Sarah Shepard Gallery highlights the work of artist Charlene Tan in a series of works that explore the familial and cultural roots of her Filipina-American identity, specifically her family's long tradition of weaving.
A San Francisco-based multidisciplinary artist, Tan was born in Houston, Texas, but spent most of her childhood in the Philippines. She moved to San Francisco to attend the San Francisco Art Institute and stayed on to continue her practice.
Working in a wide range of mediums - from sculpture to performance - Tan is especially interested in
examining cultural subjects including assimilation, consumer culture, digital loss of imagery via facsimile, and post-colonial immigrant diaspora.
In her current work, Tan draws inspiration from her grandmother, one in a long line of weavers. Tan
discovered her grandmother - a tailor and embroiderer by trade - had produced traditional Filipino tribal
weavings. Intrigued, Tan looked further. With her grandmother no longer alive, Tan turned to her computer,
discovering a world of intricately patterned tribal weavings through a digital interface of pixelated images, each pattern reflecting a symbolic meaning. Tan's large works of immersive woven structures highlight the painstaking practice of both her grandmother's textile work and her own.
show less
A San Francisco-based multidisciplinary artist, Tan was born in Houston, Texas, but spent most of her childhood in the Philippines. She moved to San Francisco to attend the San Francisco Art Institute and stayed on to continue her practice.
Working in a wide range of mediums - from sculpture to performance - Tan is especially interested in
examining cultural subjects including assimilation, consumer culture, digital loss of imagery via facsimile, and post-colonial immigrant diaspora.
In her current work, Tan draws inspiration from her grandmother, one in a long line of weavers. Tan
discovered her grandmother - a tailor and embroiderer by trade - had produced traditional Filipino tribal
weavings. Intrigued, Tan looked further. With her grandmother no longer alive, Tan turned to her computer,
discovering a world of intricately patterned tribal weavings through a digital interface of pixelated images, each pattern reflecting a symbolic meaning. Tan's large works of immersive woven structures highlight the painstaking practice of both her grandmother's textile work and her own.
Sarah Shepard Gallery highlights the work of artist Charlene Tan in a series of works that explore the familial and cultural roots of her Filipina-American identity, specifically her family's long tradition of weaving.
A San Francisco-based multidisciplinary artist, Tan was born in Houston, Texas, but spent most of her childhood in the Philippines. She moved to San Francisco to attend the San Francisco Art Institute and stayed on to continue her practice.
Working in a wide range of mediums - from sculpture to performance - Tan is especially interested in
examining cultural subjects including assimilation, consumer culture, digital loss of imagery via facsimile, and post-colonial immigrant diaspora.
In her current work, Tan draws inspiration from her grandmother, one in a long line of weavers. Tan
discovered her grandmother - a tailor and embroiderer by trade - had produced traditional Filipino tribal
weavings. Intrigued, Tan looked further. With her grandmother no longer alive, Tan turned to her computer,
discovering a world of intricately patterned tribal weavings through a digital interface of pixelated images, each pattern reflecting a symbolic meaning. Tan's large works of immersive woven structures highlight the painstaking practice of both her grandmother's textile work and her own.
read more
A San Francisco-based multidisciplinary artist, Tan was born in Houston, Texas, but spent most of her childhood in the Philippines. She moved to San Francisco to attend the San Francisco Art Institute and stayed on to continue her practice.
Working in a wide range of mediums - from sculpture to performance - Tan is especially interested in
examining cultural subjects including assimilation, consumer culture, digital loss of imagery via facsimile, and post-colonial immigrant diaspora.
In her current work, Tan draws inspiration from her grandmother, one in a long line of weavers. Tan
discovered her grandmother - a tailor and embroiderer by trade - had produced traditional Filipino tribal
weavings. Intrigued, Tan looked further. With her grandmother no longer alive, Tan turned to her computer,
discovering a world of intricately patterned tribal weavings through a digital interface of pixelated images, each pattern reflecting a symbolic meaning. Tan's large works of immersive woven structures highlight the painstaking practice of both her grandmother's textile work and her own.
show less
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