Image 1 of 1
Image 1 of 1
Image 1 of 1
Image 1 of 1
Title: The Fit That Fails
Medium: Abandoned kid chair, abandoned mkid table, door joints, bluebook
Dimensions: 18 x18 x12 inch
Artist statement:
I am Siqi, a Los Angeles–based artist working across sculpture and experimental documentary, with a practice rooted in material transformation and fragmented histories. My Auto Lamp Series continues my exploration of disorientation and failed movement by transforming discarded car parts into sculptural lamps. These bent suspension arms and rusted fragments, once engineered for forward motion, now stand static — reconfigured into luminous prosthetics of orientation. The glowing bulb becomes a fragile counterpoint to the weight of metal, staging a tension between collapse and illumination.
Living in this car-driven city, I am drawn to its material cycles: its endless reliance on vehicles, its industrial cast-offs, and its capacity for reinvention. For me, these objects are not simply remnants of machinery, but residues of failed trajectories, scars of labor, and markers of abandonment. By assembling them into new forms, I seek to preserve their histories while opening space for new readings of survival, transformation, and resistance.
Title: The Fit That Fails
Medium: Abandoned kid chair, abandoned mkid table, door joints, bluebook
Dimensions: 18 x18 x12 inch
Artist statement:
I am Siqi, a Los Angeles–based artist working across sculpture and experimental documentary, with a practice rooted in material transformation and fragmented histories. My Auto Lamp Series continues my exploration of disorientation and failed movement by transforming discarded car parts into sculptural lamps. These bent suspension arms and rusted fragments, once engineered for forward motion, now stand static — reconfigured into luminous prosthetics of orientation. The glowing bulb becomes a fragile counterpoint to the weight of metal, staging a tension between collapse and illumination.
Living in this car-driven city, I am drawn to its material cycles: its endless reliance on vehicles, its industrial cast-offs, and its capacity for reinvention. For me, these objects are not simply remnants of machinery, but residues of failed trajectories, scars of labor, and markers of abandonment. By assembling them into new forms, I seek to preserve their histories while opening space for new readings of survival, transformation, and resistance.