Miranda Canilang (°1995, Ridgewood, United States) creates mixed media artworks, performances and conceptual artworks. By examining the ambiguity and origination via retakes and variations, her mixed media artworks references post-colonial theory as well as the avant-garde or the post-modern and the left-wing democratic movement as a form of resistance against the logic of the capitalist market system.
Her collected, altered and own mixed media artworks are being confronted as aesthetically resilient, thematically interrelated material for memory and projection. The possible seems true and the truth exists, but it has many faces, as Hanna Arendt cites from Franz Kafka. By demonstrating the omnipresent lingering of a ‘corporate world’, she touches various overlapping themes and strategies. Several reoccurring subject matter can be recognised, such as the relation with popular culture and media, working with repetition, provocation and the investigation of the process of expectations.
Her works never shows the complete structure. This results in the fact that the artist can easily imagine an own interpretation without being hindered by the historical reality. By contesting the division between the realm of memory and the realm of experience, she wants the viewer to become part of the art as a kind of added component. Art is entertainment: to be able to touch the work, as well as to interact with the work is important.
Her works isolate the movements of humans and/or objects. By doing so, new sequences are created which reveal an inseparable relationship between motion and sound. By creating situations and breaking the passivity of the spectator, she tries to increase the dynamic between audience and author by objectifying emotions and investigating the duality that develops through different interpretations.
Her works often refers to pop and mass culture. Using written and drawn symbols, a world where light-heartedness rules and where rules are undermined is created. By questioning the concept of movement, she absorbs the tradition of remembrance art into daily practice. This personal follow-up and revival of a past tradition is important as an act of meditation.
Her works demonstrate how life extends beyond its own subjective limits and often tells a story about the effects of global cultural interaction over the latter half of the twentieth century. It challenges the binaries we continually reconstruct between Self and Other, between our own ‘cannibal’ and ‘civilized’ selves. By using popular themes such as sexuality, family structure and violence, she finds that movement reveals an inherent awkwardness, a humour that echoes our own vulnerabilities. The artist also considers movement as a metaphor for the ever-seeking man who experiences a continuous loss.
Her works are based on inspiring situations: visions that reflect a sensation of indisputability and serene contemplation, combined with subtle details of odd or eccentric, humoristic elements. Miranda Canilang currently lives and works in Greater New York Metro Area.
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