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| ABOUT TRaC |
Accel Visual Arts TRaC Spring 2006
Dinh Q. Lê's Tapestries Emily Katz Dinh Q. Lê's "Tapestries" are, quite literally, eye opening. Taking their cue from Op art of the 1960s, these pieces--made of C-print photographs cut into strips and woven together in a method inspired by traditional grass mats--bombard the viewer with brilliant, vivid colors that instantly shock the eyes. The subject matter, flowers, is somewhat of a departure from Lê's previous work, which generally involves photographs of war-torn Vietnam (the artist's native country) and pictures of his own family. Although Lê's medium and process have remained the same, the tone of this show is quite different. The use of various flowers rather than somber war images gives a cheery and lively feel. Of the ten works featured in the exhibition, perhaps the most visually pleasing is an untitled 74.5 x 74.5 inch piece containing pink and white roses and daisies. Packed tightly together, the flowers here are more uniform in color and shape than those in most of the other works. By making the cut strips significantly larger in the center than at the edges and corners, Lê achieves the illusion of depth on a flat surface. The bands of color and form gradually decrease as they move away from the center, making the image appear to jut out from the wall like a large ball. The piece's light and simple color scheme, along with its rounded shape, make it reminiscent of a wedding bouquet. Another untitled piece of similar size has a wider array of colors and flower varieties, but this busyness does not detract from the continuity of the work as a whole. Some flowers have been broken into many pieces so that only the color of the flower is retained, whereas others are kept mostly intact so that almost the entire shape is visible. This contrast in shape and color gives the eye a rest but also forces it to move around the whole piece. Unlike most of the work in the show, this piece does not flirt with the illusion of three-dimensionality. All of the pieces in this exhibition represent the revival of Vietnam, as opposed to the tumult depicted in Lê's previous works. The upbeat colors suggest that the country is no longer in ruins, and the blossoming flowers connote prosperity and a more positive state of mind. Although the fragmentation of the imagery could be seen to symbolize the country's division, its weaving back together is suggestive of reunion and repair. The press release claims that Lê's flowery wreaths and bouquets symbolize both celebration and mourning; however, their joviality overpowers any dejection they might be meant to represent.
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Dinh Q. Lê, Untitled, 2006, C-print and linen tape, 74 1/2 x 74 1/2 inches.
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