Whether or not enclosed in clear acrylic or seemingly sliced from a single tree, Joyce Lin’s sculptures study themes of interconnectedness and the Anthropocene, which describes our planet’s most up-to-date epoch and the best way people considerably impression its ecosystems and local weather.
“I am both disturbed and captivated by the paradoxes of industrialized society,” Lin says in an announcement, “where modes of production and disposal are often obscured to the public, yet people have more technology than ever to make their imagined worlds a reality.”
Lin’s uncanny items meld type and performance, taking the recognizable shapes of furnishings and meals and reworking them into playful meditations on mass manufacturing and consumption. She typically makes use of natural supplies like wooden, augmenting the surfaces with artificial mediums like epoxy, resin, and oil paint to protect their look in perpetuity. Some works, just like the Picket Chair sequence, are totally composed of engineered supplies.
“I love to dissect and understand things, and my works often feature objects—usually a chair—sliced open to expose an inner structure; to express an inner truth, so to speak,” Lin tells Colossal. She manipulates the buildings extensively, blurring the truth of what she describes because the “insides” and the “outsides,” so the composition takes on a fantastical high quality.
“I don’t think they’re so convincing when you really zoom in, so it’s interesting to see people assume they’re somehow grown or AI-generated, even though they take an incredible amount of manual labor and time to create,” Linn provides. “I often think about distortions in our perception of reality, (which is) probably why people keep sending me those is-it-cake videos.”
The artist is at the moment working towards a solo exhibition later this 12 months at R & Firm, and you’ll discover extra on her web site and Instagram.
