Priscilla Kar Yee Lo: Aiming to Please
@ Chinese American Museum of Chicago
238 W 23rd St, 4th floor, Chicago, IL 60616
Opening Saturday, July 16th, from 3PM - 6PM
On view through Saturday, August 27th
The Chinese American Museum of Chicago (CAMOC) is excited to announce the third exhibition of the Spotlight Series, featuring glass artist Priscilla Kar Yee Lo. Please join us on Saturday, July 16, from 3:00-6:00pm CT for the opening reception. This exhibition will run from July 16 through August 27.
RSVP here: www.bit.ly/aiming-to-please
The Spotlight Series is a new initiative to showcase recent and past work by emerging and mid-career artists of Chinese descent locally. Curated by Larry Lee (Molar Productions), the project aims to introduce, promote and celebrate the divergent artistic visions and experiences of being Chinese in America looking at and reflecting upon our relationship to contemporary visual culture to a wider audience within our community and Chicago.
About the artist:
As a child of a Chinese immigrant family in North America, Priscilla was perpetually reminded to be practical about her future. But after over a decade as a health care professional, she began to feel dissatisfied with the direction of her life. Priscilla turned to creative outlets to find a voice and to explore her identity as a woman of color. She was drawn to glass because it is inherently paradoxical, constantly in a state of fragility and permanency. She returned to school in 2015 to pursue a Bachelor’s in Craft and Design from Sheridan College and completed her Master of Fine Arts at Illinois State University in 2022.
Priscilla uses glass and other media to create work as an act of remembrance of the collective intersectional adversity minority women continue to face. Her work highlights the astute way in which our inherent patriarchal society has affected the Asian female position within its structure and how it maintains control through cultural and social expectations and normalized gender roles. Priscilla employs visual language containing artifacts of patriarchy from her childhood that have since become pop culture icons. The symbolism of these images is far removed from their original medium and their patriarchal foundation, making them easy to manipulate and go undetected while subtly reinforcing social norms and binary systems. Ultimately, Priscilla views her work as a nostalgic and whimsical, yet mischievous way of documenting where women, particularly immigrant women, are placed within a societally prescribed racial framework. She hopes to initiate discourse about this reality to validate our collective experiences and raise awareness to the continual existence of these issues.
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