Roselina Hung’s favourite myth is the one that tells the story of the seasons. Caught in our own earthly cycles of love, temptation, regret, grief, the goddess Proserpina’s celestial push and pull serves as a metaphor for what we ourselves cannot escape. In Hung’s latest exhibit, Of Myth and Men (June 19-July 5 at Initial Gallery), the Vancouver painter explores mythology through relationships from her own life. The results are unsettling, hallucinatory, and beautiful:
If your paintings are stories, which storyteller might they be 'in the style of'?
My paintings are frozen moments from a larger story, most of which play out in the viewers mind. Since I borrowed from the Old Testament and Classical mythology, the stories already exist in history and can actually be attributed to specific storytellers, such as Ovid.
Tell me a myth that you came across in your research for this collection that profoundly inspired you. What do you think the role of creating myth plays in modern culture. Where do you see evidence of it still?
My favourite is the Roman myth of Proserpina (or Persephone in Greek). She was kidnapped by the god of the Underworld, which resulted in her mother Ceres, goddess of agriculture, fertility and motherly relationship, to turn the world to winter. Jupiter must intervene, as without crops to harvest, the humans are starving to death. Unfortunately, Proserpina has already eaten from the pomegranate of the dead, so she cannot leave the Underworld. An agreement is come to that she will spend half the year with her husband in the Underworld, and half the year with her mother on Earth – and so explains the seasons of the year.
"The Rise and Fall of Proserpina" from Of Myth and Men, June 19-July 5 at Initial Gallery.
In modern culture, we are still creating myths to explain why things happen and work. People create stories to better understand the world, and these stories evolve through the generations. I believe filmmakers are modern day mythmakers, creating different variations of similar stories that are told multiple times, year after year. And many times a group of films will follow as a response to something that is happening the world that people are looking for answers to.
What is a favourite or memorable Old Testament verse?
My knowledge of the Old Testament actually comes from my study of paintings and sculptures in art history. The one that sticks out most in my mind is Judith and Holofernes but more so because of the striking painting by Artemisia Gentileschi of “Judith Slaying Holofernes” than the story itself. I saw the painting at the Uffizi Gallery in Florence and the image stuck with me. My reworked version, “Judith’s Reprise”, is in my current exhibition.
Who or what are the stars of your own mythology? What are some recurring themes in your life?
In this current mythology, I seem to be drawn especially to wolves and lions the most – larger wild versions of domesticated animals. The main recurring themes in my life, and probably many people’s, are romantic relationships, the roles we play in them and the cycles we go through with them. From the beginning through to the end of relationships, looking back, many times there are similarities and parallels between them that can be seen as recurring themes that repeat throughout our lifetimes.
If you could combine your style with any other artist's work, who would you work with and what would the finished product look like?
Lately I’ve been thinking a lot about film and how it’s supplanted many forms of art to become the main form of storytelling for the masses. Back when I was an exchange student in Paris, I went to see a screening of “Alice” by the Czech filmmaker Jan Švankmajer. We could create a film together using stop-motion, puppetry and live action retelling myths. The end result would be surrealist with flowers that come alive, storm clouds that envelope scenes, and puppets with animal masks. A young woman with long black hair, messily hidden under a pink wig, would be the main protagonist.
Which traits of your zodiac sign do you most strongly identify with?
I’m a Gemini and my mom was actually told she was having twins when she was pregnant with me. So I would have to say that the twin aspect of Gemini and being of two minds is what I identify with most. I have split interests that can be seen as opposites, and I usually can see both sides to every story, so it can be hard for me to choose sides. This runs even in my artwork, which sometimes I think can seem like two different artists making two different bodies of works. But on a closer look, there are similarities that tie the two together.
What's something that surprises people about you?
I’m not sure if this is about me or about my paintings, but when people see work from this latest series, they usually think that it’s mixed media with collage. It’s actually all painted with oils though.
In your own experience, what experiences or programs should a young artist seriously pursue in terms of development and opportunities?
Artist residencies are a great way for young artists, and artists of all ages for that matter, to develop their work and ideas (Hung has attended residencies at The Banff Centre, Ox-Bow School of Arts and SÍM Reykjavik). Being in a new environment forces you to think differently. You meet new people who have similar interests, in making art, but with different views towards art, from all over the world. Also, with residencies, you have time to focus on only making artwork, and that is a luxury that many of us don’t have when we are working in our home cities.
Do you think patrons and buyers respond to paintings in miniature as they do to larger pieces? Is it a risky decision for an artist? How do you draw in the viewer and how do you keep them engaged in your world?
I’ve found that just as many people prefer small paintings to large. Many people don’t have the space for larger works. I’ve never really thought of it as a risky decision, as the scale is important to the work and can add to the work when developed with that in mind. With miniatures, the viewer has to get close to appreciate them. There is a certain sense of intimacy about getting up close to a miniature that you can’t do with a larger painting.
What tools are essential to your creative process?
Basically the same traditional tools of oil painting that have been used for generations – oil paint, solvent, and paint brushes. The most important tools are probably the very small brushes that I use for painting the detailed patterns, the fur on the animal masks, and the faces of the women.
You love to paint patterns. Do you extend that into your own personal style? What do your studio and living spaces look like?
It does make its way into my personal style, but more so in my clothing than my studio or living spaces. My studio is my place of work. It’s spartan and without decoration. Because of its small size, I have to be economical in my use of the space. My living space is actually also pretty minimal, but I’m trying to build my art collection and have a few works by friends up alongside some of my older paintings.
Why is the Art Walk important for local artists and art lovers?
Any organized public art event is important for a city. It shows that art is important and I think when it’s planned as an event, there’s a greater likelihood that people will make a point of going to see what’s happening. It’s a good opportunity for local artists and art lovers to see what is being made in this city.
Which other art walker's work are you excited to check out?
I’m hoping to see David Pirrie’s “Pop Art Mountain” paintings. I like the look of the flat dots against the painted mountains. I caught a glimpse of them while passing the Ian Tan Gallery but would like to see them close up.
Of Myth and Men
Opening Reception: June 19, 6 – 8pm
Artist talk: Saturday, June 21 @ 2pm (part of South Granville Art Walk).
Initial Gallery, 2339 Granville Street
