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Writing about the artist Hyeyoung Shin’s show, Books and Rituals, at Western New York Book Arts Center in 2011, I mused upon the idea of her artwork: highly idiosyncratic images and forms of feet. It brought to my mind the torturous Asian “art” of “ foot-binding” practiced until fairly recently on young girls in the upper classes, correspondingly the “natural foot” being the unbound symbol of a peasant work force, bare of foot striding into a well grounded future under post-revolutionary Chairman Mao. Shin wrote back, disabusing me of the notion her work had anything to do with foot-binding.
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