Butters Gallery - 1994 |
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I have following Ming Fay's work as a sculptor for over two decades. In general I would characterize his work as existing from the ground up. Put another way, Ming Fay's sculpture has always dealt with the conditions of gravity. He is concerned not only with where things exist but how they are placed.
To regard a Ming Fay sculpture -- whether a large bronze pear or a papier mache ginseng root -- is a phenomenal experience. These organic manifestations exist in the everyday world.
Yet, in terms of representation, they tend to be ignored or overlooked in favor of the simulacra. Pears, peppers, flowers and roots are not the dematerialized hyperreality of television. They are the reality of our substance. They comprise another view of culture.
The transitory mode of reality is primarily organic. The manifestation of natural signs is what used to govern spiritual perception. To upscale these natural signs and to give them a status within the infinitely reverberating noise of television asserts a rejuvenation of spiritual resistance.
Ming Fay is an artist for the Nineties. He is an internally-directed artist who offers a clearer understanding of hyper-reality by contesting it against a form of natural reality. He is an artist who expands our understanding of the world through art, through a process of envisioning what is absolute within the transitory, through an essentially humanizing concept.
Robert C. Morgan
New York City
April 1994