I am exploring sculptural processes as models of multi-dimensional thinking and negotiation. Sculpture making demands the ability to merge the abstract and the literal. A sculptor has to negotiate constantly between her concepts, their practicality as real-world existence (physics) and their relationship to the rest of the world (architectural, semantic and ethical). Sculpture requires the ability to know how to fit things together, how to problem solve and how to orchestrate elements within a whole that reflects the structure of the artist’s ideas. My interest in this fluidity, or “plasticity” as mode of sculpture is developed out of my decade-long research of plastic as a phenomenon in contemporary society. Disposability, mobility, mutation, multiplicity and conflict are ideas that inform the decisions I make in my sculptures. Plasticity, for me, also means forming connections or bonds across different fields, histories and narratives.
Select Solo Exhibitions from 2010-2012
Vital Organs and Other Stories, Shoshana Wayne Gallery, Santa Monica, Calif.
Vital Organs, Rocky Mountain College Of Art + Design, Denver
The Grand Hotel Abyss: Art in California During the Great Recession, I: Shirley Tse, The Grand Hotel Abyss at Left Coast Books, Santa Barbara, Calif.
Parallel World: Sara Tse and Shirley Tse, Osage Kwun Tong, Hong Kong
Select Group Exhibitions from 2008-2011
Building Blocks: Contemporary Works from the Collection, Museum of Art, Rhode Island School of Design, Providence, RI
Panorama: Los Angeles, ARCO Madrid, Spain
Material Intelligence, Kettle’s Yard, Cambridge, United Kingdom
Systems Theory, Torrance Art Museum, Torrance, Calif.
Patriot Acts, 18th Street Arts Center, Santa Monica, Calif.
Fellowships and Awards
John Simon Guggenheim Memorial Foundation Fellowship
City of Los Angeles Individual Artists Fellowship
Art Center College of Design, Pasadena, Calif.
Fine Arts, Chinese University of Hong Kong
Education Abroad Program, University of California, Berkeley, Calif.