https://katiechin.com Katie Chin Sun, 01 Mar 2026 17:12:21 +0000 https://katiechin.com en https://katiechin.com/Homepage Sun, 15 Jan 2023 19:47:17 +0000 Katie Chin https://katiechin.com/Homepage <img width="848" height="843" width_o="848" height_o="843" data-src="https://freight.cargo.site/t/original/i/c2a2fcd88228a454f9eb8bf08ac56f8c1df9e4a9047b0929441108f8618853bf/website-cover.jpg" data-mid="224110047" border="0" src="https://freight.cargo.site/w/848/i/c2a2fcd88228a454f9eb8bf08ac56f8c1df9e4a9047b0929441108f8618853bf/website-cover.jpg" /> Is it About Capitalism?, 2024 https://katiechin.com/about Sun, 01 Mar 2026 17:12:21 +0000 Katie Chin https://katiechin.com/about Biography Katie Chin is a New York-based interdisciplinary artist focused on sculpture. In 2026, her installation “Short Pay, Short Shovel” was featured in the Bronx Museum AIM Biennial and critically acclaimed by Hyperallergic and Forbes; Observer named the exhibition one of the “Most Important Art Biennials of 2026”. In 2025, she exhibited with Frisson Gallery, which received a positive review by Whitehot Magazine. She has also exhibited at Jenkins Johnson, Collar Works, Gallery MC, Midway Gallery, and Root Division. Residencies from Haystack Mountain School of Crafts, Elizabeth Murray Artist Residency, the Interdisciplinary Art and Theory Program, Anderson Ranch Arts Center, Vermont Studio Center, Hambidge Center, Stove Works, among others, and grants from the Greater Columbus Arts Council and Joseph Robert Foundation have supported her practice. She received her MFA in Fine Arts (2023) from Parsons School of Design, where she was awarded a Presidential Scholarship. Artist Statement My sculpture practice incorporates industrial materials (ceramics, metal, concrete) and found objects to bring attention to quiet gestures that destabilize social hierarchies. The works range from large-scale installations spanning gallery walls to life-sized sculptures modeled after familiar tools and infrastructure, such as wrenches, shopping baskets, and subway turnstiles. My current research explores stigmergy and sabotage as forms of collective signaling. Stigmergy is a behavior observed in both bees and humans. It describes how individuals leave traces of information that indirectly accumulate into coordinated behavior. In We all understood eventually (2024), a ceramic beehive box sits on a mound of sand, surrounded by honeycomb and computer keyboards. The installation links bee culture and digital communication, using sand as a metaphor for collective intelligence: granular and distributed yet forming a shared mass. An ongoing series about sabotage highlights examples from early labor movements to contemporary resistance. For example, Short Pay, Short Shovels (2026) references railroad workers who shortened their shovel blades in response to wage cuts. They kept working at full tilt, or appeared to, but each scoop moved less gravel. In my installation, ceramic shovel blades and railroad spikes are combined with twisted and gnarled tree trunks, suggesting bodies adapting under pressure. The installation echoes workers who by reshaping their tools, reshaped the terms of their labor. Through sculpture and installation, my work reminds us that minor interventions can lead to structural shifts. I am interested in how individual agency shapes collective possibility and ignites broader social imagination. Contact:nod@katiechin.com@katie.chin.and<img width="3222" height="3920" src="https://freight.cargo.site/w/900/q/75/i/ac2cf172214a69524a81baac8337a466e202c565ebe1f047b3b4fe731f916715/Katie.jpg" style="width: 190.405px; height: 231.653px;"> https://katiechin.com/resume Sun, 15 Jan 2023 18:42:52 +0000 Katie Chin https://katiechin.com/resume Katie Chin Education 2023MFA, Fine Art, Departmental Honors, Parsons School of Design, New York, NY2012BS, Information Systems Management, Studio Art Minor, Boston College, Boston, MA&nbsp; Exhibitions2026The Seventh AIM Biennial: Forms of Connection, The Bronx Museum, New York City, NYPortal, Forest For Trees, Governors Island, New York, NYA Year from Genesis, Frisson Gallery, New York City, NYRooted: Artists of Long Island City, Culture Lab LIC, New York City, NYAmericana/ble, Kiddy Pool, Albany, NY2025NANNYCAM, Frisson Gallery, New York, NYWomen of Appalachia Project: 16th Biennale, The Dairy Barn Arts Center, Athens, OHBeecoming Home, 700 Bryden, Columbus, OHHeatmaps: Bodies in Motion, curated by Oorja Garg, Long Island City, NYTelephone, Base Camp Studios, Seattle, WAWorlds Within Worlds, Context Collective, Troy, NYSummer Salon at Malenka Room, curated by Abbas Malakar, New York City, NY2024Porous Alternatives, Jenkins Johnson Gallery, Brooklyn, NYZero Art Fair, curated by Jennifer Dalton and William Powhida, Elizaville, NY Lightfast, Collar Works, Troy, NYJCAST Exhibition, Project Studios, Jersey City, NJMinimal|Maximal,&nbsp;Lichtundfire, New York, NYUnyielding Sonder, The Arts Council, Fayetteville, NC2023Matter as Fallen Light,&nbsp;Anna-Maria and Stephen Kellen Gallery, New York, NYThere is Only After, MC Gallery, New York, NYDon't be Chicken: Fear is the Mind Killer, 25 East Gallery, New York, NY2022ALGO(RYTHM), curated by Daniel Kuzinez, New York, NYFever Dreams Let Me Play Bright and Dark, 25 East Gallery, New York, NY2019Space Between Space, Aggregate Space Gallery, Oakland, CA2018Funk Ain't Dead, Root Division, San Francisco, CAAll Welcome: The Clay Days Experiment, Embark Gallery, San Francisco, CA2017stARTup Art Fair, San Francisco, CANot Your Pussy, ATAK Gallery, San Francisco, CA2016Wallpaper: Mirrored Identities, The Midway Gallery, San Francisco, CARAW, SPACE 151 Gallery, San Francisco, CA Residencies, Fellowships &amp; Awards2026(upcoming) Artist Residency, Stove WorksQueer Atmosphere Ceramic Wood Firing Residency, The Hambidge CenterArtist Residency, Vermont Studio Center Full Fellowship Award, Vermont Studio Center2025AIM Fellowship, The Bronx Museum Open Studio Residency, Haystack Mountain School of CraftsVisual Arts Grant, Joseph Robert Foundation Artist Projects Grant: beecoming home Project, Greater Columbus Arts CouncilElizabeth Murray Artist Residency, Collar Works Notes from the Artist's Studio, The New Art School Modality and Hauser &amp; WirthCraft 101, Arts Letters and Numbers 2024Fellowship, Interdisciplinary Art and Theory Program Artist-in-Residence, Anderson Ranch Arts Center Artist Residency, The Hambidge Center Summer Communal Residency, Woodstock Byrdcliffe Guild 2023Research &amp; Practice Residency, Watershed Center for Ceramic Arts2022Research Award, The New School Office of Research Support2021-23 Presidential Merit Scholarship, The New School2018Exhibitions &amp; Communications Fellow, Aggregate Space Gallery Press2026Rodney, Seph. “We Must Do More Than Simply Depict Our Lives.” Hyperallergic, February 17, 2026Scott, Chad. “‘Small Gestures That Change Large Structures’ At The Bronx Museum.” Forbes, January 27, 2026Carollo, Elisa. “The Most Important Art Biennials of 2026.” Observer, January 14, 2026Bronck, Jonas. “The Seventh AIM Biennial: Forms Of Connection.” The Bronx Daily, January 23, 2026 Kailath, Ryan. “8 must-see 2026 NYC art shows.” Gothamist, January 2, 2026Frishberg, Hannah. “The Bronx Museum's AIM Biennial celebrates the work of NYC artists.” Gothamist, January 21, 20262025Otero, Liam. “Recent NYC Exhibition Highlights: Beverly Fishman, NANNYCAM, Dena Novak, and more.”&nbsp;Whitehot Magazine, June 28, 20252023Parsons School of Design. “Parsons Fine Arts 2023 MFA Thesis Exhibition: Matter As Fallen Light.” Hyperallergic, April 19, 2023 2019Craig, Sarah. “One Way To Save San Francisco's Historic Buildings — Sell Air.” KQED Bay Curious, February 14, 20192018Hotchkiss, Sarah. “'Funk Ain't Dead,' Long Live Funk Art!“ KQED Arts, July 19, 20182017Gray, Katie. “Not Your Pussy: Lessons in Modern Body Autonomy.” Juxtapoz Magazine, March 31, 2017 Publications &amp; Lectures2026(upcoming) Bronx AIM Biennial: Artist Panel Discussion with Erick Alejandro Hernandez, Katie Chin, Rocío Delaloye, and Cyle Warner, moderated by Louis Bury, August 29, 2026Rooted: Artists of LIC Exhibition Catalog, May, 2026Americana/ble: Artist Panel Discussion, May 21, 2026 Bronx Museum Tour: Seventh Aim Biennial with Asianish and Here &amp; There Co, April 19, 20262025Stone Canoe: A Journal of Arts, Literature and Social Commentary, Edition 19, October 2025 Worlds Within Worlds Exhibition Catalog, July 25, 2025 2024Interdisciplinary Art &amp; Theory Program Symposium, Jack Shainman Gallery, April 20, 2024Meet the Residents, Anderson Ranch Arts Center, February 5, 2024 2023Thesis Panel: Abstraction &amp; Empathy moderated by Alyssa Alexander, 2023, Parsons School of Design, New York, NY Archive: <img width="1384" height="658" width_o="1384" height_o="658" data-src="https://freight.cargo.site/t/original/i/12b485f29336900fa7c94b611507e7e207de0ec489e13402349c4fcc990e7b42/bronx_hyperallergic.png" data-mid="245005870" border="0" src="https://freight.cargo.site/w/1000/i/12b485f29336900fa7c94b611507e7e207de0ec489e13402349c4fcc990e7b42/bronx_hyperallergic.png" /> Rodney, Seph, We Must Do More Than Simply Depict Our Lives, Hyperallergic, February 17, 2026 <img width="992" height="551" width_o="992" height_o="551" data-src="https://freight.cargo.site/t/original/i/bf3bac35497b500cb330d47d046fd1f53d8fe50fc7e1740404c177be20b8e4d1/forbes_1.png" data-mid="245005898" border="0" src="https://freight.cargo.site/w/992/i/bf3bac35497b500cb330d47d046fd1f53d8fe50fc7e1740404c177be20b8e4d1/forbes_1.png" /> Scott, Chad, ‘Small Gestures That Change Large Structures’ At The Bronx Museum, Forbes, January 27, 2026 <img width="987" height="312" width_o="987" height_o="312" data-src="https://freight.cargo.site/t/original/i/034a91aeff47351f77312e992cc892f76a35ae6b1f174562579602a758373bb7/observer-copy.jpg" data-mid="245005897" border="0" src="https://freight.cargo.site/w/987/i/034a91aeff47351f77312e992cc892f76a35ae6b1f174562579602a758373bb7/observer-copy.jpg" /> Carollo, Elisa, The Most Important Art Biennials of 2026, Observer, January 14, 2026 <img width="800" height="405" width_o="800" height_o="405" data-src="https://freight.cargo.site/t/original/i/65c65845ff28d519338cc78f33e753f53ec1442456453566a668f416079b545b/noah_becker_whitehot_magazine_of_contemporary_art.jpg" data-mid="244094884" border="0" src="https://freight.cargo.site/w/800/i/65c65845ff28d519338cc78f33e753f53ec1442456453566a668f416079b545b/noah_becker_whitehot_magazine_of_contemporary_art.jpg" /> Otero, Liam, Recent NYC Exhibition Highlights, Whitehot Magazine, June 28, 2025 <img width="1028" height="1086" width_o="1028" height_o="1086" data-src="https://freight.cargo.site/t/original/i/a8def3340e3142942f5af458211978d0a206c7f563e05e66e12e9d41e49158b1/KQED-.jpg" data-mid="164800317" border="0" src="https://freight.cargo.site/w/1000/i/a8def3340e3142942f5af458211978d0a206c7f563e05e66e12e9d41e49158b1/KQED-.jpg" /> Hotchkiss, Sarah, 'Funk Ain't Dead,' Long Live Funk Art!, KQED Arts, July 19, 2018 https://katiechin.com/sabotage Sat, 17 Jan 2026 20:55:07 +0000 Katie Chin https://katiechin.com/sabotage Sabotage as Labor ResistanceThis ongoing body of work looks at sabotage as a form of labor resistance.&nbsp;Several works in this series are complete while others are in progress.Sabotage happens quietly in the margins. Unlike riots, sabotage resists without spectacle, through small, deliberate acts of property damage or productivity slowdown. I am interested in sabotage as discreet acts that disrupt power and reconfigure systems from within. These quiet gestures as protest are often hard to attribute to specific individuals, yet they have immense power when taken into the collective imagination.&nbsp; This new series traces sabotage throughout time, highlighting examples from early labor movements and wartime strategies to modern digital resistance. I will be translating these historical tactics into sculptural forms that combine ceramics, metal, glass, and other found industrial and organic materials. <img width="2700" height="2025" width_o="2700" height_o="2025" data-src="https://freight.cargo.site/t/original/i/8c531716e138e571b7f998657a58009bd05781b637e1613343edddfb0f32d856/Katie_Chin_Short_Pay_Short_Shovels_01.jpg" data-mid="245475482" border="0" src="https://freight.cargo.site/w/1000/i/8c531716e138e571b7f998657a58009bd05781b637e1613343edddfb0f32d856/Katie_Chin_Short_Pay_Short_Shovels_01.jpg" /> Short Pay, Short Shovels 2026 Ceramic, tree trunks, gravel, metal bucket 54” x 84” x 30”This work is currently on view at the Bronx Museum as part of their AIM Biennial. The installation is inspired by a tale somewhere between fact and folklore, a story often credited as an early example of sabotage as labor resistance. In the early 1900s, a group of railroad workers quietly cut a few inches from their shovel blades in response to wage cuts. They kept working at full tilt, or appeared to, but each scoop moved less gravel. By reshaping their tools, they reshaped the terms of their labor; a slowdown disguised as compliance. Actions subtle enough to pass unnoticed yet disruptive enough to matter. The phrase “short pay, short shovels” has outlived the event itself. The early 20th-century union, Industrial Workers of the World (IWW), and others helped spread this story across many communities. It persists as collective wisdom: how small, nearly unseen acts of resistance can echo through time. This reflects my interest in how individual gestures can seed collective possibility. Sculpted in ceramic, these shovel blades and handles are joined to tree trunk shafts that twist and curve. Their unusual forms come from years of growing under pressure and environmental stress. The trunks’ contortions echo the adaptive strategies of workers navigating exploitative conditions. Leaning at rest, the shovels recall bodies paused after a long shift. Gravel and ceramic railroad spikes lie scattered, evidence of unfinished labor. <img width="2404" height="2404" width_o="2404" height_o="2404" data-src="https://freight.cargo.site/t/original/i/d05be1a06b99a819d7b0dbeb5ad93e3cad1f2460440e564a16234f4de0845665/shortshovels-1.jpg" data-mid="243417534" border="0" src="https://freight.cargo.site/w/1000/i/d05be1a06b99a819d7b0dbeb5ad93e3cad1f2460440e564a16234f4de0845665/shortshovels-1.jpg" /><img width="3876" height="3877" width_o="3876" height_o="3877" data-src="https://freight.cargo.site/t/original/i/d9e5dd01843cac682060d69af026b366c9c557531c0ed58ccc3fe0057b693460/Katie_Chin_Short_Pay_Short_Shovels_03.jpg" data-mid="245475484" border="0" src="https://freight.cargo.site/w/1000/i/d9e5dd01843cac682060d69af026b366c9c557531c0ed58ccc3fe0057b693460/Katie_Chin_Short_Pay_Short_Shovels_03.jpg" /> <img width="4000" height="6000" width_o="4000" height_o="6000" data-src="https://freight.cargo.site/t/original/i/fd366f5671a4080c33cecd4d600df8c4a54414522d7f95b4e49d5a307ea80761/Katie_Chin_Short_Pay_Short_Shovels_05.jpg" data-mid="245475486" border="0" src="https://freight.cargo.site/w/1000/i/fd366f5671a4080c33cecd4d600df8c4a54414522d7f95b4e49d5a307ea80761/Katie_Chin_Short_Pay_Short_Shovels_05.jpg" /><img width="5030" height="3773" width_o="5030" height_o="3773" data-src="https://freight.cargo.site/t/original/i/c92675f60d4fddbdbe3b342a1380d1599a9f1ae660a42d65dc91a28eb29bd1e8/Katie_Chin_Short_Pay_Short_Shovels_02.jpg" data-mid="245475483" border="0" src="https://freight.cargo.site/w/1000/i/c92675f60d4fddbdbe3b342a1380d1599a9f1ae660a42d65dc91a28eb29bd1e8/Katie_Chin_Short_Pay_Short_Shovels_02.jpg" /> <img width="2935" height="2935" width_o="2935" height_o="2935" data-src="https://freight.cargo.site/t/original/i/536f334a0cd4ad23ff635640065a01bc1d6ea99ab1e522a4fa4995700b96fdbf/shortshovels-3.jpg" data-mid="243417535" border="0" src="https://freight.cargo.site/w/1000/i/536f334a0cd4ad23ff635640065a01bc1d6ea99ab1e522a4fa4995700b96fdbf/shortshovels-3.jpg" /> <img width="3120" height="2496" width_o="3120" height_o="2496" data-src="https://freight.cargo.site/t/original/i/44449605209832ab03d1e3116d7dbbed307f027d07cf6d35fa984bc97f601fc6/shortshovels-0-copy.jpg" data-mid="243417532" border="0" src="https://freight.cargo.site/w/1000/i/44449605209832ab03d1e3116d7dbbed307f027d07cf6d35fa984bc97f601fc6/shortshovels-0-copy.jpg" /><img width="3500" height="2380" width_o="3500" height_o="2380" data-src="https://freight.cargo.site/t/original/i/3dac32cef144b39d64ebeb19a3413bc8f8aaf7e160035e4584b0733e7c2531c0/2.jpg" data-mid="243417546" border="0" src="https://freight.cargo.site/w/1000/i/3dac32cef144b39d64ebeb19a3413bc8f8aaf7e160035e4584b0733e7c2531c0/2.jpg" /> 4 U.S. Code § 8: No Repression Without Representation 2025 Tea bags 33 3/4 X 57 3/4 X 2" The American flag, sewn from tea bags, hangs upside down in accordance with the U.S. Flag Code’s signal of “dire distress to life or property.” It connects the Boston Tea Party, a foundational act of sabotage in U.S. history, to recent protests by National Park employees. In 2025, Yosemite workers hung flags upside down over the side of El Capitan in response to government budget cuts and threats to public service. By connecting these two moments, the work confronts a contradiction: acts of sabotage are often framed today as anti-patriotic, even though the nation’s founding mythology is rooted in similar tactics of resistance. <img width="1204" height="1145" width_o="1204" height_o="1145" data-src="https://freight.cargo.site/t/original/i/1b803a1e741bad4b8f8f0882d078fc46af25371933074724c7e127803faa3d2a/WhatsApp-Image-2025-11-04-at-11.40.28-copy.jpeg" data-mid="243419307" border="0" src="https://freight.cargo.site/w/1000/i/1b803a1e741bad4b8f8f0882d078fc46af25371933074724c7e127803faa3d2a/WhatsApp-Image-2025-11-04-at-11.40.28-copy.jpeg" /> More coming soon... https://katiechin.com/stigmergy-pt-2 Fri, 03 Jan 2025 19:17:30 +0000 Katie Chin https://katiechin.com/stigmergy-pt-2 Stigmergy in SculptureThe following works reference stigmergy, a social mechanism for indirect communication toward collective action. Stigmergy is topic I am now revisiting in sculpture after reflecting on older bodies of performance and wall-based work. While most often associated with hive insects like bees and ants, stigmergy is also observed in humans. Examples include bulletin boards or Reddit forums, where stigmergic communication reinforces group behaviors without individuals interacting directly. Humans frequently exhibit stigmergy digitally.The second iteration of this work introduced interspecies collaboration. Luke Howard, a beekeeper and the founder of the Bee Collective, took parts of my original installation. He placed them in an active hive where honeybees then built honeycomb structures on top. An exhibition presented the resulting installation to raise awareness for pollinators. I consider the bees to be co-authors of this piece. We all understood eventually… 2024 18” x 70” x 50” Glazed and unglazed ceramic, computer keyboards, grout, sandThis piece also employs sand as a material metaphor, drawing a parallel to computer chips made of silicon—a common element found in sand. Like sand’s granular yet cohesive nature, the work reflects something fundamental about human collectivity, emphasizing the subtle but powerful forces that connect individuals within a system. <img width="5419" height="3613" width_o="5419" height_o="3613" data-src="https://freight.cargo.site/t/original/i/62eb163c132ec96a796ba74a64179268776cf2c0627619cf438737988d5afda3/Katie_Chin_01.jpg" data-mid="224110679" border="0" src="https://freight.cargo.site/w/1000/i/62eb163c132ec96a796ba74a64179268776cf2c0627619cf438737988d5afda3/Katie_Chin_01.jpg" /><img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/ef3e0dc19d03345e723c5666ccfaabe776fc760671eb22f65c095f16908d0bad/hive-03.jpg" data-mid="224811371" border="0" src="https://freight.cargo.site/w/1000/i/ef3e0dc19d03345e723c5666ccfaabe776fc760671eb22f65c095f16908d0bad/hive-03.jpg" /> <img width="3903" height="5854" width_o="3903" height_o="5854" data-src="https://freight.cargo.site/t/original/i/a4f615c6a9f595548fc69d10b542e7216dd26b71b254c91cc81349b9d93d3d03/hive-02.jpg" data-mid="224811366" border="0" src="https://freight.cargo.site/w/1000/i/a4f615c6a9f595548fc69d10b542e7216dd26b71b254c91cc81349b9d93d3d03/hive-02.jpg" /> <img width="5692" height="3795" width_o="5692" height_o="3795" data-src="https://freight.cargo.site/t/original/i/df38d2e9b9199a8eb492e35add44c4cbdec2b7216a299c77d45924c36f9a5e85/hive-05.jpg" data-mid="224811367" border="0" src="https://freight.cargo.site/w/1000/i/df38d2e9b9199a8eb492e35add44c4cbdec2b7216a299c77d45924c36f9a5e85/hive-05.jpg" /> We all understood eventually… (part 2, honeybee collaboration) 2025 18” x 70” x 50” Glazed and unglazed ceramic, honeycomb, computer keyboards, grout, sand &nbsp;This work is a collaboration with honeybees and Luke Howard, a beekeeper and the founder of the Bee Collective in Columbus, Ohio. <img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/6ac3d2be45a0c80845c1420923734bdebb9e0807dafb41c2c1e89a7b077fee7e/hive_hive-2.jpg" data-mid="243431995" border="0" src="https://freight.cargo.site/w/1000/i/6ac3d2be45a0c80845c1420923734bdebb9e0807dafb41c2c1e89a7b077fee7e/hive_hive-2.jpg" /><img width="1784" height="2230" width_o="1784" height_o="2230" data-src="https://freight.cargo.site/t/original/i/89a313cd819219763ea91237b3c3d6cd2c36ab0ca6005a0d55865dcc04dc6b83/hive-3.jpg" data-mid="243431997" border="0" src="https://freight.cargo.site/w/1000/i/89a313cd819219763ea91237b3c3d6cd2c36ab0ca6005a0d55865dcc04dc6b83/hive-3.jpg" /><img width="1544" height="1930" width_o="1544" height_o="1930" data-src="https://freight.cargo.site/t/original/i/4dea92b38d2e511f4e759e97298f225fd9413a097a16e1298b14f10e32c6dad4/hive-4.jpg" data-mid="243431996" border="0" src="https://freight.cargo.site/w/1000/i/4dea92b38d2e511f4e759e97298f225fd9413a097a16e1298b14f10e32c6dad4/hive-4.jpg" /><img width="1200" height="1500" width_o="1200" height_o="1500" data-src="https://freight.cargo.site/t/original/i/d34e9d4b556e6b83f6ba9b6ac7c435394a8895fe1772260be7567db0a8e0644a/hive5.jpg" data-mid="243431998" border="0" src="https://freight.cargo.site/w/1000/i/d34e9d4b556e6b83f6ba9b6ac7c435394a8895fe1772260be7567db0a8e0644a/hive5.jpg" /> Stigmergic Glimmer 2025 Wood fired ceramic ant hills, LED sign, sand, string lights 28” x 67” x 67” This installation is another example of stigmergy, but referencing ants instead of bees. The LED sign displays a loop of “directions for ants” written with navigation app language and phrases often found on digital and physical bulletin boards. The text echoes formats from Reddit posts (“Unpopular opinion but…”, “AITA?”), yard signs (“Vote Yes on Prop 87”, “Beware of Dog”), bulletin boards (“Found: Is this your cat?”, “Please don’t remove this flyer”), and other social media forums (“Are We Dating the Same Guy?”, “Stoop score”). The ceramic ant hills and glowing digital ants were installed in a storefront as part of an artist-organized exhibition at Context Collective in Troy, NY. The ceramic components were fired in a wood kiln.Photography credit: Dustin Loveland <img width="3000" height="2252" width_o="3000" height_o="2252" data-src="https://freight.cargo.site/t/original/i/c5b5303f535850067460e9280a27c77244804e40225933a47406af5cd3be27de/DSC00527.jpg" data-mid="243432114" border="0" src="https://freight.cargo.site/w/1000/i/c5b5303f535850067460e9280a27c77244804e40225933a47406af5cd3be27de/DSC00527.jpg" /> <img width="5525" height="3683" width_o="5525" height_o="3683" data-src="https://freight.cargo.site/t/original/i/89438371320c07f4b7d7dd08860d35d61df47222e86a43dd06cbc489f67eab87/ant-hill-2.jpg" data-mid="243432156" border="0" src="https://freight.cargo.site/w/1000/i/89438371320c07f4b7d7dd08860d35d61df47222e86a43dd06cbc489f67eab87/ant-hill-2.jpg" /> <img width="1088" height="725" width_o="1088" height_o="725" data-src="https://freight.cargo.site/t/original/i/f815a299505a6de2e51e8df9455c4ef07b5bfe8583d17a40e57a56eaa7e4edfd/anthills-2.jpg" data-mid="243432096" border="0" src="https://freight.cargo.site/w/1000/i/f815a299505a6de2e51e8df9455c4ef07b5bfe8583d17a40e57a56eaa7e4edfd/anthills-2.jpg" /> <img width="3000" height="2252" width_o="3000" height_o="2252" data-src="https://freight.cargo.site/t/original/i/8442a49dd42c55989541f96d80012e9c771dc897b7ff234d2384cbf364d07958/DSC00525.jpg" data-mid="243432113" border="0" src="https://freight.cargo.site/w/1000/i/8442a49dd42c55989541f96d80012e9c771dc897b7ff234d2384cbf364d07958/DSC00525.jpg" /><img width="1088" height="725" width_o="1088" height_o="725" data-src="https://freight.cargo.site/t/original/i/53ce7f76d706f4f95a5a86dd8aadd4e443df7d503a3382541a1b1e35fad3f42e/anthills-1-copy.jpg" data-mid="243432103" border="0" src="https://freight.cargo.site/w/1000/i/53ce7f76d706f4f95a5a86dd8aadd4e443df7d503a3382541a1b1e35fad3f42e/anthills-1-copy.jpg" /> https://katiechin.com/precarity-structures Mon, 13 May 2024 14:08:53 +0000 Katie Chin https://katiechin.com/precarity-structures Precarity StructuresThese ceramic sculptures represent objects that evoke varied degrees of social oppression or economic alienation in states of creep rupture. Creep rupture is where infrastructural materials or machine components degrade over time due to stress. The chosen objects are often spindly in form, making them challenging to sculpt in clay and push the limits of the material's structural capabilities. This process amplifies a sense of precarity, with ceramic melting into twisted forms that capture a state near failure. The objects hold a desire: How might we achieve the collapse of oppressive systems without descending into total anarchy? Mind the Gap2024Glazed ceramic, concrete on wood, grit tape, paint, gum, grime 62” x 23.5” x 23.5”19.5” x 12.5” x 12.5” Photography credit: Matthew BaileyMind the Gap 022024Glazed ceramic, grout19.5” x 12.5” x 12.5” These turnstiles, as objects of socioeconomic oppression, look to the subway experience as a metaphor for collective movement and references creep rupture, the gradual degradation of structural materials over time. Sculpted in clay and twisted towards obsolescence from the heat of the kiln, the object holds desire for public infrastructure that might actually serve the public. Why can’t the subway be free? Both turnstiles were made using the same process, hand-built using ceramic coils. This second turnstile however, upon picking it up as greenware, shattered into a hundred pieces. I fired it in the kiln anyway and then glued it back together. The shattered version holds more creep rupture and the impossible erosion that I was drawn to with the first turnstile. Precarious structures of capitalist oppression melting and twisting… Burn down these police objects! <img width="1922" height="2380" width_o="1922" height_o="2380" data-src="https://freight.cargo.site/t/original/i/6988931ffb85ef28110628e40c11cc199209c40003d23970c622c748459cd312/Chin_Katie_02.jpeg" data-mid="210803149" border="0" src="https://freight.cargo.site/w/1000/i/6988931ffb85ef28110628e40c11cc199209c40003d23970c622c748459cd312/Chin_Katie_02.jpeg" />&nbsp;<img width="3746" height="5619" width_o="3746" height_o="5619" data-src="https://freight.cargo.site/t/original/i/116a40916189c01a60f83f27183012b10091f11d8b524ed3b6e6e052e9395253/4.jpg" data-mid="243417162" border="0" src="https://freight.cargo.site/w/1000/i/116a40916189c01a60f83f27183012b10091f11d8b524ed3b6e6e052e9395253/4.jpg" /> <img width="667" height="1000" width_o="667" height_o="1000" data-src="https://freight.cargo.site/t/original/i/6421b9f1bfa5c96ad5475977aa245b64fdd032dd07a0b676c6e64a90684f1a5c/Chin_Katie_10.jpg" data-mid="224105092" border="0" src="https://freight.cargo.site/w/667/i/6421b9f1bfa5c96ad5475977aa245b64fdd032dd07a0b676c6e64a90684f1a5c/Chin_Katie_10.jpg" /><img width="1000" height="667" width_o="1000" height_o="667" data-src="https://freight.cargo.site/t/original/i/4f70449da501ee0a9fbbe7733b8a1d045f9d81da9431dfc1d4a2b3685292142d/Chin_Katie_11.jpg" data-mid="224105141" border="0" src="https://freight.cargo.site/w/1000/i/4f70449da501ee0a9fbbe7733b8a1d045f9d81da9431dfc1d4a2b3685292142d/Chin_Katie_11.jpg" /><img width="3334" height="4569" width_o="3334" height_o="4569" data-src="https://freight.cargo.site/t/original/i/ad679df7bcba588cfa325ac60aff6d398c8581f8dbbf48b3f3570978d8650aa1/Study-for-creep-rupture-01-on-pedestal.jpg" data-mid="215447316" border="0" src="https://freight.cargo.site/w/1000/i/ad679df7bcba588cfa325ac60aff6d398c8581f8dbbf48b3f3570978d8650aa1/Study-for-creep-rupture-01-on-pedestal.jpg" /> <img width="4780" height="3308" width_o="4780" height_o="3308" data-src="https://freight.cargo.site/t/original/i/aa343cf6d90f9dc3370f22aefc17230ef0d00b4f224d7e8661f2c2699212cc6e/baskets-06.jpg" data-mid="215447237" border="0" src="https://freight.cargo.site/w/1000/i/aa343cf6d90f9dc3370f22aefc17230ef0d00b4f224d7e8661f2c2699212cc6e/baskets-06.jpg" /> Is it About Capitalism? 2024 Glazed ceramic, sand 12" x 16" x 11"20" x 16" x 13" I’m currently experimenting with display methods with these baskets, including placing them in a pile of sand to evoke a dystopian or utopian future where remnants of consumerism are found in a desert. Sand is intriguing as it represents both uninhabitable ruin and unlimited potential. It is a foundational raw material for our built environment—without it, we wouldn’t have concrete, glass, or computers, or the many products and infrastructure those materials enable. I’ve also placed the baskets inside storefront doors to mimic real ones, using a trompe l'oeil ceramic technique. Viewers often struggle to resist picking them up, a subconscious behavior ingrained from years of shopping. As fused ceramic sculptures, this impulse is disrupted, creating an effect on the viewer that I find compelling. The deliberately handmade quality of my ceramics creates tension between mass production and slow, physical labor.&nbsp; I often render commodity objects useless through distortion or failed mimicry to expose their role as mediators of social relation. Their ubiquity and invisibility, like the hegemony and ideologies they reflect, become allegories for the forces that shape the public sphere and workplace. <img width="3000" height="4414" width_o="3000" height_o="4414" data-src="https://freight.cargo.site/t/original/i/0b2f055836bb9f07652c10ead6aebbc403326d26c3179b617e2d4df492e11b05/baskets-04.jpg" data-mid="215447235" border="0" src="https://freight.cargo.site/w/1000/i/0b2f055836bb9f07652c10ead6aebbc403326d26c3179b617e2d4df492e11b05/baskets-04.jpg" /> <img width="3000" height="4128" width_o="3000" height_o="4128" data-src="https://freight.cargo.site/t/original/i/c89cc95bf36c446147344d0afbb8c7144f7044b274263425ac92dac6010e8ec5/baskets-07.jpg" data-mid="215447238" border="0" src="https://freight.cargo.site/w/1000/i/c89cc95bf36c446147344d0afbb8c7144f7044b274263425ac92dac6010e8ec5/baskets-07.jpg" /> <img width="4000" height="2667" width_o="4000" height_o="2667" data-src="https://freight.cargo.site/t/original/i/5631b17e796f10a2c7c6bc42a1a99a45d7d43d4552dfd3364fc7d8cb9b30efd9/baskets-03.jpg" data-mid="215447234" border="0" src="https://freight.cargo.site/w/1000/i/5631b17e796f10a2c7c6bc42a1a99a45d7d43d4552dfd3364fc7d8cb9b30efd9/baskets-03.jpg" /> Productivity per hour &amp; average work week 2024: Denmark $87.70, 37.2 hours, United States $79.60, 41.5 hours2024Glazed ceramic, copper, sand66” x 24.5” x 19”Escaping the Panopticon2024Glazed ceramic, copper52” x 26” x 0.5” Out of Office2024Glazed ceramic, sand10” x 12” x 2.5” These three works shown together explore the psychological burdens of working in late-stage capitalism and the desire to break free. Using a surrealistic rendering style, the hamster wheels and hourglass sand piles become metaphors for the never ending treadmill of labor. The titles and eyeballs embedded into the sculptures reference themes of surveillance capitalism, where we work under panoptic conditions or the psychological feeling that we’re always being watched by the boss, encouraging longer and often unproductive hours. <img width="3154" height="5620" width_o="3154" height_o="5620" data-src="https://freight.cargo.site/t/original/i/1c8c5237a94c3b77c966362f94ad76b8806fcd7b46aa182e7c62de45d679634f/8-copy.jpg" data-mid="224107982" border="0" src="https://freight.cargo.site/w/1000/i/1c8c5237a94c3b77c966362f94ad76b8806fcd7b46aa182e7c62de45d679634f/8-copy.jpg" /><img width="2685" height="2631" width_o="2685" height_o="2631" data-src="https://freight.cargo.site/t/original/i/630ca86d14b2856e99e5337533196c573a67955e147327524cd06cccec3abffe/eyes-hampster-2.jpg" data-mid="224111471" border="0" src="https://freight.cargo.site/w/1000/i/630ca86d14b2856e99e5337533196c573a67955e147327524cd06cccec3abffe/eyes-hampster-2.jpg" /><img width="1238" height="1408" width_o="1238" height_o="1408" data-src="https://freight.cargo.site/t/original/i/ea7ba5cfdc2bd0347137fb6ac51e81888d414dcd2260a649f2aed80ff95d612d/Chin_Katie_EscapingthePanopticon_2024-copy-3.jpg" data-mid="224108238" border="0" src="https://freight.cargo.site/w/1000/i/ea7ba5cfdc2bd0347137fb6ac51e81888d414dcd2260a649f2aed80ff95d612d/Chin_Katie_EscapingthePanopticon_2024-copy-3.jpg" /> <img width="1000" height="1500" width_o="1000" height_o="1500" data-src="https://freight.cargo.site/t/original/i/24cd4c92b0cf98ed1584cba770a2ed23b4f591012d76c2c81f2a0a13f0f1dc67/KAITE_Porous-Alternatives_Installation-view_LR_photo--Elisheva-Gavra-16.jpg" data-mid="224110167" border="0" src="https://freight.cargo.site/w/1000/i/24cd4c92b0cf98ed1584cba770a2ed23b4f591012d76c2c81f2a0a13f0f1dc67/KAITE_Porous-Alternatives_Installation-view_LR_photo--Elisheva-Gavra-16.jpg" /><img width="1227" height="1851" width_o="1227" height_o="1851" data-src="https://freight.cargo.site/t/original/i/87788e85b99100271b1e8dc3505dfed3d6e4082e8cbe3f1f562997285a29bc1f/Chin_Katie_EscapingthePanopticon_2024-copy-2.jpg" data-mid="224108239" border="0" src="https://freight.cargo.site/w/1000/i/87788e85b99100271b1e8dc3505dfed3d6e4082e8cbe3f1f562997285a29bc1f/Chin_Katie_EscapingthePanopticon_2024-copy-2.jpg" /> <img width="2760" height="2762" width_o="2760" height_o="2762" data-src="https://freight.cargo.site/t/original/i/d31d99411f15c984c466cf346d935737609781d9548bdd519197bec265cf74e2/Chin_3.jpg" data-mid="224110391" border="0" src="https://freight.cargo.site/w/1000/i/d31d99411f15c984c466cf346d935737609781d9548bdd519197bec265cf74e2/Chin_3.jpg" /> Study for creep rupture 02 &amp; 032024Glazed ceramic, steel, brass14” x 16” x 8”11” x 10.5” x 5.5”Photography credit: Matthew Bailey <img width="2562" height="4192" width_o="2562" height_o="4192" data-src="https://freight.cargo.site/t/original/i/8dc85c7044f6e0618038ec551d2acdd0aa1a03e25c677c0c6673b7fe1b64028d/wheel_04.jpg" data-mid="215447922" border="0" src="https://freight.cargo.site/w/1000/i/8dc85c7044f6e0618038ec551d2acdd0aa1a03e25c677c0c6673b7fe1b64028d/wheel_04.jpg" /> <img width="2880" height="2549" width_o="2880" height_o="2549" data-src="https://freight.cargo.site/t/original/i/4b6731b02d7a3440a8a87b2e6d721efb2fcd437a12b715d6eb1253c4d0ab5e0a/Chin_Katie_01.jpeg" data-mid="210803148" border="0" src="https://freight.cargo.site/w/1000/i/4b6731b02d7a3440a8a87b2e6d721efb2fcd437a12b715d6eb1253c4d0ab5e0a/Chin_Katie_01.jpeg" /><img width="3251" height="4269" width_o="3251" height_o="4269" data-src="https://freight.cargo.site/t/original/i/7a353fbb744a3a478e2ab0214e0a16fe9b7467f72b242faaf81949d0adac99ee/wheel_02.jpg" data-mid="215447684" border="0" src="https://freight.cargo.site/w/1000/i/7a353fbb744a3a478e2ab0214e0a16fe9b7467f72b242faaf81949d0adac99ee/wheel_02.jpg" /> https://katiechin.com/throw-when-needed Mon, 29 Jul 2024 15:30:14 +0000 Katie Chin https://katiechin.com/throw-when-needed Throw When NeededThese works explore the contradiction inherent in the metaphor of a wrench and the relationship between individuals and systems. A wrench, as a tool, implies an individual holding one end and a machine at the other. The individual can use the wrench either to fix the machine or to 'throw a wrench in it' as a form of radical disruption. This political metaphor, similar to the etymology of the word sabotage, originates from the labor movement. It is said that French workers threw their shoes, or sabots, into the factory machinery to disrupt production, thus committing sabotage.The machine collaboration studies extend this concept and are prototypes for a larger installation. They are from about 20 compositions I created by literally throwing wrenches into a vacuum former. This collaboration between the machine and the artist seeks to complicate the metaphor of sabotage. The work contemplates, perhaps in vain, the possibility of collaborating with systems to discover economic alternatives to capitalism. In my wrench studies, I’ve experimented with other factory processes as well. For example, I 3D scanned a wrench to then print it using a 3D clay printing machine. I also made 50+ molds of wrenches for slip casting. <img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/edda27b60da5145d12fcc1b757e593385c03c64f7895f7fed46fcb41a9eb7c34/Saboteurs-closeup.jpg" data-mid="215448565" border="0" src="https://freight.cargo.site/w/1000/i/edda27b60da5145d12fcc1b757e593385c03c64f7895f7fed46fcb41a9eb7c34/Saboteurs-closeup.jpg" /> Saboteurs 2024Glazed ceramic, wood, aluminum12.5" × 5" × 5" <img width="3588" height="5838" width_o="3588" height_o="5838" data-src="https://freight.cargo.site/t/original/i/9e3e4384073d0e60d186c40249a2154b6b550b8885d431f76a86a7cc10afea71/Saboteurs.jpg" data-mid="215448429" border="0" src="https://freight.cargo.site/w/1000/i/9e3e4384073d0e60d186c40249a2154b6b550b8885d431f76a86a7cc10afea71/Saboteurs.jpg" /> Throw a Wrench in it 2025 Glazed ceramic 10" × 20" × 10" <img width="2000" height="1500" width_o="2000" height_o="1500" data-src="https://freight.cargo.site/t/original/i/c9f0393a05a68e9d28ebf979973e2085b0cfe1e71508b1a66d0606eaaddbcc37/chin_katie_7.jpg" data-mid="231835432" border="0" src="https://freight.cargo.site/w/1000/i/c9f0393a05a68e9d28ebf979973e2085b0cfe1e71508b1a66d0606eaaddbcc37/chin_katie_7.jpg" /> Machine collaboration 01 2024 Vacuum form mold in artist made wood frame 19” x 17” x 2.5” <img width="3593" height="4472" width_o="3593" height_o="4472" data-src="https://freight.cargo.site/t/original/i/5c3e8dd9bad59504dd78da118043105f420f08844dcc8cfab245ec971249f007/DSC_0382.jpg" data-mid="215448569" border="0" src="https://freight.cargo.site/w/1000/i/5c3e8dd9bad59504dd78da118043105f420f08844dcc8cfab245ec971249f007/DSC_0382.jpg" /> Machine collaboration 02 2024 Vacuum form mold 20” x 18” x 1” <img width="2362" height="2569" width_o="2362" height_o="2569" data-src="https://freight.cargo.site/t/original/i/46acf401fedd00a5386b3475f6cffe8fb0076ec5affe99d2ade1fcacb45f0c84/website-machine-collab.jpeg" data-mid="215448633" border="0" src="https://freight.cargo.site/w/1000/i/46acf401fedd00a5386b3475f6cffe8fb0076ec5affe99d2ade1fcacb45f0c84/website-machine-collab.jpeg" /> Wrench studies 2024 Glazed and unglazed ceramic Varied sizes Photography credit: Matthew Bailey <img width="3330" height="3872" width_o="3330" height_o="3872" data-src="https://freight.cargo.site/t/original/i/1783a14f982cc6e93aa05cbc9a54e4d174093a3a4dbe7824ce7ed84e62269452/wrench-study.jpeg" data-mid="215448898" border="0" src="https://freight.cargo.site/w/1000/i/1783a14f982cc6e93aa05cbc9a54e4d174093a3a4dbe7824ce7ed84e62269452/wrench-study.jpeg" /> https://katiechin.com/shift Mon, 16 Jan 2023 00:20:07 +0000 Katie Chin https://katiechin.com/shift Shift2023178” x 132” x 132”Steel, drains, vents, laborSite-specific "Shift" is a site-specific installation that explores the porous nature of institutions and social forms. From a distance, it appears to be composed of identical, repeated steel cuboids, referencing the efficient use of modular forms in economic systems and the prevalence of metal in urban infrastructure. However, upon closer inspection, the units reveal varied configurations of relational emergence. Some units lack legs, others intersect or transcend the floor. The metal extends up the gallery walls, emerging from the ceiling and intruding into the 'almost-white-cube' space. The sculpture aims to capture the essence of social norms and behaviors, which, under institutional frameworks, seem rigid but are in fact in a state of constant, albeit slow, metamorphosis. The metaphor of relational emergence in “Shift” is reinforced by elements of porous architecture, such as drains and vents, embedded into the composition. Additionally, phrases typically found in public spaces that dictate social movement, like “please shower before entering” and “mind the gap,” are sandblasted onto the units. The blue color of the metal results from a heat treatment requiring high levels of intuition. I couldn't see well while trying to find the perfect balance between too hot and hot enough, a metaphor for the pressure required in collective action. To acknowledge the often-hidden labor needed to realize artworks, labor is listed as a material alongside a didactic that names the people who supported me, including physical therapists, professors, friends, and exhibition&nbsp;staff. <img width="3333" height="5000" width_o="3333" height_o="5000" data-src="https://freight.cargo.site/t/original/i/cfcf4abc1bbe24872557f7a6a52af4373b67ac107eed31423a90659885289c76/1_shift.jpg" data-mid="204008232" border="0" src="https://freight.cargo.site/w/1000/i/cfcf4abc1bbe24872557f7a6a52af4373b67ac107eed31423a90659885289c76/1_shift.jpg" /> <img width="4000" height="2931" width_o="4000" height_o="2931" data-src="https://freight.cargo.site/t/original/i/249917467c560903621fb9a94823908555e1cdbfef8dd806946ef15968e00ea6/3_shift.JPG" data-mid="204008234" border="0" src="https://freight.cargo.site/w/1000/i/249917467c560903621fb9a94823908555e1cdbfef8dd806946ef15968e00ea6/3_shift.JPG" />For this particular project, I consider the following people contributors: Ashleigh Abbott, Yasi Alipour, Bel Andrade, Chong Chin, Elizabeth Walz Chin, Daniel Chou, Ben Dimock, Andrea Geyer, Ben Gould, Kris Grey, Fiel Guhit, Terike Haapoja, Jesse Harding, Remi Hirschtick, Caroline Kindelt, Arden Kraatz, Lan Thao Lam, Ting Lau, Myles Lawrence Briggs, Le’Andrea LeSeur, Chris Lin, Jill Magid, Summer McCroskey, Ash Moniz, Ramon Mussenden, Kat Nash, Hali Nelson, Evelina Nolin, Henrik Nordahl, Victoria Norton, Tony Petrillo, Eriola Pira, Rit Premnath, Chad Repp, Gino Romero, Rollo Romig, Amina Ross, Pauline Rossignol, Shay Salehi, Sej Sanghvi, Michelle Silva, Becky Song, Kaegan Sparks, Clipber Tran, Catherine Telford Keogh, Sabrina Thompson, Stefanos Tsivopoulos, Richard Valentin, Damien Vera, Daisy Wong, Valaria or oscar, Boya Ye, Noah Zhou, all those who participated in the part-time faculty strike at The New School, employees of Rapid Steel, and my physical therapists Craig Feuerman, Ari Neulander, and Matthew Procopio. With this project and the ones that will follow, I promise to make art at the nexus of intuition and the social forms I participate in and find perplexing. I am also committed to giving credit to those who illuminate my path towards art making and collaborate towards collective intuitions*. *Collective intuition is a term I am using to describe the porous nature of social forms. It points to how deviations from norms—in relating to others—push against the boundaries of communal knowledge. Collective intuition lingers in the possibility of a multitude of commons. Here the boundary and logic of social forms is ever-mutable. Exhibition website <img width="2400" height="1600" width_o="2400" height_o="1600" data-src="https://freight.cargo.site/t/original/i/96ec529f404fd8b9cfd3456aaf443abe6399bb916c6fa3c14c4a8822d1e8c220/Chin_Katie_Shift_detail_5.jpg" data-mid="204008403" border="0" src="https://freight.cargo.site/w/1000/i/96ec529f404fd8b9cfd3456aaf443abe6399bb916c6fa3c14c4a8822d1e8c220/Chin_Katie_Shift_detail_5.jpg" /><img width="2048" height="1152" width_o="2048" height_o="1152" data-src="https://freight.cargo.site/t/original/i/8d629c09a5fa3f7b86661ac09bd6e0e88a4da72c0591d98f5b607d9fd7594c05/coming-soon-box.jpg" data-mid="175789363" border="0" src="https://freight.cargo.site/w/1000/i/8d629c09a5fa3f7b86661ac09bd6e0e88a4da72c0591d98f5b607d9fd7594c05/coming-soon-box.jpg" /><img width="2400" height="1600" width_o="2400" height_o="1600" data-src="https://freight.cargo.site/t/original/i/056a010045c2e08f7bca04c26a894aa47f3867d7bc2904668028ab2bf1017434/Chin_Katie_Shift_detail_3.jpg" data-mid="204008402" border="0" src="https://freight.cargo.site/w/1000/i/056a010045c2e08f7bca04c26a894aa47f3867d7bc2904668028ab2bf1017434/Chin_Katie_Shift_detail_3.jpg" /><img width="2400" height="1600" width_o="2400" height_o="1600" data-src="https://freight.cargo.site/t/original/i/40d5ee3945316d2220f5dd7e3117a5bc14346209230afe06aeda6a8f311375fe/2_shift.jpg" data-mid="204008233" border="0" src="https://freight.cargo.site/w/1000/i/40d5ee3945316d2220f5dd7e3117a5bc14346209230afe06aeda6a8f311375fe/2_shift.jpg" /><img width="2400" height="1600" width_o="2400" height_o="1600" data-src="https://freight.cargo.site/t/original/i/196b45b331f749150125c10af1d71a0ff8271980aec8e5c435caf2910b71ab87/Chin_Katie_Shift_detail_2-copy.jpg" data-mid="204008400" border="0" src="https://freight.cargo.site/w/1000/i/196b45b331f749150125c10af1d71a0ff8271980aec8e5c435caf2910b71ab87/Chin_Katie_Shift_detail_2-copy.jpg" /> https://katiechin.com/there-is-only-after Mon, 16 Jan 2023 00:25:50 +0000 Katie Chin https://katiechin.com/there-is-only-after <img width="5239" height="3493" width_o="5239" height_o="3493" data-src="https://freight.cargo.site/t/original/i/2f06f5b6f07cd2e1b9a440967154e8e6ebec515d398538a68794d4b2565b0490/DT2A0088.jpg" data-mid="168600014" border="0" src="https://freight.cargo.site/w/1000/i/2f06f5b6f07cd2e1b9a440967154e8e6ebec515d398538a68794d4b2565b0490/DT2A0088.jpg" /> There is Only After In this group exhibition I presented two works, We are the Safety Net and Uneven. Together they reflect on the porosity of social organization. Life under capitalism is precarious and often creates tenuous relationships between people and groups – boss to worker, neighbor to neighbor, community to community – all vying for space and seemingly constrained resources. But every so often the veil of capitalist realism is lifted, and competition transforms into collaboration. What happens when we shake hands with strangers and trust our loose ties?Photography credit: Ryan Van Der Hout We are the Safety Net2023192’’ x 130’’ x 10’’Ceramic imprints from The New School community handshakes, netting, trapeze bars, cables, hardware, gold leaf, paint, and blank legal paper "We are the Safety Net" reflects the historic labor strike at The New School, one of the longest in higher education, which took place while I was pursuing my MFA at the university. The piece is self-balancing—if one element is removed, it all comes crashing down. Its precarious nature mirrors life under capitalism, where groups tenuously compete for seemingly limited resources. "We are the Safety Net" also serves as an archive of loose ties. The ceramic sculptures, whose collective weight maintains the tension of the net, were created by community members at The New School, who shook hands with a clay slab between them. <img width="5404" height="3603" width_o="5404" height_o="3603" data-src="https://freight.cargo.site/t/original/i/bb3d297df74fbcfc8ecb5252e9ddf1016b4b4534cb97b529c9c4f662ad19adb4/DT2A0091.jpg" data-mid="168600015" border="0" src="https://freight.cargo.site/w/1000/i/bb3d297df74fbcfc8ecb5252e9ddf1016b4b4534cb97b529c9c4f662ad19adb4/DT2A0091.jpg" /> <img width="3490" height="5235" width_o="3490" height_o="5235" data-src="https://freight.cargo.site/t/original/i/bb647c3cd5f893fe45b27fa7faa556e68c0ae4ef78c62eed447c50b2c8fd413d/DT2A0086.jpg" data-mid="168600075" border="0" src="https://freight.cargo.site/w/1000/i/bb647c3cd5f893fe45b27fa7faa556e68c0ae4ef78c62eed447c50b2c8fd413d/DT2A0086.jpg" /> <img width="5319" height="3546" width_o="5319" height_o="3546" data-src="https://freight.cargo.site/t/original/i/f357a0313d085fcb573fd62e22c51f73d7b7a5c8392bdc3e2c2ef60c7807a251/DT2A0076.jpg" data-mid="168599930" border="0" src="https://freight.cargo.site/w/1000/i/f357a0313d085fcb573fd62e22c51f73d7b7a5c8392bdc3e2c2ef60c7807a251/DT2A0076.jpg" /> Uneven202310” x 31” x 6” Steel, plasterThis work explores the various ways we communicate ideology in society. It was conceptualized around the time Trump followers were controversially using a one-finger salute at the former president's rallies. In the sculpture, this hand gesture is paired with a raised fist, a symbol of solidarity used by various leftist movements, notably socialism, Black Lives Matter, and unionization. The work contemplates how the difference in a few fingers can represent radically polarizing ideologies. <img width="3525" height="4826" width_o="3525" height_o="4826" data-src="https://freight.cargo.site/t/original/i/29b795414d753e926844fd6e58498c97def54d4079dd7b7daf9a9e59fb366d20/DT2A0062.jpg" data-mid="168600938" border="0" src="https://freight.cargo.site/w/1000/i/29b795414d753e926844fd6e58498c97def54d4079dd7b7daf9a9e59fb366d20/DT2A0062.jpg" /><img width="5351" height="3567" width_o="5351" height_o="3567" data-src="https://freight.cargo.site/t/original/i/38d8029b02ff5731246ead09633694ec97f4c69a07b8d861cd2b3e8e70a4e69e/DT2A0072.jpg" data-mid="168696658" border="0" src="https://freight.cargo.site/w/1000/i/38d8029b02ff5731246ead09633694ec97f4c69a07b8d861cd2b3e8e70a4e69e/DT2A0072.jpg" /> <img width="5321" height="3547" width_o="5321" height_o="3547" data-src="https://freight.cargo.site/t/original/i/eec88e9db193c67d37b9003c6324357a8568f5d317826b4e05eeea9bc94bee5f/DT2A0067.jpg" data-mid="168600962" border="0" src="https://freight.cargo.site/w/1000/i/eec88e9db193c67d37b9003c6324357a8568f5d317826b4e05eeea9bc94bee5f/DT2A0067.jpg" /><img width="3527" height="5291" width_o="3527" height_o="5291" data-src="https://freight.cargo.site/t/original/i/47787bc7fdd83a53c33f1224f57ee6375176b36a88a74c7cd71837ba472769f0/DT2A0054.jpg" data-mid="168600957" border="0" src="https://freight.cargo.site/w/1000/i/47787bc7fdd83a53c33f1224f57ee6375176b36a88a74c7cd71837ba472769f0/DT2A0054.jpg" /> https://katiechin.com/appears-to-be-wooden-table Mon, 16 Jan 2023 00:37:47 +0000 Katie Chin https://katiechin.com/appears-to-be-wooden-table <img width="1333" height="2000" width_o="1333" height_o="2000" data-src="https://freight.cargo.site/t/original/i/8050539e86f92e65eaa35c5b9634a484ca494efe2cfabe9b0efa132d7ef9bf5b/Chin_Katie04.jpg" data-mid="164819384" border="0" src="https://freight.cargo.site/w/1000/i/8050539e86f92e65eaa35c5b9634a484ca494efe2cfabe9b0efa132d7ef9bf5b/Chin_Katie04.jpg" /> She Appears To Be a Wooden TableCeramic, welcome mat, paper pad, pencil, eyeglasses65 x 35 x 20 inches2022 This work is a self-portrait that explores personhood and social relations as objects. The process of making ceramics mirrors the exploitation of labor and land in capitalism where materials are coagulated into commodity form, in this case a table, a reference often used by theorists including Sara Ahmed, David Harvey, and Karl Marx.