Hello, I'm Misato Pang. I'm a recent graduate of Fine Arts from Brooklyn College.

Asleep

Asleep

 

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Collective Portrait

Collective Portrait

CONTEXT

As part of my cake series, I began with an endeavor to create a narrative that portrays a universally shared, collective experience of life. Birthdays, in a sense, is what we all have in common. We are all determined a time and day in which we are borne into this world; such a fact mobilizes not only people but all creation across space, time, and place to occupy a particular fact of life simultaneously. Using still life of cakes as symbols for the reminder of co-existence amongst ourselves, it also raises questions of life and death: as each year signifies a miniature countdown to death of one individual and ultimately ripples its grandiose effects on the entire population, how do people resolve the tension of the visible physical decay and the invisible metaphysical belief they have of the world and their own individual significance? As inevitable as death is, can art outlive its finality?

DETAILS

I initially envisioned this piece as a sculpture, with anonymous and unrecognizable faces collapsing against each other as a monumental display of morbidity. In this particular collage, fabric is used to convey the essence as much as the pretentious quality of humanity in our inventive effort to cover our naked bodies or what people believe to be their naked souls. The tension between exposure and concealment depicted in this still life of a cake (with blood oozing out onto the table) is also a vivid apprehensive portrait of all human experience.

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Collective portrait II

Collective portrait II

 

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Portrait of John

Portrait of John

 

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A Woman

A Woman

 

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Untitled

Untitled

 

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Self-portrait

Self-portrait

 

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Painting 8

Taiyaki

CONTEXT

As part of my cake series, I began with an endeavor to create a narrative that portrays a universally shared, collective experience of life. Birthdays, in a sense, is what we all have in common. We are all determined a time and day in which we are borne into this world; such a fact mobilizes not only people but all creation across space, time, and place to occupy a particular fact of life simultaneously. Using still life of cakes as symbols for the reminder of co-existence amongst ourselves, it also raises questions of life and death: as each year signifies a miniature countdown to death of one individual and ultimately ripples its grandiose effects on the entire population, how do people resolve the tension of the visible physical decay and the invisible metaphysical belief they have of the world and their own individual significance? As inevitable as death is, can art outlive its finality?

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Roll Cake

Roll Cake

CONTEXT

As part of my cake series, I began with an endeavor to create a narrative that portrays a universally shared, collective experience of life. Birthdays, in a sense, is what we all have in common. We are all determined a time and day in which we are borne into this world; such a fact mobilizes not only people but all creation across space, time, and place to occupy a particular fact of life simultaneously. Using still life of cakes as symbols for the reminder of co-existence amongst ourselves, it also raises questions of life and death: as each year signifies a miniature countdown to death of one individual and ultimately ripples its grandiose effects on the entire population, how do people resolve the tension of the visible physical decay and the invisible metaphysical belief they have of the world and their own individual significance? As inevitable as death is, can art outlive its finality?

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Lava

Lava

DETAILS

As part of my cake series, I began with an endeavor to create a narrative that portrays a universally shared, collective experience of life. Birthdays, in a sense, is what we all have in common. We are all determined a time and day in which we are borne into this world; such a fact mobilizes not only people but all creation across space, time, and place to occupy a particular fact of life simultaneously. Using still life of cakes as symbols for the reminder of co-existence amongst ourselves, it also raises questions of life and death: as each year signifies a miniature countdown to death of one individual and ultimately ripples its grandiose effects on the entire population, how do people resolve the tension of the visible physical decay and the invisible metaphysical belief they have of the world and their own individual significance? As inevitable as death is, can art outlive its finality?

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In Freedom We Stand

In Freedom We Stand

CONTEXT

Ever since Hong Kong was returned to China as a British-colonized country, it was agreed upon a treaty that they would operate under a "one country, two systems" policy in which Hong Kong would exercise its governing power over its own territory for at least 50 years. However the last 10 years or so, the central government had been influencing the SARS government in Hong Kong in its governor election which in turn catalyzed the influx of the mainland's dominance over Hong Kong (reflected in our economy, welfare, education, and career opportunities.) Those major societal reconstruction and political chaos under the supervision of the mainland Chinese government had sparked up a revolt among young adolescents in Hong Kong (mainly college students) called the Umbrella Movement. Its purpose was mainly to boycott the government and create a blockage of main roads for an extended period of 2-3 months and to demand a platform of negotiation between HK citizens and the SARS government. Since then there has been police force violence against unarmed civilian, abuse of authority in amending the constitution, blatant violation of freedom of speech through various means such as abducting a bookstore owner and attacking the press editor, etc.

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Fruit Tart

Fruit Tart

CONTEXT

As part of my cake series, I began with an endeavor to create a narrative that portrays a universally shared, collective experience of life. Birthdays, in a sense, is what we all have in common. We are all determined a time and day in which we are borne into this world; such a fact mobilizes not only people but all creation across space, time, and place to occupy a particular fact of life simultaneously. Using still life of cakes as symbols for the reminder of co-existence amongst ourselves, it also raises questions of life and death: as each year signifies a miniature countdown to death of one individual and ultimately ripples its grandiose effects on the entire population, how do people resolve the tension of the visible physical decay and the invisible metaphysical belief they have of the world and their own individual significance? As inevitable as death is, can art outlive its finality?

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Caked

Caked

CONTEXT

As part of my cake series, I began with an endeavor to create a narrative that portrays a universally shared, collective experience of life. Birthdays, in a sense, is what we all have in common. We are all determined a time and day in which we are borne into this world; such a fact mobilizes not only people but all creation across space, time, and place to occupy a particular fact of life simultaneously. Using still life of cakes as symbols for the reminder of co-existence amongst ourselves, it also raises questions of life and death: as each year signifies a miniature countdown to death of one individual and ultimately ripples its grandiose effects on the entire population, how do people resolve the tension of the visible physical decay and the invisible metaphysical belief they have of the world and their own individual significance? As inevitable as death is, can art outlive its finality?

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A Piece of Cake

A Piece of Cake

CONTEXT

As part of my cake series, I began with an endeavor to create a narrative that portrays a universally shared, collective experience of life. Birthdays, in a sense, is what we all have in common. We are all determined a time and day in which we are borne into this world; such a fact mobilizes not only people but all creation across space, time, and place to occupy a particular fact of life simultaneously. Using still life of cakes as symbols for the reminder of co-existence amongst ourselves, it also raises questions of life and death: as each year signifies a miniature countdown to death of one individual and ultimately ripples its grandiose effects on the entire population, how do people resolve the tension of the visible physical decay and the invisible metaphysical belief they have of the world and their own individual significance? As inevitable as death is, can art outlive its finality?

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Baptism

Baptism

 

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Landscape Distopia

Landscape Distopia

 

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Still Life

Still Life

CONTEXT

Ever since Hong Kong was returned to China as a British-colonized country, it was agreed upon a treaty that they would operate under a "one country, two systems" policy in which Hong Kong would exercise its governing power over its own territory for at least 50 years. However the last 10 years or so, the central government had been influencing the SARS government in Hong Kong in its governor election which in turn catalyzed the influx of the mainland's dominance over Hong Kong (reflected in our economy, welfare, education, and career opportunities.) Those major societal reconstruction and political chaos under the supervision of the mainland Chinese government had sparked up a revolt among young adolescents in Hong Kong (mainly college students) called the Umbrella Movement. Its purpose was mainly to boycott the government and create a blockage of main roads for an extended period of 2-3 months and to demand a platform of negotiation between HK citizens and the SARS government. Since then there has been police force violence against unarmed civilian, abuse of authority in amending the constitution, blatant violation of freedom of speech through various means such as abducting a bookstore owner and attacking the press editor, etc.

DETAILS

Still life has long been considered a part of academic study in the arts. I regard such paintings as a reflection of the daily life in that specific period of time. It speaks a subtle language which documents the attitude, values, and belief that a society holds; a seemingly accumulation of accidental arrangements is intentionally set up in a manner to articulate the redundant occurrence of injustices in our country.

A yellow umbrella (symbol of the umbrella movement), books (allegory to the oppression of press and knowledge), fish balls in a bowl (reference to a recent violent attack between police and food vendors over the abolishment of food stalls on Chinese New Year---all of them point to a very specific cultural and historical context in which without the knowledge of it, outsiders wouldn't see the significance of the painting.

This painting resembles the mental state of people in Hong Kong-- an internalized bitterness and resentment that seems now so normal to encounter and live in every day. By painting the objects that so directly confront the audience, I hoped also to deliver a message on behalf of the HK citizens their helpless state and a dreadful, hopeless effort to restore the country to its stable condition.

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Anticipation

Anticipation

 

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Drowning

Drowning

 

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Painting Twenty

Painting Twenty

 

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Painting Twenty One

Painting Twenty One

 

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Painting Twenty Two

Painting Twenty Two

 

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Painting Twenty Three

Painting Twenty Three

 

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Painting Twenty Four

Portrait of Bee, Mount Gretna

 

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Painting Twenty Five

From Mennonite Church, Mount Gretna

 

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Painting Twenty Six

Pile of Coconuts, Florida

 

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Painting Twenty Seven

Little Houses

 

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Painting Twenty Eight

Children

 

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Painting Twenty Nine

Found on the road, Mount Gretna

 

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Painting Thirty

Portrait of a seated figure

 

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Asleep
Collective portrait
Collective portrait II
Portrait of John
A woman
Untitled
Self-portrait
Taiyaki
Roll cake
Lava
In Freedom We Stand
Fruit Tart
Caked
A Piece of Cake
Baptism
Landscape Distopia
Still Life
Anticipation
Drowning
Painting Twenty
Painting Twenty One
Painting Twenty Two
Painting Twenty Three
Portrait of Bee,
Mount Gretna
From Mennonite Church,
Mount Gretna
Pile of Coconuts,
Florida
Little Houses
Children
Found on the road,
Mount Gretna
Portrait of a seated figure
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misatopang@gmail.com