alicia gan. full artist statement
* last updated april 2022
my work explores objects and subjects of tension from everyday life, with emphasis on biomorphic forms and the use of the human figure as a vehicle for communication.
art began as a meditative act for me, so earlier pieces exhibit technical detail work, a style which trapped me entirely in the creation process. having moved states three times, art was my refuge from that instability. as a competitive dancer well versed in the harsh extremes of human physicality and motion, the subtle repeating act of painting and drawing drew me in as an alternative way of physically experiencing the world. my deliberate layer-intensive workflow aligned with this aim.
starting with either a live reference or a self-made composite of reference images, i layer from simple frameworks to complex forms, strokes increasing in restraint. the dark color palettes that often arise from this process evoke a solemn atmosphere, a style i increasingly leaned into after being inspired by the chiaroscuro effects of Baroque era painters. i emulated their ways of directing the audience’s eyes with value contrasts, finding that harsh lighting made me more aware of the nuances of form, particularly in organic shapes like the human figure.
over time, my realistic style evolved, becoming incorporated into works that held more thematic weight and personal narratives. much as extending the body in contradictory directions creates balance in ballet class, i grew interested in exploring contradictions in my work. in “Open Up,” i inspect conflicting cultural notions of beauty, and also use different mediums to delve into the tension between the internal and external, abstract thought and concrete reality. “Stasis” similarly contrasts biomorphic resin forms and clean graphite realism, the two meeting in an odd harmony.
my growing interest in organic shapes and a curvilinear aesthetic is partially inspired by the Surrealists, whose use of a realistic style to create unrealistic scenes meshes with my current investigation of contradictions. the biomorphic forms of Tanguy and Dalí inspired the imagery of recent pieces, in which i challenge my prior realistic tendencies with more fluid and spontaneous shapes, an ongoing journey for me to relinquish control in art practice. thus, the organic nature of the human form makes it an especially relevant subject of study.
the human figure, whether in it’s gestural or concrete iterations, has also served as the expressive vehicle for personally relevant themes. “Lotus Blossom Girl” depicts the Asian woman struggling with Western stereotypes, with both the girl in the foreground and the abstracted figures behind presenting a glimpse into the anguished psyche of the subject. though these themes mean something to me, they may also resonate with a wider audience, as i increasingly find art as a common ground for discourse and healing. leaning into more theme-driven work, i’ve begun to see how art ultimately means the most to me when it can touch other people.