dab neeg thiab ntawv (folktale and text) | ZENA VUE

Throughout this exhibit. I work digitally through the Adobe creative suite with their applications such as Photoshop and Illustrator. The dab neeg found in this exhibit takes inspiration from the book, Folk Stories of the Hmong by Norma J. Livo and Dia Cha, as well as popular Hmong movies from the early 2000s.

Slideshow of Artwork

Give your about the show, support an emerging artist.

Artist Statement

Stories have always fascinated me as a child. I watched and rewatched Nuj Nplhaib Thiab Ntxawm(folktale featured in the exhibit) more times than I can count. I reenacted almost every single scene as an impressionable child and loved the story dearly. Some of my favorite children’s shows were Dragon Tales and Cyberchase, both story driven and magical in their own ways. From there, I became an avid reader as I learned the English language. From the Percy Jackson series to Alanna by Tamora Pierce, I was filled with the fantastical. Eventually as I stopped reading, I began noticing my own stories and revisiting Hmong folktales(dab neeg).

The current Hmong language used by Hmong-Americans is called the Hmong Roman Popular Alphabet, introduced about 70 years ago. Being children of immigrants, English was the priority to learn and Hmong eventually became secondary. Therefore, I have no formal education in Hmong. It is an instinctual language and I wish to preserve it in the limited ways I can. Having exposure to typography and hand lettering throughout university, I now approach Hmong as another way to express my art. I am not fluent but by connecting through art, I will continue to use Hmong. Finding meaning in dab neeg and ntawv, I strive to preserve Hmong language.

Throughout this exhibit, I work digitally through the Adobe creative suite with their applications such as Photoshop and Illustrator. The dab neeg found in this exhibit takes inspiration from the book, Folk Stories of the Hmong by Norma J. Livo and Dia Cha, as well as popular Hmong movies from the early 2000’s.

Bio

Zena Vue is a Hmong-American visual artist and graphic designer based in the Twin Cities. She is currently seeking a bachelor of arts degree in graphic design and creative writing. She mainly deals with an interplay of typography and illustration. Her practice includes both digital and analog techniques.

Virtual Mock-up

Due to COVID-19 the show in the physical gallery space has been delayed. Here is a virtual representation of what it will look like in the Gallery720 space.

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Time on Paper

January 10 – February 25, 2011 – Gage Family Art Gallery

Reception: Friday, January 21, 5:30-7:30 p.m.

Time on Paper is a reflection on the dimensions of time, spanning from its limitations to its significance. In this exhibition, ten Minnesota book artists come together to explore the rhythm, magnitude, and influence of time through structure, subject, and experience. Each artist approaches the concept differently: overtly embedding it into the content or simply hinting at it, exploring it empirically or theoretically, and addressing its constraints or endless possibilities. Time is essential to experience the work as the visual and textual elements unfold to the viewer.

Artists include Wendy Fernstrum, Scott Helmes, Bridget O’Malley, Jeff Rathermel, Paulette Myers-Rich, Regula Russelle, Cathy Ryan, Chip Schilling, C.B. Sherlock and Jody Williams.

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just passing through

October 13 – December 16, 2010 – Gage Family Art Gallery

Reception: Wednesday, October 13, 5:30-7:30 p.m.

Printmaker Jerald Krepps’ new series is a visual response to the experiential beauty of change and life’s temporal quality. Through the use of light, Krepps creates images that explore our sensory relationships with the passage of time.

Bio

Jerald Krepps is an associate professor at the University of Minnesota, where he teaches printmaking. He received his M.A. from the University of Missouri-Columbia and his M.F.A from Indiana University-Bloomington. Krepps has received grants from the Jerome and McKnight Foundations and his work can be seen in the permanent collections of the Minneapolis Institute of Arts and the Frederick R. Weisman Art Museum

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A Reasonable Facsimile

January 10 – February 25, 2011 – Christensen Center Art Gallery

Reception: Friday, January 21, 5:30-7:30 p.m.

In the midst of the millions of text messages sent each day, a group of twelve photographers took eight months to play a visual game of telephone using the U.S. Postal Service. The curator of the project, Michelle Westmark, began the photo chain by sending a 4″x 6″ postcard version of her image to be interpreted by the next photographer on the list. This artist had a two-week window to photographically respond to the image’s subject, content or formal elements and pass a postcard of the new image along, creating a visual and tactile conversation that progressed around the country. While so much of our globally digitalized world speeds along, A Reasonable Facsimile pauses to find connections within a variety of locations and lenses.

Bio

Photographers included in the exhibition are Michelle Westmark (MN), Conor King (CO), Lindsay Borden (WA), Sarah Christianson (CA), Yasmin Etemadi (CA), Sarah Baron (NC), Sarah Stacke (NY), Salma Khalil (DE), Rachel Loischild (MA), Jason Flack (MA), Carl Sweets (IL) and Brett Kallusky (MN).

Michelle Westmark received her B.A. from Bethel University and her M.F.A. from Pratt Institute where she studied photography. She is currently the Gallery Director and an Assistant Professor of Art at Bethel University.

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imPrint

October 13 – December 16, 2010 – Christensen Center Art Gallery

Reception: Wednesday, October 13, 5:30-7:30 p.m.

In his upcoming show imPRINT, printmaker and Augsburg College professor Lynn Bollman explores what is and is not a print. By experimenting with unconventional surfaces and the process of printing, he invites the viewer to reevaluate the fine line between standard classifications of what things are and what they could be.

Bio

In his upcoming show imPRINT, printmaker and Augsburg College professor Lynn Bollman explores what is and is not a print. By experimenting with unconventional surfaces and the process of printing, he invites the viewer to reevaluate the fine line between standard classifications of what things are and what they could be.

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