Asia Tail is an artist, curator, and arts administrator based in Tacoma, Washington. Asia attended the Cooper Union School of Art in New York on a four-year full-tuition scholarship and graduated with a BFA and the Brandon Burns Stewart Memorial Prize for Excellence in Painting in 2014. Her studio practice focuses on oil painting, but also includes collage, beadwork, and other media. Asia’s work has recently been featured in the exhibition NW Art Now @ TAM (formerly the Northwest Biennial), Quota at SOIL Gallery in Seattle, Moon Moan at 950 Gallery in Tacoma, and Women’s Work at the NARS Foundation in New York.
As an extension of her art making, Asia also curates special projects and art exhibitions, with an emphasis on Indigenous artists. In 2015, she created the Contemporary Native Voices project for Tacoma Art Museum, interviewing over 20 individuals on Native American representation in art. The project integrated Native voices into the museum’s galleries through wall text, interactive activities, and commissioned performances. In 2016, she independently curated the exhibition, Protect the Sacred at Spaceworks Gallery in Tacoma, which showcased work from 26 Native American artists and raised funds to fight the Dakota Access Pipeline (DAPL) construction in North Dakota. Her current project, yəhaw̓, co-curated with Tracy Rector and Satpreet Kahlon, will open in March 2019 at King Street Station in Seattle featuring work from over 200 Indigenous creatives.
Asia also works part-time as the Arts Program Coordinator for the City of Tacoma's Office of Arts & Cultural Vitality. She is a freelance consultant on advisory committees and selection panels for local arts organizations including Seattle Art Museum, Artist Trust, Pratt Fine Arts, 4Culture, Seattle Office of Arts and Culture, Spaceworks Tacoma, Indigenous Showcase, and others.
She is a citizen of the Cherokee Nation of Oklahoma, and a proud member of the diverse Urban Native community in the Pacific Northwest.
I am searching for alternative means of communication within painting through imagined languages of wildlife and wilderness. My paintings point to the role of language in images by referencing speech or reading, without ever fully reverting to it. A worm nearly struggles into a letterform. Objects sprawled in a pattern on the ground call to be read like stars or tea leaves, but remain deliberately obtuse.
Just as language is made up of syntax and semantics, my scenes are composed from a personal symbology of natural subjects in unnatural arrangements. My imagery is rooted in identity. My ancestors recognized artistic, philosophical, and spiritual significance in the organic systems around them.
The search for meaning in nature parallels my attempt to make meaning through painting. I value the potential for slyness in painting. It carries so many histories that it is conversely relatively free of fixed associations. I play with the criticism that art objects are merely decorative by flattening and exaggerating patterns until they resemble wallpaper. My commitment to subtlety is a political stance: reticence as resistance. My painted messages continue to transform only with the willing participation of the viewer. They call for interpretation through intuition and introspection rather than rhetoric.