In her Ironings series, Mung Lar Lam uses this technique to represent a domestic, gender-related and labor-intensive work created by employing reclaimed cotton fabric (rejected for its color), starch and the manual act of ironing. Through evolutionary and performative installations, the medium of ironed, re-ironed and un-ironed marks and folds are used to highlight concepts of temporality, transition, memory and perception; while notions of extended and compacted spaces are explored. Concurrently the practice of this cultural and socially specific task in a public space questions the positioning of women and labor in society and the relevance of classical and standardized mediums in contemporary art. Formal in their appearance with temporal line work, shadows and sculptural dimensions, combined with their socio-political context, the ironings have triggered emotional reactions and personal stories shared by viewers and visitors.
In the style of Sol Lewitt’s wall drawings and Donald Judd sculptures etc., the Ironings, Stitchings, Needlemarkings and Chalkings bring a feminine media and process to minimalist art, which was identified as predominantly masculine in materials and maker. These invented disciplines and performed practices also strive to push the limitations of current art nomenclature and provide new language and actions to more accurately serve post disciplinary practices in contemporary art and performance, bringing light to the marginalization of perceived feminine media, crafts and skills. This body of work has been shown nationally and internationally.
AIR artwork - Artist in Residence donation to the collection.
Techniques: Ironing
Culture: American
Geographic Location: North and Central America - United States
Credit Line: Gift of the Artist
