Sallyport - The Magazine of Rice University - Spring 2002

More documents

Recommendations

Info

Arts Spring 2002 VOL.58, NO.3 Delicate Networks Artist Liga Pang tapped her well-worn American cowboy boots and pointed to the beautiful tunic she was wearing, which she had fashioned from the fabric of antique Japanese kimonos. Jalbert Calls on Emotions in Composition Some artistic disciplines are adept at transmitting ideas or purely visceral responses. Others music perhaps most of all are capable of translating powerful emotions in such a way that audience members can feel some measure of the artist s hopes and joys, fears and pain.... [ back to top ] Featured Stories | Through the Sallyport | On the Bookshelf | Who's Who Students | Arts | Scoreboard | Yesteryear | Previous Issues Copyright ©2002 Rice University http://www.rice.edu/sallyport/2002/spring/arts/index.html [10/30/2009 10:56:05 AM]
Delicate Networks - Arts Spring 2002 VOL.58, NO.3 Delicate Networks Artist Liga Pang tapped her well-worn American cowboy boots and pointed to the beautiful tunic she was wearing, which she had fashioned from the fabric of antique Japanese kimonos. ........................................................................... With cowboy boots, it s me, she said. I am a mixture of these. The installations at Rice Gallery this winter, by Pang and Lee Mingwei, showcased the work of two Asian American artists who interlace disparate cultural influences in their work as well as in their identities. On view from November 9 to December 9, 2001, Pang s installation, Ikasu, infused the gallery with the tranquility of the natural world. Ikasu is a Japanese word that means to give life to, and Pang s room-sized sculptural form did just that. Ikasu by Liga Pang The Tourist Project by Lee Mingwei Composed of a delicate mesh of dead, brittle bamboo twigs, the exquisitely contoured structure was flexible but strong, fragile but sturdy. Pang and four assistants worked full time for an entire month to painstakingly weave the delicate curtain of bamboo. Currently residing in Japan, Pang teaches master classes at the prestigious Sogetsu School of ikebana, the Japanese art of flower arranging. Though her work departs radically from the formal rules of this ancient art, it retains ikebana s spare elegance and acute sensitivity to the natural world. Pang stresses a method of respecting and listening to natural materials that she calls collaboration with nature. She says she takes great energy from just walking, just observing nature in the woods and hills and on the beach near her home in Hayamacho, Japan. I wanted to do something, some work that gives the same kind of feeling to viewers of Ikasu, she says. I felt I wanted to move people, to provide something nourishing to the soul. Photos: by Liga Pang Pang s work is informed by her intimate experience of several cultures. She was born in 1939 in Japan to Chinese parents and, as a headstrong teenager, moved to California by herself without even a working knowledge of English. Pang remained in the United States and pursued a successful career in painting until moving back to Japan in the late 1980s. Her consummate ease in moving between cultures is marked as much by her fluency in English, Chinese, and Japanese as it is by her eclectic personal style. A beautiful web also figured centrally in Lee Mingwei s installation, The Tourist Project, on view January 17 to February 24, 2002. In Lee s case, however, the web was an intangible network of personal connections and interactions. The Tourist Project reached far beyond the confines of the gallery space as Lee discovered the city of Houston through its residents eyes. Twenty participants volunteering as tour guides introduced Lee to locations in the city that were personally meaningful to them. In this fun, poignant process of sharing stories and memories, the city came to be defined by the personal histories that have unfolded within it. http://www.rice.edu/sallyport/2002/spring/arts/delicatenetworks.html (1 of 2) [10/30/2009 10:56:33 AM]
Page 1 and 2:
Sallyport - The Magazine of Rice Un
Page 3 and 4:
Merging Minds - 2001 Report of the
Page 5 and 6:
Information Technology - 2001 Repor
Page 7 and 8:
Information Technology - 2001 Repor
Page 9 and 10: The Babe -- Without the Vices - Sal
Page 11 and 12: The Babe -- Without the Vices - Sal
Page 13 and 14: First Impressions - Sallyport, Spri
Page 15 and 16: First Impressions - Sallyport, Spri
Page 17 and 18: Through The Sallyport Spring 2002 V
Page 21 and 22: Through The Sallyport [ back to top
Page 23 and 24: Through The Sallyport Liang and his
Page 25 and 26: Through The Sallyport Provide the r
Page 33 and 34: Through The Sallyport appeared to i
Page 35 and 36: Through The Sallyport Featured Stor
Page 37 and 38: Through The Sallyport dimensional p
Page 39 and 40: On the Bookshelf Spring 2002 VOL.58
Page 41 and 42: Accounting for Hatfield - On the Bo
Page 43 and 44: Booknotes - On the Bookshelf Spring
Page 45 and 46: Who's Who Spring 2002 VOL.58, NO.3
Page 47 and 48: Who's Who Spring 2002 VOL.58, NO.3
Page 49 and 50: Who's Who cognitive functions. Tapi
Page 51 and 52: Students Spring 2002 VOL.58, NO.3 G
Page 53 and 54: Students Spring 2002 VOL.58, NO.3 C
Page 55 and 56: Students Spring 2002 VOL.58, NO.3 M
Page 57 and 58: Students Spring 2002 VOL.58, NO.3 R
Page 59: Students the team. Remember her nam
Page 63 and 64: Jalbert Calls on Emotions in Compos
Page 65 and 66: Scoreboard Spring 2002 VOL.58, NO.3
Page 69 and 70: Scoreboard Nor did the groups get a
show all

Sallyport - The Magazine of Rice University - Spring 2002

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?