Powerlines and trees connect communities, sharing resources, spreading communication. When the ties between them are cut, only a memory of the bond remains. That memory shifts as it passes from mouth to mouth, malleable as copper, occluding and redefining the original relationship; a story broken from its context and reimagined again and again. Chosen moments coalesce into an archive and the archive is used to build a family identity, alternative histories hidden in discarded memories obliquely referenced but never unveiled.
A thought begins in Chinese, is spoken in English. This dislocation echoes throughout the ensuing generations in forms both hopeful and estranging.
Presented in March 2025 as rothrock's MFA thesis exhibition at Northlight Gallery in Phoenix, AZ.
Title taken from Meg Kim's poem Decontextualized.
L to R: cousins. 11x52”. Power cables. 2025; a memory of a memory of rice. 241x120”. Archival inkjet print, nails. 2025.
Detail: cousins and a memory of a memory of rice.
family portrait #1. 96x79x60”. Archival inkjet print, wood frame, industrial grade ceramic, galvanized steel. 2025.
L to R: river and bridge. 38x27”. Archival inkjet print. 2024; worlds cleaving. 27x38”. Archival inkjet print. 2024; ginger and rice. 40x60”. Archival inkjet print. 2024; reflection. 40x60”. Archival inkjet print. 2024; jiufen powerlines. 40x60”. Archival inkjet print. 2024.
Detail: river and bridge; worlds cleaving; ginger and rice; reflection; jiufen powerlines.
family portrait #2. 96x79x60”. Archival inkjet print, wood frame, industrial grade ceramic, galvanized steel. 2025.
L to R: giant taro and bamboo. 66x44”. Archival inkjet print. 2024; chinoiserie (globalization). Variable. Inkjet print on linen, wood frames, photographs. 2025; lotus and water cabbage. 66x44”. Archival inkjet print. 2024.
giant taro and bamboo. 66x44”. Archival inkjet print. 2024.
lotus and water cabbage. 66x44”. Archival inkjet print. 2024.
chinoiserie (globalization). Variable. Inkjet print on linen, wood frames, moulding, photographs. 2025.
Details: chinoiserie (globalization).
L to R: the presence of the past. Variable. Electrical tape, power cable. 2025; family portrait #2. 96x79x60”. Archival inkjet print, wood frame, industrial grade ceramic, galvanized steel. 2025.
Installation view: airplanes. 3:39 minutes. Digital video on CRT TV, headphones, pedestal. 2025; rag rug. 36” diameter. Electrical tape, power cable. 2025.
L to R: rifle. 42x6”. Aluminum cable. 2025; flame. Variable. Power cable, headphones, sound from fireworks, plastic spool, dirt. 2025.
Details: rifle, flame.
fireworks. 4:26 minutes. Floor-to-ceiling video projection. 2024.
I am lucky to have so many to thank.
First, to my thesis committee at Arizona State University: Liz Cohen, Adriene Jenik, Jennifer Ling Datchuk, and Mark Tan. For your insights, your challenges, your encouragements. You pushed me to become a sharper thinker and a better artist, and provided wise, insightful support in the face of seemingly overwhelming obstacles.
To the Herberger School of Design and the Arts for the Enrichment Grant that funded a pivotal 2024 research trip to Taipei, Taiwan.
To Sony, Inc, for the loan of camera, lenses, and batteries for the 2024 research trip.
To the ASU Graduate College, for numerous grants which enabled this project.
To the Salt River Project for willingly answering all my many questions and the generous donation of power cables, connectors, and tools.
To Meg Kim, for sharing your poetry with me early on. Your work has lived in my mind for years.
To the many friends who helped me work through this exhibition — thinking, crying, laughing, installing, deinstalling. It would not be what it is without you.
To Luke Watson, my personal fabricator.
To my family. All this comes from my love for you.
First, to my thesis committee at Arizona State University: Liz Cohen, Adriene Jenik, Jennifer Ling Datchuk, and Mark Tan. For your insights, your challenges, your encouragements. You pushed me to become a sharper thinker and a better artist, and provided wise, insightful support in the face of seemingly overwhelming obstacles.
To the Herberger School of Design and the Arts for the Enrichment Grant that funded a pivotal 2024 research trip to Taipei, Taiwan.
To Sony, Inc, for the loan of camera, lenses, and batteries for the 2024 research trip.
To the ASU Graduate College, for numerous grants which enabled this project.
To the Salt River Project for willingly answering all my many questions and the generous donation of power cables, connectors, and tools.
To Meg Kim, for sharing your poetry with me early on. Your work has lived in my mind for years.
To the many friends who helped me work through this exhibition — thinking, crying, laughing, installing, deinstalling. It would not be what it is without you.
To Luke Watson, my personal fabricator.
To my family. All this comes from my love for you.