Yun Gee and Li-lan: Art Without Borders by Stephanie Buhmann
Different in style and execution, the restrained and delicately rendered works of Gee’s daughter Li-lan, reflect a similarly unique thirst for carving out an imaginative space. Though some of her earliest works date back almost five decades, it was a body of paintings from the mid-1970s, featuring still lifes with empty notebook pages that can be counted among her first mature achievements.
An Infinite Field of Memories and Imagination by Tung-Hsiao ChouInspired by both European and American modern and contemporary aesthetics, Li-lan's work often involves motifs from ordinary, everyday objects, which relate closely to her personal memories and nostalgia. In Li-lan's art, figurative images, though they are not realistic reproductions per se, are mostly aligned in order, or with slightly casual arrangements. This creates an aura of tranquility and contemplation as though it were in a reverie. Continue. . .
Prologue by Carter RatcliffThe richer my interpretation of Li-lan's art, the stronger is my sense of myself as an interpreter, as one sensibility communicating with another. Continue. . .
Artist Statement (2013)Imaginary and real figures. Birds in flight, or still. Eyes looking out, looking in. Animals in black and white or in vivid hues of color - reds, pinks, yellows - stand, fly or float into and out of windows, doors, architectural spaces. They enter and exit dreamlike silent rooms or places that evoke metaphors of landscapes, of thoughts and of dreams. Continue . . .
Artist Statement (2010)Empty canvas speaks to me: blankness anticipates a beginning and in the white quiet stillness I find a place for meditation and creation. Architectural imagery from East and West create spaces against the vast areas of white. In these spaces, and on the two-dimensional pure background birds and planes in flight, insects and animals, perhaps an occasional figure, invoke an illusionistic effect of varied perspectives, passages, boundaries: ambiguous transitions. Continue . . .
Contemplative Landscape of the Mind by Tung Hsiao ChouLi-lan's new work, inspired by the Japanese folktales of Kaidan, from the Edo Period, replete with narrative opportunities, provides free associations between imagination and reality, and guides viewers into her profound reverie. Continue. . .
Li-lan: Mystery, Meditation, and Technique by Jess FrostLi-lan's paintings may tease at possible interpretations, but their strengths lie in the narrative possibilities that weave in and out of contemplative spaces, both pictorial and literal, striking the strangely tranquil balance that defines Li-lan's limitless imagined worlds. Continue. . .
Transnationals in “In Between” Spaces (Introduction) by Joyce BrodskyBiracial artists like Maya Lin and Li-lan and transnational artists like Yun Gee may be burdened by the effects of racism and bigotry, but the perceptions they gain from their location in the "third space" may provide them with insights that strengthen their resolve and enrich their art practice. Continue. . .
Artist Statement (2007)I have included in some pieces an image of my eye fashioned into a repeating stamp motif. It functions not only to represent my own unique vision as an artist, but also references to how others perceive me. Western culture typically uses the eyes as a defining physical feature of Asian identity. Continue . . .
Li-lan, Foreign Correspondent by Scarlet ChengLiving between two worlds comes naturally to Li-lan. Born in cosmopolitan New York City, she would be raised between two cultures, Chinese and American. And later, during the 17 years she lived between the United States and Japan, she further learned that borders are fluid, not fixed. Continue. . .
Foreword by Christine Y. KimThis catalogue celebrates three decades of Li-lan's work. While it is an intimate selection that focuses on recent paintings and pastels, it presents several works dating back to the late 1970s, giving the reader a rare opportunity to experience aspects of her artistic evolution. Continue. . .
Pass on the Paint: Same Family, Same Career – But as Painters They’re a World Apart by Karen Rester
Pass on the Paint: Same Family, Same Career - But as Painters They're a World Apart by Karen ResterContinue. . .
Li-lan by Carter RatcliffThough I understand Li-lan as an allover painter who keeps the edges of her canvases permeable, I don't say it is wrong to see her as a proponent of compositional closure. Interpretations do not come in opposed pairs-one right, the other wrong-and there is no denying that powerful traditions encourage us to see a picture's elements as securely contained by its frame. Nonetheless, the energies of Li-lan's art have the feel of vectors: trajectories with no reason to stop at the edge of the canvas. In her geography, a frog's leap is equal to an air liner's intercontinental flight. Continue. . .
Artist Magazine (Taipei) • May 2004
Delicate Self-Contained Universe: Li-lan at Nabi Gallery by Tung-Hsiao ChouContinue. . .
Li-lan: The Game of Seeing Life by Peter FrankLi-lan is playing a game with us. It's not a competitive game, and if we play along, we all win. It's a sleight-of-mind game, how you see it/how you don't. And it's very much an artist's game, wherein image and meaning are manipulated into a gratifying choreography whose portent turns out to be the viewer's invention, not the painter's. Continue. . .
Memories of My Father by Li-lanI visited my father in his top floor walk-up from the time my parents separated, and subsequently divorced, when I was two, until he died when I was twenty. During those years, my father's paintings inhabited my visual world. They covered every bit of wall space in his Greenwich Village studio on East Tenth Street. Continue . . .
The Paintings of Li-lan by Joyce BrodskyOver the course of her career, attempts have been made to correlate Li-lan's work to a multiplicity of styles. Her paintings have been called surrealist, but her work is always about real things. Although they have been identified with Pop art, Li-lan's paintings make a delicacy of the ordinary, and are located within the easel painting tradition. In contrast to Minimalism, her surfaces support complex imagery: the structure of her work is abstract unlike most photo-realist images. Continue. . .
Li-lan by Dr. Shūichi KatōLonely artists will gaze at small things close to them and tend to see the whole world and its identity in them. As Morandi and Samuel Beckett saw, so did Li-lan. Continue. . .
Li-lan: Reaching Across Barriers by Sheridan SansegundoAs you read this sentence, billions of little paper rectangles are winging around the world: From Fire Island to Tierra del Fugeo, from Kalamazoo to Katmandu, humanity is staying in touch. But more than happy holiday postcards, what come to mind are divided families, parted lovers, lives changed by bad news, friendships ruined by lost letters, hearts broken by the words "Return to Sender." The paraphernalia of correspondence - envelopes, postcards, stamps, cancellation marks - have formed a central theme of Li-lan's paintings for many years. Continue. . .
Transmissions: Recent work by Li-lan by David EbonyLi-lan establishes in her work a language system centered on the metaphor of correspondence. She often paints blank envelopes, postcards, postage stamps, cancellation marks and other postal markings, which she uses as a means of correspondence with the viewer. Her meticulous images are improvisations on, not copies of, the postcards and stamps that friends send to her form many countries around the world, such as Malaysia, Denmark and Egypt. The images are often impressionistic, and always interpretive. In the end, her airy and light-filled compositions, and the rich textural nuances of the surfaces are quite far removed from the source material. Continue. . .
The Work of Li-lan: Postcards from the Edge by Scarlet ChengA lot of thought goes into these compositions and Li-lan often studies her collection of actual stamps, postmarks and envelopes. "I have file boxes full of stuff, " she explained. "Sometimes I remember things that I want, sometimes I leave them out on my desk when I want to use them." But the final product, she insisted, is intuitive, rather than reasoned out. "Nothing gets done right away," she said. "Everything gets subliminally done many times before it gets put onto the canvas." Continue. . .
Li-lan by Alice YangWith their heightened sense of spatial tension, Li-lan's paintings seem to hover ambiguously between surface and depth. One the one hand, she works her canvases over and over again, highlighting the intricate transition between tonal values and paint layers. On the other, she conjures up complex illusionistic effects through intriguing perspectives. In this way, Li-lan's paintings seem to prompt our imaginary entry into exotic and faraway locales and at the same time pull us back. Continue. . .
Artist Magazine (Taipei) • January 1996
This is not a Chinese - Li-lan at Lin & Keng Gallery by Chia Chia Jason WangContinue. . .