Installation, Stone Lithography.   2019.

Of Family and Stone investigates the quiet realities of dysfunctional families using portraiture of the artist's material family. Dysfunction does not appear on the surface of individuals. Instead, it manifests itself in distance and silence between parties; its legacy remains hidden in untold hardships. Stone lithography is notoriously volatile and difficult to master as the process requires a great deal of patience and an excessive amount of labour to execute successfully. Additionally, despite the stone’s hefty form, often rocks can easily chip, crack, or break and therefore at all times must be treated with care. Often family bonds are thought of as absolute, settled, and even set in stone. However, as many can attest, family relationships require great care to maintain and are never without their scars. 

Installation Views

When my mother was 18, my grand father took the car and left the family. He didn’t return to their lives for about 20 years. My grand mother, having moved from Hong Kong to Canada to be with my grand father, had quite the culture and class shock. She didn't take well to a spaghetti - it wasn't noodles.
 Installation size prints 80" x 80" x 100" approx.,  18" x 21", & 23" x 17.5",  fabric, silicone, dye, acrylic, wood, stone lithography,  2019
Installation includes both the prints and original lithography stones the prints are pressed from. Only the stones of living subjects are included in the installation.
Ropes begin at the paternal figures of Apo and Gong-Gong.  The order of the rope is determined by the level of intimacy to each child had to the paternal figure.
The ropes connecting each portrait are weaved with fabric and the torn print proofs from the creation process.  [Left] The photo wall contains a portion of the studies, proofs, and behind the scenes work for each print (see photo 1).

Family Lithographs

I learned early on that my grand mother was not a kind figure to my mother and her siblings. I learn about disturbing stories in passing whispers. Growing up, visiting my extended family was stressful from the car ride to the event; going to the city of Toronto made me nauseous. I'd associated the ride to with my stressful family. Never had a problem driving back.
Ding Dong Head, 1 of 5, 18" x 21", Stone Lithography, November 2018.
Mommy, 1 of 5, 18" x 21", Stone Lithography, November 2018.
Fo-Fo, 1 of 5, 18" x 21", Stone Lithography, November 2018.
E.E, 1 of 5, 18" x 21", Stone Lithography, April 2019.
Apo, 1 of 5, 23" x 17.5", Stone Lithography, March 2019
Gong Gong, 1 of 5, 23" x 17.5", Stone Lithography, April 2019

Wall Close Ups

Ding Dong Head's nickname came from an unfortunate incident. Originally, he was referred to as "Doung-Doung" but Hollander's sister called him a "Ding Dong Head" since  where he locked his keys inside his car. The name has stuck ever since. Ding Dong Head boasts a neutral exterior, but does have a distinct, dead pan dry humor that sprinkles his interactions.
Each portrait is named after the nickname the artist calls their family by. Hollander's mother is Cantonese and thus the family names are loosely based on Cantonese pronunciations for family members. The doubling of words has stayed, but the family modified the names for English use for their nieces and nephews who had never learned Cantonese.
Fo-Fo, or Fu-Fu, is the youngest son of the family. A teacher by trade, he is extremely expressive with his humor and personality. Hollander remembers him for his smile and games such as "Car", "Sandwich", and "Airplane". Some of these were played to the dismay of Hollander's sister.
E.E did not give her permission to be part of the series and thus is printed as a blank space. Within the family, she can be distant but is exacting in her wants and desires.