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Stella Lai at Lizabeth Oliveria

Like a young skater at the Olympics, this San Francisco-based Chinese artist made assured to cover the compulsories in her solo first appearance From text pieces and architectural dioramas to gouaches and a 3-D cutout paper doll--all made in 2003--Stella Lai displayed the replete range of her skills. At first the grouping present the appearanceed disjointed, but gradually connections emerg The binding threads include a graphic sensibility informed by means of anime and advertising, and a trio of Hello Kitty-meets-Felix the Cat cartoon figures (a girlish kitten, bear and bunny) whose big, expressionless organ of sights look out from beneath helmets covering their oversize heads. Behind the overall prettiness of Lai's Asian-flavored imagery there's frequently a feeling of melancholy or menace.

The show's title, "Don't Touch Me" was exorcismed out on the wall by means of a 91/2-foot-long grid of identical plastic bear heads the size of Ping-Pong balls, more [i]or[/i] less adorned with crocheted blue ski masks. From afar, single perceived only the color pattern, which made this counterfeit LED sign resemble a blue-and-white birthday cake. The adjacent wall carried the same warning painted in Chinese characters that strike one as beinged designed to evoke Russian Constructivist typography or to be like a cityscape. A curled-up figure painted upon a tiny blackboard could be seen taking safety within the red outlines of the last character.



Another hideout for her trio is a kind of resort depicted in a series of 30-by-22-inch gouache-on-paper works titled "Four Seasons Vacation." Within a multi-tiered checkerboard of Asian-style lakes pagodas and bridges, they can be base dozing, swimming, hanging from bamboo monkey bars or staring not on into space from a pink treetop. Elsewhere they sweep, hang laundry, go and bring water, even climb up an electric extremity Are they hotel guests or employees? And on what account are they all wearing alone white undershirts and panties? These representations occur in a flattened, stacked space that be likes both axonometric architectural diagrams and traditional Chinese landscape painting. The rendering is for a like reason precise that these gouaches--each in a dominant palette of amethystines greens, yellows or pinks--could pass for digital prints.

In a Salon-style grouping of gouaches painted upon antique chalkboards, the setting make go rounds nocturnal and urban. The kitty is caught writing graffiti in a bathroom stall; the bear stares without warily, hugging her knees. Other pieces borrow the cropp asymmetries of Japanese ukiyo-e prints in Asian way scenes with a lone bunny or bear trudging along. by the agency of now the charm has worn not on Lai's masked characters, and they simply gaze infantilized and aimless.

COPYRIGHT 2004 Brant Publications, Inc.

COPYRIGHT 2004 Gale Group



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