Berlin-based artist Wei Tan loves chairs. In her combined media work, they punctuate swathes of peach, lilac and aquamarine, suspended in rooms with out corners, or depth. Tan’s chairs provide the dreamer a kick off point. They’re one thing of an obsession for the artist. “I found not way back that the phrase ‘obsession’ comes from Latin ‘obsidere’, which means ‘to take a seat in entrance of,’” Tan tells me. 

Although artwork isn’t her solely obsession. “I’ve at all times preferred each artwork and music,” she says, however as Tan was solely allowed to decide on one arts topic in school, she selected music. After finding out Music Know-how at New York College, the place she invented an instrument that “interprets dwell portray into sound,” Tan started to include artwork into her music, experimenting with drawing, composition and music-as-therapy. “In any case that I figured that possibly I simply needed to color.”

Artwork opened up for her as a vocation after assembly Gina Bonati, “a magical 60-year-old New Yorker who paints, dances, acts and sings.” Classes with Bonati become a collaboration between the 2 artists. “We produced over a dozen massive summary work over a number of weeks,” Tan explains, crediting Bonati for her experimental method to color, and her appreciation for Summary Expressionism. She describes the “infinite” prospects of this custom, its “too broad” scope. Quickly, Tan needed one thing “extra figurative and tangible.”  “I began to include bodily objects into the summary environments of my work. For instance, I’d go searching within the studio and begin sketching mundane objects like tables, vases… then chairs got here into the image.”

For Tan, this motif is charged with emotion and reminiscence. When she moved to Berlin, Tan “was at all times hanging out in cafes throughout quiet hours, and I’d take footage of the empty chairs throughout the room, or exterior.” In Berlin, she explains, “it’s frequent to see previous chairs deserted on the streets for the following passer-by to choose them up. Someday I made a decision to color them.” She was drawn to chairs due to their anthropomorphic qualities – “they appear virtually like a human being with arms, legs and a torso.” And like human beings, chairs “soak up emotion”; “everybody who sits on a chair leaves a few of themselves behind. An previous chair, for instance, has years and even many years of emotional reminiscence.”

Once I counsel parallels between her room work and Matisse’s, Tan confesses to being “fairly clueless” about artwork historical past: “I needed to be advised by somebody that my work remind them of Matisse’s room work.” Her influences span Pierre Bonnard, Georgia O’Keeffe and Cy Twombly, plus Susan Rothenberg – “one other one in all my favourites” – though music stays a necessary inspiration for Tan’s apply. Her brushstrokes replicate the music she listens to as she paints, and she or he normally listens to the identical album for weeks. Proper now it’s Cocteau Twins’ Heaven or Las Vegas.

Tan’s present solo present expresses her multidisciplinary method, and her “sense of indecision, of desirous to have each worlds, and a resistance to decide to only one.” My Chair is Having an Out-of-Physique Expertise, on view at Incubartor Wiesbaden in Germany, explores this liminality, providing the chair as some extent of departure for dreaming, feeling and remembering. This present additionally displays Wei’s present preoccupations, as she is “juggling many alternative initiatives and roles directly, and being a little bit of a shapeshifter.” Lengthy might the sport of musical chairs proceed. 

My Chair is Having an Out-of-Physique Expertise is on view at Incubartor Wiesbaden till twenty third January.