Carl Cheng, a contemporary artist based in Santa Monica, California, quietly moved through the crowd of viewers observing his art at the Institute of Contemporary Art on 36th Street near Sansom Street. Cheng almost went unnoticed as chatting visitors eyed his work across both floors of the ICA that were transformed into his world of technology and sculpture.
“It all represents me at different times of my life,” Cheng said. “The me who made work 30 years ago to the me that made work yesterday.”
Cheng’s exhibit, “Nature Never Loses,” opened with a free celebration on Jan. 17 for guests wanting to get a first look at the new installation. The event lasted three hours, complete with catering and upbeat DJ music. Many people lined the stairs to get a bite of food while others explored the ICA, exhibiting reactions of surprise and astonishment at the peculiar pieces they found.
“It’s so cool and immersive in here,” said Grace Jennings, a visitor to the exhibit. “My favorite thing is probably the avocado display,” gesturing to the small-scale greenhouse structure in the middle of the room.
Inside, trays upon shelves contained palm-sized sculptures made of aged avocado skins. Many resembled the gaping face of a mask, while others spiraled into intricate formations.
Cheng’s interdisciplinary art style, which he has been developing since the 1960s, incorporates a wide variety of techniques and materials. While some pieces are various sculptural works, others become his “nature machines,” an artificial world perspective through man-made products. “Nature Never Loses” centers on the role of technology through the decades and reflects environmental change and political unrest.
Even the name of Cheng’s studio, John Doe Company is a comment on the commodification and branding of art. It also serves as a critique of the racism he faced as an Asian American during the Vietnam War era.
Cheng’s studies in fine art and industrial design at The University of California, Los Angeles helped shape his displays set around the ICA. From miniature ecosystems inside of a small ‘70s commercial television set to an intricate layout of sand on the floor designed by a mechanical rake, Cheng’s work finds ways to use technology to incorporate nature as an art form.
Cheng’s work is free for guests to view at the ICA until April 6.
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