Inspired by Arrival, Tomie Arai's 1996 mixed-media installation at the Lower East Side Printshop in New York City, Tomie's Chair is an allegory of outward and inward movement. The chair is a symbol of rest but also of decision — to rise and move beyond signposts, to change and break bonds, to be independent and create new bonds within one's own static, open spaces; to go further than the signposts at the end of a half-open road.
Inspired by Arrival, Tomie Arai's 1996 mixed-media installation at the Lower East Side Printshop in New York City, Tomie's Chair is an allegory of outward and inward movement. The chair is a symbol of rest but also of decision — to rise and move beyond signposts, to change and break bonds, to be independent and create new bonds within one's own static, open spaces; to go further than the signposts at the end of a half-open road.
Inspired by Arrival, Tomie Arai's 1996 mixed-media installation at the Lower East Side Printshop in New York City, Tomie's Chair is an allegory of outward and inward movement. The chair is a symbol of rest but also of decision--to rise and move beyond signposts, to change and break bonds, to be independent and create new bonds within one's own static, open spaces; to go further than the signposts at the end of a half-open road.
Foo, a Chinese native of Malaysia, immigrated to the U.S. in the mid-1980s. She and her husband run "Crooked Shelf Books" in Farmington, NM.
Inspired by Arrival, Tomie Arai's 1996 mixed-media installation at the Lower East Side Printshop in New York City, Tomie's Chair is an allegory of outward and inward movement. The chair is a symbol of rest but also of decision--to rise and move beyond signposts, to change and break bonds, to be independent and create new bonds within one's own static, open spaces; to go further than the signposts at the end of a half-open road.
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