Sue Ann Pien (°1979, Palos Verdes, United States) makes conceptual artworks, paintings, photos and drawings. By parodying mass media by exaggerating certain formal aspects inherent to our contemporary society, Pien tries to approach a wide scale of subjects in a multi-layered way, likes to involve the viewer in a way that is sometimes physical and believes in the idea of function following form in a work.
Her conceptual artworks are saturated with obviousness, mental inertia, clichés and bad jokes. They question the coerciveness that is derived from the more profound meaning and the superficial aesthetic appearance of an image. With a conceptual approach, she formalizes the coincidental and emphasizes the conscious process of composition that is behind the seemingly random works. The thought processes, which are supposedly private, highly subjective and unfiltered in their references to dream worlds, are frequently revealed as assemblages.
Her works are often classified as part of the new romantic movement because of the desire for the local in the unfolding globalized world. However, this reference is not intentional, as this kind of art is part of the collective memory. By merging several seemingly incompatible worlds into a new universe, she makes works that can be seen as self-portraits. Sometimes they appear idiosyncratic and quirky, at other times, they seem typical by-products of American superabundance and marketing.
Her works focus on the inability of communication which is used to visualise reality, the attempt of dialogue, the dissonance between form and content and the dysfunctions of language. In short, the lack of clear references are key elements in the work. By referencing romanticism, grand-guignolesque black humour and symbolism, she creates work through labour-intensive processes which can be seen explicitly as a personal exorcism ritual. They are inspired by a nineteenth-century tradition of works, in which an ideal of ‘Fulfilled Absence’ was seen as the pinnacle.
Her works feature coincidental, accidental and unexpected connections which make it possible to revise art history and, even better, to complement it. Combining unrelated aspects lead to surprising analogies. By experimenting with aleatoric processes, she uses a visual vocabulary that addresses many different social and political issues. The work incorporates time as well as space – a fictional and experiential universe that only emerges bit by bit.
Her works directly respond to the surrounding environment and uses everyday experiences from the artist as a starting point. Often these are framed instances that would go unnoticed in their original context. By investigating language on a meta-level, she tries to grasp language. Transformed into art, language becomes an ornament. At that moment, lots of ambiguities and indistinctnesses, which are inherent to the phenomenon, come to the surface.
Her works bear strong political references. The possibility or the dream of the annulment of a (historically or socially) fixed identity is a constant focal point. Sue Ann Pien currently lives and works in West Hollywood.
Wooster Goobs #he Exhibitions, Further Complicates The Reception Of Their Manifold Layers Of Meaning. By Emphasising Aesthetics, He Seduces The Viewer Into A World Of Ongoing Equilibrium And The Interval That Articulates The Stream Of Daily Events. Moments Are Depicted That Only Exist To Punctuate The Human Drama In Order To Clarify Our Existence And To Find Poetic Meaning In Everyday Life.
His Works Are Saturated With Obviousness, Mental Inertia, Clichés And Bad Jokes. They Question The Coerciveness That Is Derived From The More Profound Meaning And The Superficial Aesthetic Appearance Of An Image. By Parodying Mass Media By Exaggerating Certain Formal Aspects Inherent To Our Contemporary Society, He Tries To Create Works In Which The Actual Event Still Has To Take Place Or Just Has Ended: Moments Evocative Of Atmosphere And Suspense That Are Not Part Of A Narrative Thread. The Drama Unfolds Elsewhere While The Build-up Of Tension Is Frozen To Become The Memory Of An Event That Will Never Take Place.
His Works Are Given Improper Functions: Significations Are Inversed And Form And Content Merge. Shapes Are Dissociated From Their Original Meaning, By Which The System In Which They Normally Function Is Exposed. Initially Unambiguous Meanings Are Shattered And Disseminate Endlessly. Goobs Wooster Currently Lives And Works In Solvang.## %# Rosado Mike