Amia Megumi Yokoyama currently lives and works in Los Angeles and New York City. She is a multi-media artist who works with experimental animation, video, sculpture, and installation. Born into a bilingual, multi-cultural household, in the mid-west wasteland of suburban homogeneity – she has made her way to the metropolis. Amia attended Skowhegan School of Painting and Sculpture (2017) and graduated from CalArts (2017) with a Masters in Fine Art from the department of Experimental Animation.
I engage in a practice of world building. Reimagining, colliding, and falling along with everything else. I engage the idea that the place from where I come or where we collectively come is a constantly moving/shifting location that is tied to the context of the present and to each other. What occurs in the moment when the boundedness of the initial source of one collides with the boundedness of another? I am interested in ecstatic states of change not in a linear direction, but out in all directions, in favor of multiplicity and illegitimacy. Not in opposition to identity or history, but in defense of sometimes not knowing. Not knowing as a defense to reject and resist imposed frameworks. The failure of language and definition to describe something that is interstitial, because definition precedes judgement which is used to create value. I am not interested in judgement. I am interested in relation. In panoramas where everything is timelessly reforming and alive, pointing-at and pushing-against pre-formed judgements and systems of value. A process of actualizing. A space called love. I lust after something real by creating new systems of fantasy to break down old systems of desire, control, and authenticity. My process becomes my personal mythology. Videos become a gossamer of gobs, pixels, particles, effects, optical tricks that do not worship the holiness we call reality. Life comes together regardless of limitations, within my fantasies, within animation, within algorithms of the computer brain, as if together we were masters of material and digital manipulation. Processes and ideations that hack quantum notions and disrupts imperious and industrial thought streams that try to tell me where I come from and how to name my thing called body.
Always simultaneously tongue in cheek, one finger in your mouth, two fingers on side of neck just below jaw, with the sound of a laugh that happens when I fall.