Ouma’s life work is an infinite scene: an unraveling scroll composed of tiles with patterns evolving in response to their neighbors. As a former veterinarian, Ouma’s vision of the world is informed by life under the microscope. There, the codependence of individual cells that make up complex organisms mirrors the simple behavior of life on Earth visible to the naked eye. The work exhibited in “Infinite Repetition” is the Phylogenetic Tree—an ongoing project started in 2017 based on the genetic evolution of living species. Errant lines wander from one page to the next, outlining bulbous spotted amoebas with wriggling pili. Bold, cheerful colors bind individual cells into “families” that touch and overlap. If one painting represents a single cell, together they become a growing, multicellular organism that depends upon its neighbor and family for definition and survival within the world. Ouma’s evolving artwork is open to viewers causing irreversible changes to the whole, which ultimately connect viewers to the Phylogenetic Tree.
欧玛的生活工作是一个无限的场景：由瓦片组成的解开卷轴，其图案随着他们的邻居而变化。作为一名前兽医，欧玛对世界的看法是在显微镜下的生活中得到的。在那里，构成复杂生物体的单个细胞的相互依赖性反映了肉眼可见的地球上生命的简单 行为。 “无限循环”中展出的作品是系统演化树 - 一个正在进行的项目，始于2017年，基于生物物种的遗传进化。周游的线条从一页到另一页徘徊，勾勒出球状斑点变形虫与蠕动的毛发。大胆，欢快的色彩将个体细胞结合成触摸和重叠的“家族”。如果一幅画代表一个单一的细胞，它们一起成为一个不断增长的多细胞生物，依赖于它的邻居和家庭来定义和生存在世界范围内。欧玛不断发展的艺术作品向观众开放，对整体进行不可逆转的改变，最终将观众与系统演化树联系起来。
“Infinite Repetition” presents a number of works by Autumn Lyn and Ouma from past three years. The exhibition examines how the two artists come to terms with the expansiveness, complexities, and pains of life through art. Abstract and meditative, the works communicate innate understandings of the interconnectedness between living things. Ouma’s artwork is ever expanding, while Lyn’s artwork returns upon itself, repeating the same form. Both are modern prescriptions to understanding the world: Ouma takes a holistic interpretation of the interconnectedness of living creatures, while Lyn returns to the moment as the source of life.
On the other hand, Autumn Lyn is interested in the metaphysical and in the relationship between abstract art and Buddhism. The circle dominates her artistic vocabulary: each revolution she draws is a mantra. Each mantra pulls her away from fantasies and anxieties and into awareness of the living moment. The number of circles or revolutions in a given work corresponds to numbers in Buddhist philosophy or to numbers with personal significance. The untitled black-and-white painting speaks of the conflict of fantastical desires and realistic necessities, which are overlaid with innumerable circular repetitions, binding both fantasy and reality together beneath Action. Further illustrating this internal conflict is a series of golden rice bowls counterposed to malformed blue bowls, each in their own tiny compartment.
Infinite Repetition is set within a city of luxuries. The signs and symbols of wealth surround the space, while inside the artists cope with the complexities of navigating life. In this context, the exhibition takes on another light that is more ironic. The two artists start in very different places but both use modern mechanisms to create art that acts as a reprieve in the face of the great weight of wealth, excess, and opulence that characterizes the successful modern human.