STANDARD | Designed by MILLIE CHEN | RESERVE THIS ROOM

ARTIST STATEMENT

Built in 1889, the Gladstone Hotel has been described as an example of 'unabashed architectural exuberance' utilizing details from the Greek, Romanesque, Gothic and Renaissance eras. The Chinoiserie Room exists within the spirit of freewheeling decorative appropriation, presenting an opportunity for unabashed chinoiserie. Chinoiserie is a term that refers historically to a style of decorative art that is based on imitations (in particular, European interpretations) of Asian motifs - what might be known as 'Oriental folly'.

"... in the true Chinoiserie décor fairyland, mandarins lived in fanciful mountainous landscapes with cobweb bridges, carried flower parasols, lolled in flimsy bamboo pavilions haunted by dragons and phoenixes, while monkeys swung from scrolling borders." (Wikipedia)

Making ironic use of chinoiserie, I have concocted a particular blend of cross-cultural influences that acknowledges and simultaneously pokes fun at the postmodern condition by replacing the 'true' elements of chinoiserie with contemporary global references. The effect is a room that is swimming in nostalgic and lavish exoticism edged with a sharp self-reflexive bite. The results will stimulate and provoke guests visually, sensually and cerebrally.

cast of characters that invade the wallpaper:
•     qiling monkey leopard
•     Baluch tiger
•     tourist     
•     eurogirl    
•     businessman
•     genetic ball
•     CN tower hat
•     Victorian mourning dress
•     boy with saw
•     monkey with saw

 

 

 

ARTIST BIO

Millie Chen exhibits and lectures internationally. She has been an active member of a number of artist-run organizations and her practice encompasses curating, writing and public art commissions. An integral part of her work are collaborative projects that engage the public and public space.

In her installations, actions and public interventions, Millie works with the functions and myths surrounding the cultural body through experiments with biology, geography and phenomenon. She utilizes the capacity of immaterial elements (e.g. sound, scent) to impart a sense of tactility and space but also as triggers for cross-cultural embodiment and transformation. Within her visual art practice the act of looking is subtly interrogated.

CONTACT | chenoquigley@aol.com