JUDY CHAN

ARTIST'S STATEMENT

I have always been interested in combining printmaking with three-dimensional objects. I was never satisfied with the flatness of prints and tried to find ways to get the prints away from the walls. I discovered that mounting the prints on wood frames made the work more accessable to the viewer, kept the prints off the wall surface and gave me freedom to mix medias.

In Transitory Existence the numbers of an old, broken clock are scattered as if we have no actual sense of time in a lifetime and the remnant of the mechanism that makes the clock tick and move forward has taken flight.

IThe Transition series is a statement on racism. The broken scissors on Transition II is a comment on the American Japanese prison camps where the internees were not allowed to have knives or scissors with blades longer than five inches and the tips had to be broken to prevent their use as weapons. The series began as a single photo-silkscreen image printed on six separate sheets of rag paper. Each print was then manipulated by hand to create six different images.