘨𝘩𝘵, 𝘰𝘶𝘵 𝘰𝘧 𝘮𝘪𝘯𝘥

ON BOARD

digital painting, digital drawing and collage 25 x 37" printed on archival paper

Box Breath

31 years have passed since the fall of the Berlin Wall. The political, ideological, and in some cases physical frontier not only divided Germany but the entire world into two axes; one of capitalist character and his nemesis, the communist.

Today the physical Wall does not exist, but there is an invisible one that continues to divide the country, and it can be measured in wages, infrastructure, education, unemployment; political and economic differences that tip the balance in favor of the West. 

A barrier that has been reinforced thanks to the global financial crises that have occurred in recent years, widening the gap between rich and poor, ending the so-called middle class.

The idea behind this work is to attest to this reality that is still in force today, through the study of the landscape, both urban and human, to show that division that is still latent between the western and eastern parts of Berlin, taking the German capital as an example of what is happening in the country.

"The Invisible Wall" Ernst-Thälmann-Park, Prenzlauer Berg, Berlin (2021) 

Acrylic, blowtorch,ashes,charred paper and printer/toner ink residue on board

64x60x3

2021

Murmuration II

14"x14" white canvas, white gesso base with bright and vibrant acrylic paints in abstract form. glossy finish

Shaping Up

Quiet harbour

Bonjour Tristesse, 2018

Immersive solo exhibition at Galerie Baull
Acrylic on wall

Berlin, Germany

Bonjour Tristesse

Technique: Oil on canvas 
Size: 160 x 120 cm  


 Falling

Original abstract marbling art print, 30x20 inches, available as a matt, unframed print in various formats.
Worldwide shipping. I accept commissions and bespoke orders.
My art price range is: $95-450.

Abstract flames

Oil on Canvas 
2021, 40x50x3 cm

Through the understanding of time, the acceleration of which we can physically feel, through the vis-à-vis of a living human model, a pause is created, a place is created for the emergence of the present. Every line and every brushstroke is concrete, just like every meeting with this person, a dream, a thought. A technical work with a thought makes it possible to see how the ideal becomes material. I observe the movement, participate in it, and this process is what gives honor and meaning, joy and suffering.

https://www.instagram.com/kristine_narvida_art/

Look how I move


This installation is based on a trail in the foothills of the Cascade Range near Seattle. There is a looping video along with an ambient soundtrack. The multiple painted panels vary in depth giving extra motion to the piece. The whole piece includes paintings, tv, and industrial media player.

oil on panel, video
101 cm x 244 cm

Boulder Loop Trail

Spruce, parsol, mirror, ratchet straps
6 columns - 120 x 30 x 30.8cm
Seen here at: Berlin Baustelle, De Cacaofabriek, Helmond, The Netherlands
Credits: Ben Raine
Photographs: Miriam Temme


We are, but separate entities, 2020

My work investigates the parallels between the action of painting and lived duration in order to reassign the boundaries of time as a construct. 
As part of an explorative body of work which investigates the potential of a non-linear timeline, Blue Is A Magic Number highlights a more playful and absurd side of my practice. 
My paintings seek to deconstruct notions of time which we accept without question. Why do we measure time in a quantitative fashion? Through altering the phrase 'Three is a magic number', to introduce a qualitative aspect (blue), I invite the viewer to consider my alternative perception of time, where time can be visual or physical. Replace 'three' in a sequence, a timeline, or a clock, with blue, and suddenly these constructs of time are nonsensical. 
A viewer singles out blue elements within this painting - they construct an image of 'blue' which replaces a linear aspect of their perception of time to create their own version of my visual timeline. They then begin to isolate other colours, considering the interrelationships between them. They are able to map out the sequence of time held within this painting.


Blue Is A Magic Number

Eternal Cycle 
Screenprint on Tulle, Cotton Thread, Polymer Clay, Resin
2020

Eternal Cycle is an installation and performance piece with five organ-like vessels each containing a shed skin. The body-skin structures are sewn with screen-printed tulle and are compressed into the vessels. The vessels are made from polymer clay and resin that capture the veracity of a reproductive organ. The installation is accompanied by a video performance demonstrating the action of taking the individual body out of the vessel and delicately hanging them like clothing. Through the performance, Eternal Cycle investigates the possibility of utilizing the time of difficulties as a way of growth and expansion.

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