Catherine Lan

Rest Inside Me (Shelter), 2016

Arduino, breadboard, faux fur, metal chain, plastic chair, LED light, speakers

Fur chair: approx. 48 x 48 inches, chain 40 to 80 inches (dimensions variable).

 

Rest Inside Me, a hanging sculptural installation of a concave egg-shaped chair, was designed for audience interaction by touching it as well as sitting, meditating, and relaxing inside it. The furry chair intends to awaken the audience’s visual and haptic senses through the projection of saturated colors; RGBW moving lights are activated once the audience walks close to them and original remix music is played once they sit inside. Inspired by Kitsch, popular culture, and the seductive materialistic world of urban life, the work conveys the idea of protection, the warmth and shape of a womb, and a remix of recorded soft whispers by the artist, a baby crying, and a piano playing, followed by relaxing and droning music. The sculpture initiates interaction with viewers that induces them to fuse with it. The furry material invites them to return to the womb, a symbol of rebirth. When installed outdoors, the work can serve as a shelter for the homeless or any passer-by who simply needs a break from this chaotic world.

Exhibition

El Museo de Los Sures, Brooklyn, New York, NY, USA 2017

Teachers College, Columbia University, New York, NY, USA 2016

Furry Concert Hall: The Symphony of the Massage, 2018

Faux fur, hacked YouTube music, wood, speakers, LED lights

Dimensions Variable

 

In the fast-paced Internet era where information can be easily searched on computers, The Furry Concert Hall provides a quiet, warm, and protected music lounge for the audience to experience and interact with the work. Furry plush beds as well as moving LED lights are installed inside. Viewers are invited to enter and listen to different pieces of relaxing music from YouTube that is hacked (commissioned to exhibit in China) and played. When positioned in the center of the space, the audience can only hear one kind of synthesized sound. The work symbolizes extreme comfort while also representing the mandatory protection in China that disables usage of the Internet and bans users from many search engines, including Google and Facebook. At the same time, the idea that users have freedom to search for redundant information, data, voice, and multimedia content across the globe is taken for granted. The room invites the audience to relax, meditate, and reflect on issues of freedom and censorship.  

Exhibition

Hexiangning Art Museum, Shenzhen, China

Furry Concert Hall: The Symphony of the Massage (hacked Youtube music), 2018

Faux fur, wood, speakers, LED lights

Dimensions Variable

Mists of Lights and Shades， 霧裡的光與影， 2015
Cut stretched faux fur
50 x 83 inches (127 x 211 cm)

 

Exhibition:

Queens Museum

Queens Botanical Garden

Macy Gallery, TC, Columbia University

Orange Field at Grandma's, 阿婆家的橘子園, 2015
Cut stretched faux fur
54 X 57 inches (137 x 145 cm)

 

Excellence Award, From Lausanne to Beijing Nineth International Fiber Art Biennale, Guan Shanyue Museum of Art, Shenzhen, September 10 - September 24, 2016
優秀獎，第九屆從洛桑到北京國際纖維藝術雙年展，關山月美術館，深圳，2016年九月10日至九月24日

In the Mists of Lights and Shades, 霧裡的光與影，2015
Cut stretched faux fur
52 x 78 inches (132 x 198 cm)

 

Exhibitions:

Hexiangning Art Museum

Beijing Beijing Gallery

Undersea Cable Map (Edition III), 2018
Digital and hand embroidery on digitally printed silk on translucent plastic and printed silk sewed on foam board
21 x 30 1/2 inches (53.4 x 77.5 cm)
 
I utilize fashion elements to explore themes of female identity, environment, and protection. Inspired by Nicole Strosielski’s book The Undersea Network, Undersea Cable Map is a revelation of the basic infrastructure that supports our global information economy. The threaded map represents and symbolizes the fiber optic network and addresses the idea/concept of the infinite amount of information, data, voice, and multimedia content that is buried in the most natural yet savage part of the earth. It is a representation of the invisible to address the surplus usage of and redundant investment in high-capacity cable that most people hardly ever use. It also presents the assumption that these metal pipes follow the shortest geographic route between continents when multiple terrestrial networks are already available. Monochromatic thread color is used to represent the invisible, and the crinkled patterned print represents the turbulence of the sea. In our Internet world today, knowledge and voice are taken for granted, or more often are misunderstood by users who think that the Internet exists in a “cloud” due to the hegemony and advertising of large companies. The undersea cables should be perceived not only as technical systems, but as what Strosielski suggested are “fragile achievements” that represent the hidden interconnection and delineations of the earth. Humans think the insulation is protecting them from physical turbulence when, in fact, it is invading our world and constructed in relation to our social and environmental imaginations.
 
Exhibitions:
 
St. Thomas Aquanas College
NYFA Space, Brooklyn

 

Undersea Cable Map (Edition II), 2017
Digital and hand embroidery on digitally printed translucent silk on silk habotai mounted on foam board
12 x 14 1/2 inches (30.5 x 36.8 cm)
 
 

Undersea Cable Map (Edition I), 2017
Mixed Media - Digital and hand embroidery on digitally printed translucent silk on silk habotai mounted on foam board
12 x 14 1/2 inches (30.5 x 36.8 cm)

 

Exhibition

Myers Art Prizes 2018, Teachers College, Columbia University, New York, NY, USA

Collection

Teachers College, Columbia University, New York, NY, USA

Mist of Lights and Shades, 霧裡的光與影，2015
Self mixed acrylic on transluscent plastic sheet
55 x 40 inches (140 x 102 cm) each (series of two)

 

Those paintings, on which the Mists of Lights and Shades performance is based upon, explore such themes in nature as moss, marine, botanical, organs etc. The colors of the paintings change when seen in different directions or installed in different ways.

Spirited Trees, 精靈樹, 2014
Cut stretched faux fur
60 x 58 inches (153 x 147 cm)

精靈樹是藍巧茹在紐約的法鼓山象岡道場的森林裡打坐7天時創作的。她說，“在第七天時突然打到身體不見了”，這件作品同時受倪瓚的“容膝斋图” 和 八大山人的作品啟發，深有禪意。

 

 

Floral Mountain II, 花海 II, 2014
Cut stretched faux fur
51 x 31 inches (130 x 79 cm)

 

 

 

Floral Mountain I, 花海 I, 2014
Cut stretched faux fur
56 x 34 inches (142 x 86 cm)

 

 

 

Between Floral and Branches, 花與枝之間, 2014
Cut stretched faux fur
52 x 28 inches (132 x 71 cm)

 

 

Floral Mountain III, 花海 III, 2014
Cut stretched faux fur 
48.5 x 31 inches (130 x 79 cm)

 

 

Floral II, 花卉 II ,2014
Cut stretched faux fur
25 x 21 inches (63.5 x 53 cm)

 

 

 

Floral IV, 花卉 IV, 2014
Cut faux fur stretched on canvas
25 x 21 in (63.5 x 53.35 cm) 

 

Floral III, 花卉 III, 2014
Cut faux fur stretched on canvas
25 x 21 inches (63.5 x 53.35 cm)

 

Floral, 花卉, 2013
Cut stretched faux fur
24.5 x 20.5 inches (62 x 52 cm)

 

Magic Window III, 魔窗 III, 2013
Acrylic, pearlescent acrylic, iridescent acrylic, glitter on faux fur
24 1/2 x 31 inches (64 x 78 cm)

 

 

 

Magic Window I, 魔窗 I, 2012
Acrylic, pearlescent acrylic, iridescent acrylic, glitter on faux fur
30 1/2 x 30 1/2 inches (78 x 78 cm)

 

 

Magic Mirror XI, 魔窗 XI, 2013
Pearlescent acrylic, iridescent acrylic, glitter on faux fur
25 x 21 inches (63.5 x 53 cm)

 

Magic Mirror VII (b), 魔鏡 VII (b) ,2013
Magic color, pearlescent acrylic, iridescent acrylic on faux fur
21 x 21 inches (53 x 53 cm)


 

 

Green Dragon Lying in Ink Pool, 青龍臥墨池, 2012
Pearlescent acrylic, iridescent acrylic, glitter on faux fur
31 1/2 x 26 1/2 inches (80 x 66 cm)

 

 

 

Jack and the Beanstalk, 傑克與魔豆, 2012
Acrylic, pearlescent acrylic, iridescent acrylic, glitter on faux fur
45 x 40 inches (114 x 102 cm)

 

Juniper Tree I, 杜松樹 I, 2012
Pearlescent acrylic, iridescent acrylic, glitter on faux fur
35 1/2 x 29 in (90 x 73.5 cm)

 

Furry Van Gogh III, 毛毛梵谷 III, 2012
Pearlescent acrylic, iridescent acrylic, glitter on faux fur
20 4/5 x 16 4/5 in (52.83 x 42.67 cm)

 

Magic Mirror V, 魔鏡 V, 2012
Pearlescent acrylic, iridescent acrylic, glitter on faux fur 
18 1/2 x 16 1/2 inches (47 x 42 cm)

 

Juniper Tree III, 杜松樹 III, 2012
Pearlescent acrylic, iridescent acrylic, glitter on faux fur
25 x 19 in (63.5 x 48.26 cm)
 

 

Magic Mirror IV, 魔鏡 IV,2012
Acrylic, pearlescent acrylic, iridescent acrylic, glitter on faux fur
20 1/2 x 16 1/2 inches (52.1 x 42 cm) 

Magic Mirror I, 魔鏡, 2012
Acrylic, pearlescent acrylic, iridescent acrylic, glitter on faux fur
20.5 x 16.5 inches (52 x 42 cm)

 

 

Magic Mirror VI, 花卉 VI ,2012
Pearlescent acrylic, iridescent acrylic, pearl, spray paint on faux fur
25 x 22 inches (63.5 x 56 cm)

 

 

The Pink : Fallen Leaves 粉紅花之落叶， 2012
Pearlescent acrylic, iridescent acrylic on faux fur
20 1/2 x 20 1/2 in (52.7 x 52.7 cm)

The Pink : Rainy Pond 粉紅花之雨後的池塘， 2012
Pearlescent acrylic, iridescent acrylic on faux fur
14 x 14 in (43 x 43 cm)

Hawaiian Dream 夢幻夏威夷, 2012
Pearlescent acrylic, iridescent acrylic on faux fur
19 1/2 x 17 1/2 (59 x 53 cm)

 

Snake Leaves II,  蛇葉 II, 2012
Pearlescent acrylic, iridescent acrylic, glitter on faux fur
67 x 52 in (170.18 x 132.08 cm)

 

Wizard, 巫師, 2008-09

Acrylic, pearlescent acrylic, iridescent acrylic, glitter, plastic pearl on faux fur
8 x 4 feet (243.85 x 122 cm)

 

Snow White, 白雪公主, 2009
Acrylic, pearlescent acrylic, iridescent acrylic, faux fur, glitter, lace, mirror, net fabric, reflective fabric, plastic pearl, rhinestone, spray paint on canvas
96 x 192 inches (245 x 288 cm)

Fairy tales originated from folk oral traditions, and integrate the filtering and reorganization of various European ethnic cultures. In many versions of Grimm’s fairy tales, death, sex, violence, and pain were common themes to reflect adult content. The version best known today has usually targeted children in a “purified” form. In the original version of Snow White, however, the princess was framed by the witches and was even bullied and raped by the seven dwarves. The work adopts a mixture of techniques—relief, mixed-media collage, and poured paint—to represent a beautiful, powerful, crazy, and monstrous woman with multiple personalities. Assemblages of ready-mades reflect contemporary society’s confusion and a material-pursuing culture. The black fur in the right-hand corner symbolizes the artist’s body hair, which also represents sexiness and fashion. Pearls symbolize beauty; during the formation of natural pearls, parasites enter the oysters or mussels to stimulate them, and as a defense mechanism, the oyster produces fluids to coat the stimulants and build up to become a shiny pearl. In Snow White, the idea of “beauty” and “pain” consists of reciprocating concepts that are closely connected with each other.

 

Snow White (side view), 白雪公主, 2009
Acrylic, pearlescent acrylic, iridescent acrylic, faux fur, glitter, lace, mirror, net fabric, reflective fabric, plastic pearl, rhinestone, spray paint on canvas
96 x 192 inches (245 x 288 cm)

Fairy tales originated from folk oral traditions, integrating the filtering and reorganization of various European ethnic cultures. In many versions of Grimm’s fairy tales, death, sex, violence, and pain were common themes to reflect adult contents. The version that is known today is usually targeting children or “purified”. In the original version of Snow White, the princess was framed by the witches and was bullied and even raped by the seven dwarves. The work adopts a mixture of techniques – relief, mixed-media collage, and poured paint to represent a beautiful, powerful, crazy, and monstrous woman with multiple personalities. Utilizing assemblages of ready-mades to reflect the contemporary society’s confusion and the material pursuing culture. The black fur on the right hand corner symbolizes the artist’s body hair, which also represents sexiness and fashion. Pearls symbolize beauty – during the formation of natural pearls, parasites enter the oysters or mussels to stimulate them; and as a defense mechanism, fluids are produced to coat stimulants and are constantly built up in order to become a shiny pearl. In Snow White, the idea of ‘beauty’ and ‘pain’ are reciprocating concepts that are closely connected with each other.

Lightwave I, 2016

Scanography, edition of 10 

20 x 14 inches (51 x 36 cm) 

Lightwave II, 2016

Scanography, edition of 10 

20 x 14 inches (51 x 36 cm) 

Lightwave III, 2016

Scanography, edition of 10 

20 x 14 inches (51 x 36 cm) 

Lightwave IV, 2016

Scanography, edition of 10 

20 x 14 inches (51 x 36 cm) 

Pashimina I, 2016

Scanography, edition of 10 

20 x 14 inches (51 x 36 cm) 

Pashimina II, 2016

Scanography, edition of 10 

20 x 14 inches (51 x 36 cm) 

Pashimina III, 2016

Scanography, edition of 10 

20 x 14 inches (51 x 36 cm) 

Pashimina IV, 2016

Scanography, edition of 10 

20 x 14 inches (51 x 36 cm) 

玫瑰花風水屏風 Rose Bud Landscape Fengshui Screen, 2019
Rose bud, plastic, dyes, wood, acrylic 玫瑰花蕾，自製塑料，染料，木頭，丙烯
25 x 48 1/2 in (63.5 x 123.19 cm)
Note: two sides are different, semi-transparent 備註：雙面不同，半透光