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Additional Artworks

From VillageOne Art

  1. Green Ray Body by Emily Cheng, Image 1.

    Emily Cheng

    Green Ray Body, 2020

    Flashe on canvas

    72 x 60 in (182.88 x 152.4 cm)

  2. Dog and his skin disease by Xiangni Song, Image 3.

    Xiangni Song

    Dog and his skin disease, 2020

    Oil on canvas

    40 x 30 in (101.6 x 76.2 cm)

  3. Family portrait, my father is a ghost by Inga Khurieva, Image 1.

    Inga Khurieva

    Family portrait, my father is a ghost, 2020

    Oil on canvas

    40 x 30 in (101.6 x 76.2 cm)

  4. Front yard by Xiangni Song, Image 2.

    Xiangni Song

    Front yard, 2020

    Oil on canvas

    26 x 40 in (66.04 x 101.6 cm)

  5. Coexistence (共存) by Yanzi Zhang, Image 1.

    Yanzi Zhang

    Coexistence (共存), 2020

    Ink and color on paper

    24 x 30 in (60.96 x 76.2 cm)

  6. Barriers (隔) by Yanzi Zhang, Image 1.

    Yanzi Zhang

    Barriers (隔), 2020

    Ink and color on paper

    24 x 30 in (60.96 x 76.2 cm)

  7. Deconstructed architecture by Lee Tal, Image 1.

    Lee Tal

    Deconstructed architecture, 2020

    Mix media on canvas

    22 x 28 in (55.88 x 71.12 cm)

  8. Calligraphic Abstraction I by Kelly Wang, Image 1.

    Kelly Wang

    Calligraphic Abstraction I, 2020

    Rice paper burnt with incense

    28 x 50 in (71.12 x 127.0 cm)

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About the artist

Von Hyin Kolk

Von Hyin Kolk is a visual artist living and working in New York City. Kolk’s paintings address the tensions and idiosyncrasies of her multi-cultural existence. In her work, she draws upon her experiences as the child of Chinese-American immigrants. Her visual memoirs and depictions of nostalgic Cantonese dishes juxtaposed with uncanny scenes and environments are the vehicles through which she explores the margins between memory and fantasy. Through the maximal collaging of vignettes from her childhood and current daily life, she chronicles the process of assimilation as it occurs within the creation of the paintings themselves. Furthermore, her choice of material also invokes the interstice of the assimilated experience: she mainly paints on vinyl, a synthetic material which is largely manufactured in China and exported elsewhere. By using the traditional process of canvas-stretching on the vinyl, Kolk imposes a naturalization onto the material in order to synthesize a familiarity; but the chemical makeup of the vinyl remains an unprecedented and unorthodox painting surface—mimicking her concurrent realities as both a homogenous and divergent identity.