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Kacy Jung

October Scintilla Art Box Project Featured Artist

Jung's work portrays their internal conflict as an immigrant from Taiwan to the United States, and how they have fought to formulate a new identity. Jung manipulate photos of themselves and print them on sheets of chiffon, then drapes them over themselves and photographs the simple forms created.

The resulting photos point to an internal and individual conflict that can only be seen through the mask of the fabric. Jung also talks about the changeability of identity as well as social constructs within her works.

Q: Tell us a little about your work featured in the Scintilla Art Box Project:

A: "Through photography and mixed media photo sculpture, I investigate the way identity is constructed and reassembled during the process of socialization. I believe that no one is immune to the influences of their surrounding environments. Much of my research is focused on the negotiation, interconnectednesses, and power dynamics that exist between the individual and society.

As an Asian diaspora living in the United States, the conflicts and struggles caused by living in between Eastern and Western cultures raised some fundamental questions: What factors could I identify myself? What are the battles of the reformation of my new identity? How does the new culture merge with the traditional one? The technique to manipulate an image digitally and inkjet print on the transparent fabric is used in my work “Free Will Is an Illusion” to investigate these questions visually. In this work, I use photoshop to remove my eyes and wear a top with colors of blue, red, and white to metamorphically represent the uncomfortable new identity after I moved to the USA. I printed it on chiffon and covered it on top of myself and re-photograph it. The choice of fabric not only highlights the idea of social fabrication but also emphasizes the fluidity of identity. Although it may only show a simple surface outside most of the time, there are complex and interdependent interactions inside. Using my experience as a starting point, I am analyzing and untangling the grace and struggles of different influences that have been put upon on Asian immigrants like me."

Q: Tell us about your studio and how you utilize it. What times do you prefer to work? How do you foster a creative practice? Do you have any unique studio habits?

A: "I am doing a one-year long studio artist program at Root Division Gallery in SF, CA. My studio is my soul and heart. It is where I invite people to come and have some intimate and inspiring conversations and also where I interact with myself by doing visual works.

I try to work from 10 a.m. – 5 p.m., Monday to Friday when I am not in classes.

I am a believer that art happens in our everyday life and every moment of now. So I do tend to get my inspirations mainly from my living environment, my diary, and the research I am conducting for my art. I do know that the way I foster my project is a bit different from most of my peer artists. I usually have my artist statement written first, and then develop my visual presentation. I also try to avoid sketching too much before I jump into my art-making because I love to respond to my work while I am making it."

Q: What excites you about the current state of the art world? Any specific shows, curators, critics, institutions, trends, themes, or changes?

A: "Literally everything! Living in the Internet and globalized era, the energy of our current art world is impressive! Anyone can post their artworks online and try to make themselves be seen.

As for the show, I personally am very into capitalism critic recently. The Museum of Capitalism (a traveling museum) does make me extra excited!"

Q: In one sentence, describe the function of art:

A: "Art is the highest form of hope."

Q: How do your approaches in material and media relate to deeper concerns regarding content and concept?

A: "I care a lot about the material I choose to work with, not only the color, texture, and quality but also the role it plays in the history of human culture and history.

When I don't treat my material as an object but as a human being, that's where I find I can dig out my deeper concerns regarding content and concept."