Medium: Poured Latex Enamel Paint, Cellophane, and Color Paper in IKEA UNGDRILL Plastic Frame Size: 23 ¼’’ x 33 ½’’ x 1 ½’’ Year: 2016

Medium: Poured Latex Enamel Paint, Cellophane, and Color Paper in IKEA UNGDRILL Plastic Frame Size: 23 ¼’’ x 33 ½’’ x 1 ½’’ Year: 2016

Medium: Poured Latex Enamel Paint, Cellophane, and Color Paper in IKEA UNGDRILL Plastic Frame Size: 23 ¼’’ x 33 ½’’ x 1 ½’’ Year: 2016

Medium: Poured Latex Enamel Paint, Cellophane, and Color Paper in IKEA UNGDRILL Plastic Frame Size: 23 ¼’’ x 33 ½’’ x 1 ½’’ Year: 2016

Medium: Poured Latex Enamel Paint, Cellophane, and Color Paper in IKEA UNGDRILL Plastic Frame Size: 23 ¼’’ x 33 ½’’ x 1 ½’’ Year: 2016

Medium: Poured Latex Enamel Paint, Cellophane, and Color Paper in IKEA UNGDRILL Plastic Frame Size: 23 ¼’’ x 33 ½’’ x 1 ½’’ Year: 2016

Medium: Poured Latex Enamel Paint, Cellophane, and Color Paper in IKEA UNGDRILL Plastic Frame Size: 23 ¼’’ x 33 ½’’ x 1 ½’’ Year: 2016

Medium: Poured Latex Enamel Paint, Cellophane, and Color Paper in IKEA UNGDRILL Plastic Frame Size: 23 ¼’’ x 33 ½’’ x 1 ½’’ Year: 2016

Medium: Poured Latex Enamel Paint, Cellophane, and Color Paper in IKEA UNGDRILL Plastic Frame Size: 23 ¼’’ x 33 ½’’ x 1 ½’’ Year: 2016

Medium: Poured Latex Enamel Paint, Cellophane, and Color Paper in IKEA UNGDRILL Plastic Frame Size: 23 ¼’’ x 33 ½’’ x 1 ½’’ Year: 2016

Medium: Poured Latex Enamel Paint, Cellophane, and Color Paper in IKEA UNGDRILL Plastic Frame Size: 23 ¼’’ x 33 ½’’ x 1 ½’’ Year: 2016

Medium: Poured Latex Enamel Paint, Cellophane, and Color Paper in IKEA UNGDRILL Plastic Frame Size: 23 ¼’’ x 33 ½’’ x 1 ½’’ Year: 2016

Small Blubber Series is composed of twelve framed anomalies made from controlled mixtures of different latex enamel paints, determined by varied levels of binder-pigment ratio in the paint. Conceptually, it is an exercise of reverse reading/pre-posterous reflection on interpretive process of my visual work. Through this series, I am subconsciously referencing and recollecting the sentiments and sensibilities experienced from Bataille’s writings, namely, Solar Anus. With his “abject” writings and my recurring recollection of “imageries” from the story, a schematic rendering was formed subconsciously and informed in retrospect: “some oblong-shaped cellular thing capable of recalling something celestial, something vaginal, penile, and anal, made out of something that resembles bodily fluids and secretion that churned up quickly.” The materiality of found discarded objects and that of paint, canvas, lace, and etc. accompanied by the merging of domestic craft practice and studio practice in order to arrive at a “hand-made” view of suggestive eroticism of the body and of the flesh, juxtaposed with the “already-ready-made” view of plasticity and immediacy had by post-industrial products. The directness in recognizing the post-industrial products like the plastic frame rarifies the experience of seeing painting, much less a blob of paint, as painting.