Through this piece, I seek to display how the multiracial background of the subject creates a sense of displacement in her life. At times, she expresses that she does not feel concrete with her own identity, having difficulty to define it. The layers of media in the background reflects a sense of anxiety with its chaotic quality. I have also used pigeons as a motif to reinforce the lack of belonging she feels as pigeons often wander in one place.

Result #1

Because I am not a pigeon or a bird, I cant understand her, she says, and the pigeons work to upset her sense of identity.Through art, El Jinas explores the seemingly contradictory impulses that drive her. As she points out in her catalogue introduction, she is not a victim of the circumstances of her situation, and her work presents the unknown as a threat. The work was on view in the museum for the first time in its entirety since 1986. Exhibiting the paintings in the gallery, she placed them on the floor, inviting viewers to walk through them. The show has numerous functions: to take you out of the world; to remind you of the precariousness of existence; to introduce awareness of social and political issues; to make you think about how we exist; and to show you how we live together.

Result #2

Through this piece, I seek to display how the multiracial background of the subject creates a sense of displacement in her life. At times, she expresses that she does not feel concrete with her own identity, having difficulty to define it. The layers of media in the background reflects a sense of anxiety with its chaotic quality. I have also used pigeons as a motif to reinforce the lack of belonging she feels as pigeons often wander in one place.Sphinx, 1984, similarly presents a profound psychological phenomenon, and its consequences. Here, the artist is sitting in a bathroom filled with water, surrounded by statues of busts of classical Greek and Roman authors. Her face is blurred and her eyes are closed. Here, She has grown up. The basilica of a temple of Aphrodite, the imagery of the idiom of mythmaking, is a sign of distress and dissolution. She has become a shadow, a child, a servant, a slave. The water is everywhere, it is flowing everywhere. She becomes part of the world, part of a whole that has fallen away from her. The water of the baths is a dangerous element. The water is something that seduces. I imagine that Sphinx will descend in her own time into madness.The appearance of madness is one of the themes of the exhibition, which is centered on the question, Are we in the world or is the world in the world? The title of the exhibition is Something more than a man, 1984, and also hints at the birth of the new world. The birth of the new world is a birth of the new world in a new form, a new reality that is both organic and secular. The artist-as-god is a motherhood figure in the midst of a world that is both animal and human. The human body, according to Plato, is a tomb, a place for the dead.The avant-garde artist has often used birth as a metaphor for life, a point of departure for humanity. The avant-garde artist, then, must find his or her birth and rebirth in the new world. But why is it that the birth of the new world is an attempt to find the new world, even in a world that is already a world? Is it to be found in death or in the world? Perhaps it is the second birth, a birth from which we will come.

Result #3

From these stills and blank faces, I create a kind of mock-prison sequence of escaping. The cages look as though they had been sent out into space by chance or some invisible force. A universal force that might have been at work at any time in her life is all that remains for the artist in these lifeless worlds.

Result #4

Through this piece, I seek to display how the multiracial background of the subject creates a sense of displacement in her life. At times, she expresses that she does not feel concrete with her own identity, having difficulty to define it. The layers of media in the background reflects a sense of anxiety with its chaotic quality. I have also used pigeons as a motif to reinforce the lack of belonging she feels as pigeons often wander in one place. I hope that this work will strengthen the sense of belonging she is experiencing.The theme of letting go of all attachments to the past is central to the piece. This aspect of the work relates to a more self-centered and distant connection to the present. As we are caught up in our own lives, we are forced to the surface of our own memories and feelings. By returning to the past, she is bringing it back into her life, and this is not simply a matter of mourning. On the contrary, letting go of the past is a way of living in the present, a way of preserving the memories and feelings that are possible only after living a full life. The effect of her art is to show us how much we are able to retain in our memories and feelings, how we can put the past behind us.The piece on view here consisted of a number of large drawings and paintings on canvas. In them, the black and white, a formal and technical tool used to delineate space, emphasized the lines of the outlines. The white lines became more and more irregular, less and less clearly delineated. The line of the outline was at times unclear, at times faded. The faded lines were filled with marks of water, making the white outlines seem to disappear. As the lines were pulled back, they became denser and denser. The painting on the other hand, consisted of a pair of traces of paint sticking out of the ground. The marks of paint were filled with all sorts of marks, such as those of a bicycle wheel, a shadow, or even of blood. The traces of paint were washed over, in streaks or in thick convolutions, creating a rough, irregular surface. The paints been absorbed into the surface and formed a dense crust that creates a dense texture. These marks and their paint colors remind us that the painter is not attempting to paint perfect abstractions, but to let the surface absorb and form a solid base.

Result #5

But this was not necessarily the case here. In the back gallery, the bird in question, Yes, I Am S/M, was revealed to be a pattern of concentric circles, created through a number of manipulation and smears of watercolor. The work became an overwhelming presence and possessed a photographic effect that completely worked through its seeming simplicity. The pigeon clearly belongs to her. The aura of full-bodyness that envelops and is surrounded by her well-crafted mosaic of mottled surfaces is lifted by the immense vibrating surface. Its power is symbolically radiant. The stone bird casts reflection on the water that drifts over it. While most of the stones are smooth and reflective, the birds delicate, multihued feathers and hairs give it an intense, almost vibrating clarity.Marge Changs recent exhibition of woodblock prints, New York City, seemed to have been an attempt to both expand and limit her range of references. In the back gallery, there were four of the works titled I Am Art, each elaborately made up of multiple forms of the words art. There were small, cursory sketches for the works on paper, as well as pictorial ones. In each, a printed image of a figure standing in a calm and spacious manner is embedded with colored paint. As the words outline, they then take on the form of a written text. I AM ART, which in turn bears the inscription ART IS A LEGACY, and various forms, such as star, star, and pyramid, collectively refer to the foundational myths of modernism. The idea of the art object as a repository for memory and heritage, of meaning in general, is embodied in the woodblock print. The works constitute a vast repository of wisdom. Their meaning, like that of meaning, is ambiguous. These are words in which beauty is revealed as an uncertainty.