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Cedric Tai (M, 34)
Detroit, US
Immortal since Mar 10, 2010
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Cedric Tai is an artist and educator residing in Michigan. He graduated with a BFA in studio art along with a teaching certificate from Michigan State U. He commits to a studio practice and works as an instructor at the DIA. He actively promotes the Detroit arts community through curated shows and thedetroiter.com. He was the youngest to be awarded a $25,000 Kresge Fellowship in the Visual Arts to pursue his creative endeavors, jurors included Lorna Simpson and Richard Tuttle.
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  • Now playing SpaceCollective
    Where forward thinking terrestrials share ideas and information about the state of the species, their planet and the universe, living the lives of science fiction. Introduction
    Featuring Powers of Ten by Charles and Ray Eames, based on an idea by Kees Boeke.
    I make art on plexiglas, acryilc plastics.



    I love the act of painting backwards. The first mark made can be the first mark seen, it works in layers. I see painting as creation of a language where the artist creates problems to solve. Part of my painting process stems from the slick appearance of computer graphic imagery that I enjoy and I think to myself, there's something inherently natural in how it looks. I want to be able to paint it because then I can put it into the context of my imagination, not just to set up conditions to render it.

    I love that the plastic that I find and reuse acts as a flexible metaphor depending on the work. In one particular piece it represents dark matter, or as scientists would rather coin it, invisible matter, holding everything to it. Other times it's a statement about neutrality, white nor black is considered blank or empty, my canvas is neither because it is clear.


    This particular piece was inspired by the debate surrounding Pluto as a planet. It is titled, 'Redefining Space'. Materials include iron moved by magnets as well as various paint.

    Here's my current artist statement:

    My work derives from an alchemistic approach to alter how we see rather than change what we see. It helps to remind us that the over-arching grand scheme of things and the tiny details that are right in front of your nose — are one in the same.

    In my most recent body of work I have employed the use of silkscreened imagery on acrylic. Adding this process to the existing language of my painting has allowed me to highlight an increasing trend: the movement of mass amounts of users and information as well as the documented growth of technology mimicking organic developments in nature. When I juxtapose computer graphed imagery to dried ink spills, it unfolds into a conversation of parabolas, landscapes, tree-like forms and a pushed sensation of dimensionality.

    I want to engage the viewer in the conversation created by these three elements at play in my work: Natural elements, technology/information, and human interaction. I define natural elements as the autonomy of the materials, where the work seems to have painted itself or literally materials that come from the earth. Technology, as I use it, can be seen as an embedded code of systems used by humans to further their means. Human interaction is a factor as it manifests through expectations: that of the artist and their intentionality, and the expectations of the viewer and the exploration of their own questions. These all work against each other and at the same time implicate one another, inseparable. Producing a drawing of a system requires a system of seeing.



    So how did this Space collective inform my work? I realized that there is a network of people whose brain cells are firing in patterns and they are discussing networks and nature and technological advances and the future and they are all part of it themselves! We think critically as part of a collective therefore we are.
    Wed, Mar 10, 2010  Permanent link
    Categories: art, painting, process
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