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SUMMARY:Who are Orientals: Magenta Realism
DESCRIPTION:SHARON TSAO\nWHO ARE ORIENTALS: MAGENTA REALISM\nJuly 3 – August 2\, 2026\nSecond Saturday Reception: July 11\, 5–8 PM \nAbout forty years ago\, when I first came to California\, I was told that I was “Oriental.” I was also told that certain tables and chests were “Oriental\,” and that a particular decorative style was likewise considered “Oriental\,” even though these things looked unfamiliar to me. \nThe works in this exhibition are largely produced in what I was told is an “Oriental” style or manner. They originate from dried Boston ivy vines resembling twisted tree branches\, gathered after years of growth without human intervention and coated with an artificial magenta surface. \nThe application of magenta coating violently interrupts this natural index. Historically\, magenta is among the first fully synthetic modern pigments\, inseparable from industrial chemistry\, mechanical reproduction\, and the chromatic excess of modernity. Here\, color no longer functions descriptively\, but operatively. The magenta surface transforms the dead vines into unstable signs oscillating between the imagined seductions of the “Oriental” and the chromatic excess of industrial modernity\, between contamination and ritual\, and between transcendence and artifice. If the branches retain the temporality of decay\, the color introduces what Jean Baudrillard might describe as the logic of simulation: reality intensified precisely through its artificiality. \nThe works also echo a reversed form of classical Chinese literati aesthetics. Where traditional literati painting often pursued “compression through weathered emptiness” — reducing the world into ink\, void\, and gesture — these works enact a compression through chromatic saturation. The tangled vine becomes a condensed structure of historical memory\, while magenta operates almost as a contemporary counterpart to ink: not natural\, but hyper-artificial; not withdrawn\, but aggressively present. \nSuspended between objecthood and theatricality\, ruin and ornament\, realism and hallucination\, the works propose a different understanding of realism itself. Reality here is not achieved through representation\, but through direct material presence complicated by cultural coding\, synthetic color\, and the unstable perceptual systems through which contemporary viewers encounter nature. \nJoin us at Axis Gallery\, located at 625 S Street in Sacramento’s historic R Street Corridor\, within the Verge Center for the Arts building. The gallery has exhibited innovative contemporary art for over 35 years and continues to serve as a vital space for artists to explore\, connect\, and share work outside the commercial sphere.\nGallery hours: Friday–Sunday\, 12–5 PM \nABOUT THE ARTIST \nSharon Tsao is a sculptor\, art historian\, and educator whose work explores the intersections of nature\, memory\, cultural identity\, and material transformation. She received a B.A. in Sculpture from the China Academy of Art in 1982 and earned a Ph.D. in Art History from Stanford University in 1996. Tsao has taught Art History at Postsecondary Educational institutions\, where she supervised graduate research in art history.\nHer works have been exhibited\, collected\, and auctioned internationally\, and are held in private and public collections in Asia\, North America\, and Europe.
URL:https://artsalliancedavis.org/event/who-are-orientals-magenta-realism-14/
LOCATION:Axis Gallery\, 625 S St\, Sacramento\, 95811\, United States
CATEGORIES:Art
ATTACH;FMTTYPE=image/jpeg:https://artsalliancedavis.org/wp-content/uploads/2026/06/Tsao-Magenta-Realism-1.docx-H-Tsao-YvHT90.jpg
ORGANIZER;CN="Axis Gallery":MAILTO:info@axisgallery.org
END:VEVENT
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DTSTART;TZID=America/Los_Angeles:20260802T120000
DTEND;TZID=America/Los_Angeles:20260802T170000
DTSTAMP:20260624T164326Z
CREATED:20260624T164326Z
LAST-MODIFIED:20260624T164326Z
UID:25995-1785672000-1785690000@artsalliancedavis.org
SUMMARY:Who are Orientals: Magenta Realism
DESCRIPTION:SHARON TSAO\nWHO ARE ORIENTALS: MAGENTA REALISM\nJuly 3 – August 2\, 2026\nSecond Saturday Reception: July 11\, 5–8 PM \nAbout forty years ago\, when I first came to California\, I was told that I was “Oriental.” I was also told that certain tables and chests were “Oriental\,” and that a particular decorative style was likewise considered “Oriental\,” even though these things looked unfamiliar to me. \nThe works in this exhibition are largely produced in what I was told is an “Oriental” style or manner. They originate from dried Boston ivy vines resembling twisted tree branches\, gathered after years of growth without human intervention and coated with an artificial magenta surface. \nThe application of magenta coating violently interrupts this natural index. Historically\, magenta is among the first fully synthetic modern pigments\, inseparable from industrial chemistry\, mechanical reproduction\, and the chromatic excess of modernity. Here\, color no longer functions descriptively\, but operatively. The magenta surface transforms the dead vines into unstable signs oscillating between the imagined seductions of the “Oriental” and the chromatic excess of industrial modernity\, between contamination and ritual\, and between transcendence and artifice. If the branches retain the temporality of decay\, the color introduces what Jean Baudrillard might describe as the logic of simulation: reality intensified precisely through its artificiality. \nThe works also echo a reversed form of classical Chinese literati aesthetics. Where traditional literati painting often pursued “compression through weathered emptiness” — reducing the world into ink\, void\, and gesture — these works enact a compression through chromatic saturation. The tangled vine becomes a condensed structure of historical memory\, while magenta operates almost as a contemporary counterpart to ink: not natural\, but hyper-artificial; not withdrawn\, but aggressively present. \nSuspended between objecthood and theatricality\, ruin and ornament\, realism and hallucination\, the works propose a different understanding of realism itself. Reality here is not achieved through representation\, but through direct material presence complicated by cultural coding\, synthetic color\, and the unstable perceptual systems through which contemporary viewers encounter nature. \nJoin us at Axis Gallery\, located at 625 S Street in Sacramento’s historic R Street Corridor\, within the Verge Center for the Arts building. The gallery has exhibited innovative contemporary art for over 35 years and continues to serve as a vital space for artists to explore\, connect\, and share work outside the commercial sphere.\nGallery hours: Friday–Sunday\, 12–5 PM \nABOUT THE ARTIST \nSharon Tsao is a sculptor\, art historian\, and educator whose work explores the intersections of nature\, memory\, cultural identity\, and material transformation. She received a B.A. in Sculpture from the China Academy of Art in 1982 and earned a Ph.D. in Art History from Stanford University in 1996. Tsao has taught Art History at Postsecondary Educational institutions\, where she supervised graduate research in art history.\nHer works have been exhibited\, collected\, and auctioned internationally\, and are held in private and public collections in Asia\, North America\, and Europe.
URL:https://artsalliancedavis.org/event/who-are-orientals-magenta-realism-15/
LOCATION:Axis Gallery\, 625 S St\, Sacramento\, 95811\, United States
CATEGORIES:Art
ATTACH;FMTTYPE=image/jpeg:https://artsalliancedavis.org/wp-content/uploads/2026/06/Tsao-Magenta-Realism-1.docx-H-Tsao-YvHT90.jpg
ORGANIZER;CN="Axis Gallery":MAILTO:info@axisgallery.org
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