I saw all that material.I'm not going to turn that away. T: I was going on one of my early morning walks and my neighbor was unloading a giant box of gay porn, all paper print porn and he was about to put into the recycling and I said, What are you doing? and he said, I'm cleaning out my life. Z: And the queer porn? Where do you find the porn? Z: So, when you go to thrift stores, does everybody know you? The piece itself is going to be called, Framed Within the Context of White cause there is this really startling white frame that I'm working with. The hole in the middle that I still have to cut out and frame in a video pod, is going to be a moving image of all, or as many of the lives that I can collect images of, that have been affected by the violence of our society. So, I start walking to all the hardware stores and they're friends of mine and they said, Why don’t you take some color swatches? I kept collecting color swatches from all the hardware stores and I created this movement of color. All I had for the 4 months of summer was my walks and my neighborhood. T: This is a piece that was born from the reality of being misplaced from my studio. I just liked the idea that she made 20,000 cranes obsessively to somehow contain whatever anxiety she had to, so that she could do this work. Would you like to have them? and I said, Of course.
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She was always folding them and one day she came up to me and she said, I have 20,000 cranes. She went through a program at State and for the duration of that graduate program, the only way she could stay actively involved and contribute to the conversation in class was to fold these cranes as she was sitting there talking. I have a student who folds cranes, obsessively. The PR person was just always steering me towards that, and I was like this has nothing to do with that. It was a two-person show and the PR person for the non-profit space insisted that I talk about the Asian-ness of my work again and again and again. Case and point, I did a show with a queer Caucasian artist, and I love him dearly, we did the show together. Z: It seems like per-community, sometimes there is one big topic that gets a lot of attention than others. And no one stops to say, Hey, that's not acceptable. If you go on spaces like dating sites, they're really overt about it, statements like, No Asian Gold diggers please.
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I experience a lot of racial bigotry within queer communities. T: People think that somehow just because you are queer you get a pass when it comes to the subjectivity of race. Z: This is not related to collecting at all, but it’s on my mind, I've been noticing in the news, people will compare different experiences like Gender related experiences to Racial experiences which. He was an older queer man and at some point, as I was buying all this stuff and I was carrying it from his house, I looked out the window at my front door and I just had a vision of myself. Steve had been moved into assisted living and his cousin was selling his collections for like a $1 and I went over there, and I bought all his belt buckles and all of his books. T: My neighbor, Steve lived across the street and he was an amazing collector. It’s in the backyard. You could spend an entire day in my apartment with stories like that.
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She bought it for a quarter at a garage sale and seriously 40 years later I'm in a store and I see that tray and I call up my mom and I say, You remember that tray that you bought for 25 cents? I want it. I remember exactly that day when I was with my mom and she found this Stelton tray.which is a Danish serving tray. Z: Did you go to flea markets with your mom? She didn’t know the history or the academics of it, but she knew what she liked and tended to gravitate towards those things. I was introduced to Danish Modernism by my mother because of her thrifting ways-my mother wouldn’t know what Modernism was if it bit her, but she had an eye. I think it was such an interesting way to be introduced to culture. My mother furnished our entire house with things she'd gotten second hand and I was really embarrassed by it growing up, I was like, Ohhhh God, could we just live like everybody else? But, as an adult I love it, right. TRAN: When we were younger, I really saw the thrifting as part of the immigrant identity.