Three-legged Cauldron
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Artwork Specifications
2022
Sculpture - Mixed media
9
DDT
Specifications
2022
Sculpture - Mixed media
9
DDT
About The Artist
Canadian, b. 1987
Dominique Fung, a contemporary artist, employs her surrealistic paintings to critically examine the pervasive legacy of Orientalism within the art world and the objectification of Asian women. In 2016, Fung relocated to New York City, where she swiftly gained recognition for her intricate and expansive canvases, brimming with exquisitely styled vases, foo dogs, and other porcelain artifacts.
In works like "Dragon Lady Gourd" (2019), Fung challenges the traditional notion of still-life by presenting these ornate objects as portraits. Through this approach, she aims to restore agency to items that have been historically exoticized by the Western gaze. With meticulous attention to detail using oil as her medium, Fung's polished artworks not only engage with her own experiences as a second-generation Chinese-Canadian painter but also echo the teachings of scholar Anne Anlin Cheng and her theory of Ornamentalism. This theory asserts that Asian women are often confined to the role of aesthetic objects.
Fung's paintings delve into the complex dynamics of femininity, culture, and representation, inviting viewers to question the power dynamics and stereotypes associated with Asian women in art. Her thought-provoking creations serve as a powerful critique and catalyst for dialogue surrounding Orientalism and the objectification of women, offering a fresh perspective on these enduring issues.
Canadian, b. 1987
Dominique Fung, a contemporary artist, employs her surrealistic paintings to critically examine the pervasive legacy of Orientalism within the art world and the objectification of Asian women. In 2016, Fung relocated to New York City, where she swiftly gained recognition for her intricate and expansive canvases, brimming with exquisitely styled vases, foo dogs, and other porcelain artifacts.
In works like "Dragon Lady Gourd" (2019), Fung challenges the traditional notion of still-life by presenting these ornate objects as portraits. Through this approach, she aims to restore agency to items that have been historically exoticized by the Western gaze. With meticulous attention to detail using oil as her medium, Fung's polished artworks not only engage with her own experiences as a second-generation Chinese-Canadian painter but also echo the teachings of scholar Anne Anlin Cheng and her theory of Ornamentalism. This theory asserts that Asian women are often confined to the role of aesthetic objects.
Fung's paintings delve into the complex dynamics of femininity, culture, and representation, inviting viewers to question the power dynamics and stereotypes associated with Asian women in art. Her thought-provoking creations serve as a powerful critique and catalyst for dialogue surrounding Orientalism and the objectification of women, offering a fresh perspective on these enduring issues.