Alexandra Noel in Conversation with Claire Shiying Li | Claire Shiying Li

I’ve always thought of paintings as being three-dimensional objects. I think it’s a common and disingenuous interpretation not to acknowledge that they exist in space and come off of the wall, even if it’s only slightly. Even if their surface depicts something “realistic”, I want the smallness of mine to call attention to them as objects, which can give the desire to hold or consume them. Sometimes I want the paintings to come off the wall entirely sometimes, which is where my “sculptures” come in. I’ve always looked at the sides of paintings when I go to see shows. Did the artist address them? Did they tape the edges to keep them clean or did they ignore them and let paint messily build up? Did they paint on unstretched canvas and then stretch it over bars? Frames used to resolve this issue but frames are rarely used anymore. For me, the enamel acts as a built-in frame, but sometimes I let the oil paint spill over the sides or let the enamel take over the face. I like that the viewer is sometimes rewarded if they look underneath.

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