Tuesday, May 29, 2012

Condor No.12


Condor No.12 | Oil on canvas | 30 by 24 in


I watch the shutters go down and the lights go out
I waited the entire evening for you to show
Simply because you gave me your word

Well, I guess I’m the bigger fool here, 
Falling for empty words and useless promises.
Now its closing time and I have nowhere to go

I’ll tell you a story 
Of how I never did belong 
In a world where truth and values have no place

I came from the sky because I didn't like it there
But now the time has come
And it seems I don’t like it here either

So once again, another journey has ended
So let us kiss and say goodbye
And off to someplace else, I’ll fly.

- The Traveller by Nicolette T. Marshall


Condor No.12 is an artwork that I had created based on the California Condor. Here's the original article I had came across that was written by Jan Hamber, a condor biologist at the Santa Barbara Museum of Natural History, and Bronwyn Davey.

AC8 (#12), AC9 (#21) & the Last Days of Wild California Condors

On a spring day in May 1982, in a remote cave atop a cliff in the Sespe Condor Sanctuary, southern California, a tiny pink California condor chick pecked its way out of its hard egg shell that had protected it for nearly two months. He was greeted by his mother, a giant black bird, with a mottled orange head and a wing span of over nine feet, who gently stroked him with her powerful beak and nestled him close under her warm body.

This same scene had been repeated for tens of thousands of years. However, this scene was about to end. The mother and chick were part of a species that without drastic measures would cease to exist forever. The California condor population had experienced significant declines for decades and less than 26 California condors remained in the world. Neither the chick nor its mother was aware of how significant this event was for their species or how critical a part each would play in efforts to save their kind from extinction. The chick, later named Xolxol (hoho), became the original member of the captive breeding program. This event marked the beginning of the California Condor Recovery Program. The mother, later known as AC8 (Adult Condor 8), was the last free flying wild-born female California condor captured for the recovery program. Later, she was the first wild-born condor to be released back into the wild – the first time that a wild-born California condor had flown free for almost 13 years. Two years later, AC9, the last wild California condor captured for the recovery program, was released after 15 years in captivity. AC9 was AC8’s last mate in the wild.

This is their story, and that of their peers, the last wild California condors. AC8 (#12), AC9 (#21) & the Last Days of Wild California Condors. After the capture of Xolxol, AC8 continued to nest successfully in the wild, with her unnamed partner (known as #3 by modern researchers). In 1983 and 1984 she laid several eggs, which were removed and now form a significant part of the captive breeding program at San Diego Wild Animal Park and Los Angeles Zoo.

By late 1984 the numbers of wild California condors had dropped by nearly half. AC8, together with her partner, was one of only five actively breeding pairs in a total population of 15 wild birds. Tragically, in November 1984, AC8’s partner disappeared and never returned. Although this was a serious setback for the condor program, biologists were still optimistic that California condors from the captive breeding program could still be released back into the wild where a wild condor population existed. The other wild pairs were breeding successfully and 14 eggs and chicks had already been produced to form the nucleus of the captive breeding population.

Jan Hamber, a condor biologist working on the program at the time, recalls “all we needed was just one more successful breeding season and 1986 would then have been the year that young birds could be released from the captive group and used to augment the wild population.” It appeared that the recovery plan was working and success was just around the corner. But it was not to be. As the biologists fanned out into the nesting areas in late January 1985, reports came filtering back that either one or both members of pairs were missing from the breeding territories.

By April, when the missing mate of a new pair was found dead from lead poisoning on a ranch in the Sierra, it was clear that some disaster had struck. Six condors were missing from the population. Only nine birds survived, and worse yet, only one pair remained to breed: the Santa Barbara pair known as AC2 and AC3. The bottom had dropped out of the Recovery Program’s plans which led to a phase of acrimonious debate as to whether to take all the remaining nine birds into captivity or leave some out to keep the wild population going. The battle raged during the remainder of 1985 and three birds were removed during the summer and fall until only six were left, two females: AC3 and AC8 and the rest males: AC2, AC5, AC6, and IC9 (immature AC9).

Then in mid-December 1985 disaster struck again. It was reported that AC3 was down on Hudson Ranch. It was obvious that she was sick. She was finally captured on January 3, 1986. Despite constant care and treatment at San Diego Zoo, AC3 died January 18, 1986 – another victim of lead poisoning. Now no breeding pairs remained in the wild and only one female, AC8, was left with four males. The remaining adult males, whose partners had also disappeared, desperately tried to court AC8. However, she was uninterested and instead chose AC9, a young male just coming into adulthood.

AC8’s breeding experience over AC9’s was obvious. She accepted his advances and immediately began inspecting various caves for a suitable nest site, with AC9 in pursuit. She eventually found one and together with AC9 produced two eggs. Their first egg was found to be so thin-shelled that it was crushed - a casualty of DDT. The second egg survived and was taken to the San Diego Wild Animal Park to be incubated and hatched.With only five remaining wild birds, only one breeding pair and the ever-present threat of potential death, two more condors were captured. First AC6 on April 20, 1986, and then AC8, on June 5, 1986. Now only AC2, AC5 and AC9, all males, remained.

Eventually the call came to take into captivity all the remaining three condors. AC2 was the first to go on December 13,1986. Condor biologist Jan Hamber watched as AC2 was captured, a male that she had watched, along with his now dead partner AC3, for 11 years at 11 nest sites.

AC5 was next and was caught under a cannon net on February 27, 1987, in the late afternoon. For trapper, Pete Bloom, it was a moment never to be forgotten. As he placed AC5 in the sky kennel for the trip to the zoo, he noticed AC9 watching him. The last wild California condor in the world was perched in a large oak tree above the trap site, his body silhouetted against the setting sun.

And then came the Easter Sunday when AC9 was captured. For the first time in tens of thousands of years there were no California condors soaring in the sunny skies of southern California. All 27 living birds were in captivity. At the time, it seemed that it was the end of the road for the wild population. All those involved in the program felt a pervasive sadness. Would these majestic birds of the sky ever soar again?

After their capture, AC8 and AC9 were separated and partnered with other condors to maximize the genetic diversity within the captive population. Both AC8 (known as #12) and AC9 (known as #21) are parents and grandparents to many of the young condors which have been released into the wild. This article was originally written in 2002 in advance of the re-release of AC9 into the wild. At that time, AC9 was over twenty years old and his genetics were well represented in the captive breeding program. It was hoped that with the release of original wild birds they would act as mentors for the captive-bred, free flying condors and to give them an opportunity to live out the rest of their lives flying free. The interaction of the captive-bred condors with original wild-birds was hoped may provide the young birds with additional skills for survival in the wild.

Three juvenile condors, approximately 12 months old, were also released with AC9. One of these juveniles was from an egg laid in the wild the previous year in the Santa Barbara back country. This chick was raised by AC9 in the Los Angeles Zoo. The juveniles spent several months in a flight pen at Hopper Mountain National Wildlife Refuge with AC9 and other adult birds. The young condors were placed into the flight pen with the adult birds in order to gain experience competing for food and to form social bonds prior to release. While in the flight pen, the birds underwent power pole aversion training to help them avoid deadly encounters with power poles once released.

AC9 and the younger birds were transported to a holding facility at the Sespe Condor Sanctuary about a week before the release to give them time to acclimate themselves to their new surroundings. On May 1, 2002, AC9 returned to the wild. He returned to his previous territory and has since paired with #192, who had been hatched in the breeding facility at the Los Angeles Zoo in May 1998 and released into the wild in January 1999. They have produced two wild-born chicks who are now flying in the wild. They have an active nest again this year.

AC8 and AC9 are each great-grandparents of Santa Barbara Zoo condor #440. AC8 was one of the oldest condors in the world when she was rereleased into the wild in April 2000. Her exact age was unknown; however, she was at least 26 years of age, but probably much older (ie. over 40). She had not successfully bred in captivity since 1995 and was believed to be past her breeding age.

On February 13, 2003, while sitting on a tree on Tejon Ranch, AC8 was killed by gunshot. Her remains are on display at the Tribal Council Hall of the Santa Ynez Band of the Chumash Indians. She is remembered as a genetic “founder bird,” having produced 16 offspring and is a great-grandparent of all four Santa Barbara Zoo condors: three with #3 (her first wild mate), and one (#440) with AC9 (#21).

Article link

Sunday, April 15, 2012

Wild At Heart: Keep Wildlife In The Wild


Thinkspace Art Gallery Invite for Wild At Heart - Keep Wildlife In The Wild

Wild at Heart: Keep Wildlife in the Wild is an upcoming art exhibition that will be held at Thinkspace Art Gallery. 

Curated by Andrew Hosner and Amanda Erlanson, this art show will open on 26th of May 2012 and held through 9th of June 2012. In addition, 20% of all sales will go to benefit Born Free USA and the world's endangered species.

Here's a look at what I will be creating for this upcoming show.


Wild at Heart: Keep Wildlife in the Wild
Condor #12 | Concept sketch


Wild At Heart - Keep Wildlife In The Wild
Condor #12 | Work in progress | 30 by 24 in




Wild At Heart: Keep Wildlife in the Wild is on view from May 26th through June 9th, 2012
Reception with the artists: Sat, May 26th 5-9PM



Thinkspace is proud to present "Wild at Heart: Keep Wildlife in the Wild," an exhibition to raise awareness about the precarious predicament of wild creatures around the world, and to benefit efforts to protect them in their natural habitat. Featuring a stellar cast of more than 100 artists from all corners of the art world, this exhibition brings together some of the most profound and innovative voices making art today. In recognition of the imperiled state of much of the world's wildlife, each artist will apply their own unique perspective to our relationship with the fascinating creatures with whom we share our planet.

As the natural world becomes increasingly impacted by shifting climate, human greed and diminishing resources, protecting those creatures that still roam free becomes ever more vital to the soul of humanity. For even if we could continue to exist without wildlife, the spirit-crushing sadness that our species would take upon itself would surely rob all joy from life. Those majestic, miraculous, elemental beings which we admire from afar are at the root of who we are as people — from the woodland protagonists of our childhood storybooks, to the metaphors we use to describe ourselves as adults, to the animal spirits that visit us in our dreams. As we take steps to protect them from those who would rob them of their freedom, we also improve our own species' chances to persist far into the future, both by preserving the natural world we all share, and by cherishing the sacred genesis of our imagination and symbology. 

In appreciation of the magnificent creatures with whom we share the planet, Thinkspace will donate 20% of the sale price of each piece of art to Born Free USA and the Animal Protection Institute, which operate jointly as a non-profit organization that advocates worldwide for the ethical treatment and protection of wild animals, and also maintains a large sanctuary for rescued primates. To honor the animals closest to our hearts, the gallery will be accepting donations of old blankets to donate to area shelters so dogs don't have to sleep on cold hard concrete, as well as other used and new pet supplies. The opening will feature the release of a gorgeous limited edition screenprinted poster especially created for the exhibition by the incomparable Aaron Horkey. We hope you will join us on May 26th to celebrate and defend the wild things that fill our lives with wonder and mystery.

Featuring new works from:

Aaron Horkey
Adam Caldwell
Ako Castuera
Allison Sommers
Amy Dover
Amy Sol
Ana Bagayan
Andrea Offermann
Andrew Hem
Anthony Clarkson
Aron Wiesenfeld
ARYZ
Asylm
Ben Strawn
Benjamin A. Vierling
Brad Woodfin
Brooke Grucella
Bumblebee
Caitlin Hackett
Chet Zar
Catherine Brooks
Christina Mrozik
Craig "Skibs" Barker
DABS MYLA
DAL
Dan Lydersen
Dan-ah Kim
Darla Jackson
David Jien
David MacDowell
Derek Gores
Douglas Miller
Drew Young
Edwin Ushiro
Ekundayo
Esao Andrews
Frank Gonzales
Fuco Ueda
Fumi Nakamura
GAIA
Ghostpatrol
Guy McKinley
Henrik A. Uldalen
Jacub Gagnon
Jason Limon
Jason Thielke
Jasper Wong
Jennifer Davis
Jeff Ramirez
Jeremy Hush
Jessamyn Patterson
Jesse Hotchkiss
Jessica Joslin
Jillian Ludwig
Joao Ruas
John Brosio
John Malloy
Jolene Lai
Jonathan Wayshak
Josie Morway
Julie West
Katherine Brannock
Kelly Allen
Kelly Vivanco
Kikyz 1313
Know Hope
Laura Bifano
Leontine Greenberg
Lindsey Carr
Linnea Strid
Liqen
Lucrezia Bieler
Luke Chueh
Martin Wittfooth
Mary Iverson
Matt Doust
Matthew Grabelsky
Megan Wolfe
Meggs
Mia Brownell
Michael Ramstead
Mike Alvarez
Mike Brown
Mari Inukai
Naoto Hattori
Nathan DeYoung
Nimit Malavia
Pakayla Biehn
Paul Barnes
Pedro Matos
Phil Hale
Philippe Baudelocque
Rebekah Bogard
Regan Rosburg
Reinier Gamboa
Rob Sato
Robert Proch
Rodrigo Cifuentes
Rodrigo Luff
Rose Sanderson
Sarah Muirhead
Scott Belcastro
Seamus Conley
Sean Chao
Sean Mahan
Seth Armstrong
Shark Toof
Simon Prades
Souther Salazar
Stella Im Hultberg
Stephanie Buer
Tasha Kusama
Tessar Lo
The Yok
Timothy Karpinski
Tom Haubrick
Wayne White
White Cocoa
Yosuke Ueno 

PLUS a silent auction of donated rare prints from Mark Ryden, Marion Peck and Audrey Kawasaki with all proceeds going to support Born Free USA

About Born Free USA:

Born Free USA is a national animal advocacy nonprofit 501(c)(3) organization, contributions to which are tax-deductible. Our mission is to end the suffering of wild animals in captivity, rescue individual animals in need, protect wildlife — including highly endangered species — in their natural habitats, and encourage compassionate conservation globally. Every year, millions of animals suffer in fur farms and circus cages. In our campaigns against such cruelties, we use powerful tools including legislation, public education, litigation, and grassroots networking. We also work actively with media to spread the word about challenges facing animals. 

Our primary campaign areas currently include animals used in entertainment, captive exotic animals, trapping & fur, and the international wildlife trade. 




Venue: Thinkspace Art Gallery | 6009 Washington Blvd, Culver City, CA 90232
Contact: (310) 558-3375
Hours: Wednesday to Friday: 1pm - 6pm | Saturday: 1pm - 8pm

Gallery Website: www.thinkspacegallery.com

Wednesday, March 14, 2012

Picks of the Harvest 2012


Beginning of 2012 saw me preparing for my first ever show with Thinkspace Gallery, Los Angeles. The exhibition, titled Picks of the Harvest 2012 is showcasing over 60 talented young contemporary worldwide artists from all walks of life. 

Waiting for Walter is an oil on canvas piece that I've created for the show. I often go around hunting for interesting urban spaces to feature. This particular background was snapped while I was wandering around Melrose, Los Angeles. At times it tickles my fancy to ponder about the reactions of the residents upon discovering that their familiar spots has been featured on my canvas. Sometimes I think about dropping small printouts of the space relating paintings into their mailboxes. Then shyness gets the better of me and I retreat back into the comforts of my studio space.


Waiting for Walter | Oil on canvas | 30 by 24 in



Waiting for Walter | Details


Picks of the Harvest 2012 is on view from March 3rd through March 24th 2012.

Venue: Thinkspace Art Gallery | 6009 Washington Blvd, Culver City, CA 90232
Contact: (310) 558-3375
Hours: Wednesday to Friday: 1pm - 6pm | Saturday: 1pm - 8pm


Gallery Website: www.thinkspacegallery.com


Interview with Japan Cinema


Check out my latest interview held with Japan Cinema's Marcello. Thanks JC for featuring me as one of your creative spotlights.

Tuesday, November 22, 2011

Mimics





Space to me is the familiar three-dimensional region or field of everyday experience which can get visually mundane or routine like and at times disorients one.

I have the tendency of spacing out within an enclosed area that I am constantly exposed to and then getting fixated on an area till it becomes fuzzy in my mind. It is an experience that I relate to as writing a word repeatedly and then discovering for a second when I stop that I have lost the meaning of it. When this occurs, I seize the moment to rummage in my bag of imagination and begin transforming this banal spot into a possible playground.

The work in this series evolved from a current body of oil on canvases that is an exploration of the relationship between a female figure and the space that she is in. The highlight of each illustration is the influence of a particular animal or insect which is abstractly manipulated to incorporate into a specific area of the space that the character is in. Black Knitter, Yellow Honey and Pink Masquerade was recently showcased at the Affordable Art Fair Singapore 2011.


Tuesday, September 6, 2011

Boys who like boys who like girls who like girls

Aiman and myself have been preparing for this collaborative art exhibition since last year, and the show is finally opening this Thursday at Utterly Art. Totally excited!



Utterly Art presents Boys Who Like Boys Who Like Girls Who Like Girls.
The exhibition showcases the latest work of local artist Aiman and Los Angeles-based artist Jolene Lai, in a series of stunning visual dialogues.


The title for the exhibition itself is derived from the fact that each of the artists narrates their practices through the use of male and female figures, respectively. Their distinct styles are highlighted in this impassioned series of artworks, in which their unique but overlapping perspectives on the world and one's relationship to it begins a dialogue that invites the viewer to join the conversation.

Aiman’s series of works questions the very idea of social facades in human interactions, sensing the incongruency between exhibited social facades and real thoughts. He uses toys in his works for the same reason: to create a semblance of fantasy for the purpose of making reality more palatable. His series of works also expands on the theory of symbolic interactionism; a sociological perspective that places emphasis on the interpretative analysis of social relations.

Jolene’s series of artworks captures fleeting moments. She highlights each piece of work with locations or environments that she has sourced from her various expeditions or travels in the United States. Jolene‘s depictions of female characters in her works seem locked in time, conscious only of their own trains of thought and impervious to the goings-on of the outside world.

Thursday, July 21, 2011

No.25 Series I-VI






No.25 Series I-VI | Mixed media on watercolor paper | 8.5 by 5.5 in 


The room is dark, the air musky. She stands by the window, picks up a cigarette and lights it. For a few seconds, the empty walls of the room is licked with the sudden wavering dances from the flame. And then nothing. She inhales the smoke deeply, looks out into the gulf of darkness and tries to make out the silhouettes of the trees and apartment buildings made prominent from several street lights. There is a sudden flickering of light from the opposite window. Her heart skips a beat. Instantly she chucks her right hand behind the curtains of her window and watches as the fluorescent ceiling lights come to life. It’s Mr Zhang, a client who visits her every now and then for suit alterations. She cannot recall the last time he has visited but she remembers his strong broad shoulders and the faint smell of nicotine in his hair as she takes his measurements. She takes one last deep puff and feels the burning down her throat as she draws the curtains shut. Switching on the lamp by the dressing table, she carefully caresses the collection of mannequin hands lying on the dresser with her fingertips; like how any pianist would fondly touch the keys of a piano. She reaches the ‘last note’ and decides on no.25, elegantly curved with red painted nails. The rubber vinyl-like hand meets her left fingers and then snaps tightly onto her right wrist. It almost makes her imperfection non existent. The room is dim, the air stale. She lies on the bed, draws her left fingers to her nose and inhales. For a moment, she thinks about his broad shoulders and reenacts the smell of the faint nicotine in his hair. But then all is forgotten as no.25 ascends.


No.25 is a body of illustrative works based on Wong Kar-Wai's short film The Hand. The illustrations correlates to a specific chosen dialogue from the film, emphasizes on the key characters from the film, but adds a different take on the original story.


Movie still from The Hand


Selected dialogue from The Hand
Hua: And do you remember my hand?
Zhang: Yes I do.
Hua: You must have hated me that day.
Zhang: No I didn’t. I want to thank you. If it hadn't been for your hand, I wouldn't have become a tailor.
Hua: Forget about me. Go love some other woman and be good to her. Come closer. You have always been so good to me and I have never repaid you. I am afraid I won’t have the chance. I have lost everything. I used to have this body, but it is no good anymore. All that is left of it is this pair of hands. You don’t mind do you?


The Hand - Movie Synopsis:

Stars Gong Li (Miss Hua) as a 1960s high-end call girl in an impossible love affair with her tailor Zhang (Chang Chen). At their first meeting, she immediately worms her way into his consciousness with her forceful, erotically charged presence, plus a particular favor she proffers via her extraordinarily skilled right hand. The reason for her charity: Zhang is a talented tailor who has yet to know a woman’s touch. If he’s going to be servicing woman with his skills, he better be okay with touching them. It’s questionable if Hua’s sexual schooling makes Zhang a better tailor, but from then on he’s hooked - by her. The years pass, Hua’s clients change, and all the while Zhang longs for Hua’s touch once more. When he has time, he makes her clothes.

With The Hand, Wong Kar-Wai seems to be heading towards repressed longing in intimate, confined spaces. Wong Kar-Wai constructs a simple story with moments of truly gorgeous emotion, delivering on the promise of eroticism in a reserved, but astoundingly effective way. Intimate physical contact is given almost palpable erotic charge; at one point, Zhang measures Hua’s body with his hands instead of a measuring tape, and the years of desperate longing between the characters practically bleeds from the screen. The actual (fully-clothed) sex in the film might seem a bit too lurid for some, but Wong manages to make it affecting in its utter sadness.