Terrazul

Photo: Guillermo A López

Olivia Song Park’s White Lies

Upon entering, white strings falling from the ceiling divide the gallery space. Like cords of a musical instrument, these resonate with the in vogue expression, no strings attached -- defining fleeting liaisons in today’s society. The exhibition White Lies by Olivia Song Park closed last night at Mina Dresden gallery.

Park Song makes tiny circles of perforated punch holders, Q-tip swabs, and strings, the works in White Lies create a subdued atmosphere that is a play of white on white. The white cube with a floor covered with butcher paper, and the small white pieces required an effort from the viewer to be appreciated. White is the color par excellence used in today’s contemporary art. The color white not only refers to purity, but it also alludes to issues of race.

Illuminated from behind, Hole is a round object formed by dozens of swabs sticks, creates a honeycomb-like structure. Song Park utilizes swabs not only to retouch her make up, but she also uses them as material for her art practice. The swabs allude to repetitive motions and every day actions. These activities become a ritual, and they also refer to domesticity, the body, and beauty.

A cutout paper of rectangular shape recreates concentric irregular forms at the center. Superimpossed sheets of paper create a ladder effect. The jagged lines, and pointy corners become an exercise of geometrical proportions. Recalling landscapes of earth’s crust formations, this work imitates shapes found in nature.

White Lies is an exercise on language. According to the artist, the exhibition's name is a play on words. Initially, this project stemmed from the artist trying to explore the meaning of the phrase “white lies” and its seemingly harmless meaning. In contrast, according to Song Park, a red lie in Korea means a blatant lie -impossible to mistake for a truth.

Song Park’s preoccupation leads her to the making of her craft in an attempt to arrest the inexorable passing of time. Song Park’s quality of work lies between the obsessive and the painstainking. Honeycomb shapes, landscape forms are figures inspired in geometry and nature.

By far, this is the most succesful show at Mina Dresden not only because of the sensitive quality of the pieces, but also by the care given to the presentation of the works.

Cecilia Nuín
curator

Cell Stemming by Blanka Amezkua

Organic patterns, and repetitive forms are evident in Blanca Amezcua’s mixed media work. Amezcua’s obsessiveness is apparent in objects like Fluffy Anemone an oval shape with hairy like shapes. These hairy elements recall filaments of botanical parts. The surface is filled with multicolor flowers, and stuffed toys of multiple shapes. Vibrant colors range from reds, and blues, to multiple shades of pink.

Another work, Kinetico is an embroidery made on fabric with a crochet, yellow frame refers to kinesthetic practice. Circles of various sizes sewn in blues, oranges, and reds form groupings of cells. Mirroring organic forms from the natural world, they recall cell stemming of espora like molecules with white spaces in between mitochondria fluids.

Iko, a cell division, is a breakdown of forms. An embroidery and crochet with a brown frame and spherical, red, pink, orange shapes depict viscera like figures recalling internal organs. An up side down torso of a female image, these abstract, womb like vesicles allude to vestigial forms.