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Open a larger version of the following image in a popup: Mari Eastman, Soon-yi and Moses, 2021
Open a larger version of the following image in a popup: Mari Eastman, Soon-yi and Moses, 2021

Mari Eastman

Soon-yi and Moses, 2021
Oil on yupo paper
12 x 9 inches
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'Soy mitad japonesa y crecí en Asia (Singapur, luego Japón) rodeada de cerámica, alfombras, muebles tallados y animales de Bali. Mi mamá es una gran entusiasta de las artes decorativas...
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"Soy mitad japonesa y crecí en Asia (Singapur, luego Japón) rodeada de cerámica, alfombras, muebles tallados y animales de Bali. Mi mamá es una gran entusiasta de las artes decorativas y nos llevaría a todo tipo de lugares. para que pudiera comprar telas tejidas y otros artefactos... Recuerdo cuando tenía seis o siete años y me sentaba a la mesa frente a una alfombra china azul índigo que colgaba y representaba a un ciervo debajo de un árbol con una grulla volando por encima. Es increíble. Supongo que de ahí provienen los elementos decorativos". --Mari Eastman


Partiendo de fuentes que van desde revistas de moda, artes decorativas asiáticas, patrones de telas vintage y sus propios recuerdos nostálgicos del pasado, Mari Eastman hace pinturas que, ya sea imponentemente grandes o escaladas al tamaño de una página de revista, tienen una intimidad improvisada que se asocia más típicamente con el dibujo. Independientemente del tamaño, las imágenes de Eastman llaman la atención sobre el complejo atractivo de la belleza superficial, especialmente cuando se expresa en la moda, que tiene el poder de transformar nuestros cuerpos en obras de arte ambulantes que hablan de quiénes somos (o, en el caso de moda vintage, quiénes fuimos alguna vez), cómo nos vemos a nosotros mismos y quiénes anhelamos ser. La fascinación de Eastman por la moda radica no solo en el interés por las tendencias o los adornos de la riqueza, sino también en la capacidad atemporal de la moda para funcionar como depósito de la memoria histórica, cultural y social y, por supuesto, como una rica fuente de inspiración para la pintura.

"I am half Japanese, and I grew up in Asia (Singapore, then Japan) surrounded by ceramics, carpets, carved furniture, and animals from Bali. My mom is a huge enthusiast of decorative arts and would take us to all sorts of places so that she could buy woven textiles and other artifacts … I remember when I was six or seven and sat at the dinner table across from a hanging indigo blue Chinese carpet depicting a deer under a tree with a crane flying above. Actually they still have it. It's amazing. I guess that's where the decorative elements stem from." -- Mari Eastman

Drawing from sources ranging from fashion magazines, Asian decorative arts, vintage fabric patterns and her own wistful memories of the past, Mari Eastman makes paintings that, whether imposingly large or scaled to the size of a magazine page, have an off-hand intimacy that is more typically associated with drawing. Regardless of size, Eastman’s images call attention to the complex allure of surface beauty, especially as it is expressed in fashion, which has the power to transform our bodies into walking works of art that speak to who we are (or, in the case of vintage fashion, who we once were), how we see ourselves, and who we long to be. Eastman’s fascination with fashion lies not only in an interest in trends or the trappings of wealth, but also in fashion’s timeless ability to function as a repository of historical, cultural and social memory–and of course, as a rich source of inspiration for painting.
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Goldfinch • 319 N. Albany  Ave • Chicago, IL • 60612 • 708-714-0937. Gallery hours are Fri/Sat, 12-4pm, when exhibitions are on view.

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