The Don’ts

According to the Oxford Dictionary, superstition is defined as “the belief that particular events happen in a way that cannot be explained by reason or science; the belief that particular events bring good or bad luck.” As a child growing up, there were things that I was told that I should not do or there were times where I witnessed things that some people did that weren’t logical at that time, but I thought it was interesting. The practice was so incomprehensible that it left a lasting impression. Usually, I wasn’t told the reason behind certain actions and slowly I realized not everyone follows such beliefs. Only later, I found out the meaning behind these “don’ts”.

For me, it was intriguing to learn about different superstitions as they are a way for people to cope with uncertainty and understand this world. Through learning about superstitions, I learned more about the culture from which the superstition originated. These customs are being passed down from generation to generation. There may be variations of the same superstition, due to fewer people being “superstitious” and oftentimes only certain parts of the superstitions are passed down. Typically, the subject of what should be done or not remains ingrained in one’s mind but the actual reasoning behind such actions is distorted.  

In my project, The Don’ts, I created various pieces of work displaying the Chinese superstitions which I encountered growing up. This project attempts to display various superstitions by creating a space with a sense of oddness by juxtaposing illogical imagery and symbols with representational illustrations. Various Chinese superstitions are visually displayed through multiple mediums such as painting, printmaking, and installation. Instead of passing this culture down verbally, I want to convey these superstitions through art.

The 4th Floor, 2024, 18 inches x 24 inches, Acrylic on Canvas

The 4th Floor depicts the scene of an imagined space of an opening elevator on the 4th floor. However, this is not realistic as the 4th floor does not exist; if one looks over the button panels of the elevator on the left side of the painting, one will not find the number 4. The perspective of the artwork is deliberately chosen to make it seem as if the viewers are part of the scene. A layer of soft-gloss gel and metallic paint is spread over the areas of the elevator to create a slight disparity between the two spaces of the elevator and the dark hallway. It separates the spaces, by visually pushing the hallway further away from the elevator. This is integrated into the piece to further enforce the sense of illogicalness. It is intended to contradict two spaces, a physical space of an elevator and a fictitious hallway. 

In Chinese, there are many homophones. Thus, certain numbers and words are sometimes correlated with other words with similar pronunciation. For example, the pronunciation of the number “four” sounds similar to “death” (four = Sì, death = Sǐ). This correlation resulted in many people considering four as an unlucky number which people would generally avoid. In some cases, buildings may not have a fourth floor or rooms ending in four. Somewhat similar to the common superstition in the United States regarding the number 13 (Friday the 13th) where it is believed that it is more likely for one to experience misfortune on Friday the 13th and the number is often avoided.

The Releasing, 2024, 36 inches x 24 inches, Lithography, Crayon on Stone with Chine-collé

The Releasing depicts the superstition in which one should not have an umbrella open indoors. In China, it is believed that spirits are attracted to shadows or dark areas such as inside an umbrella. By opening the umbrella indoors, it serves as an invitation for these spirits to enter one’s house. This may detrimentally affect the residents’ well-being. It is also considered disrespectful to one’s ancestors and guardians because it implies that their protection is insufficient. The Releasing is a lithograph that shows an image of an opened umbrella placed on the floor. The shadow from the umbrella forms a creature to represent a spirit emerging from the umbrella. The canopy of the umbrella is chine-collé with red paper to create a focal point. Red is usually considered a festive and relatively ‘lucky’ color in Chinese. I wanted it to seem ironic by placing the two together. Something detrimental is occurring yet the color is meant to be auspicious.

Covered, Uncovering, Uncovered, 2024, 20 inches x 29.5inches, Stone lithography (mezzotint) on Rives heavyweight paper (cream)

In some Asian cultures, it is believed that one should not place a mirror directly in front of one’s bed. It is said that mirrors can serve as a portal to a different dimension in which a spirit from the other side may be able to come through and drain your soul or replace you. Covered, Uncovering, and Uncovered is a lithograph arranged as a triptych. The three pieces illustrate the progress in which a covered mirror is slowly being uncovered through ripping. In the first phase, the print contains the image of a mirror frame and the middle area fully covered with black ink. This implies that what is supposedly reflected is concealed. In the next phase, the stone is further developed to achieve the imagery of the mirror revealing a reflection of a bed and a creature hovering over the person on the bed. This phase contains two prints layered on top of one other. The top layer is the print of the covered mirror and the bottom layer is the print with the bed and creature. The print on top is ripped with a small hole, allowing viewers to see a small portion of the print behind. This hole is placed meticulously so that the viewers do not get too much information regarding what is underneath. One can tell it is a bedroom and hints of the creatures come out which brings in a mysterious factor to the piece. The final part of the triptych is similar to the second phase in which it also contains two prints layered on top of one another, however, the hole is larger and the viewers can see what the mirrors reflect.

No Chopsticks Upwards in Bowl, 2024, 20 x 20 inches, acrylic on canvas

There is a superstition where one should not stick their chopsticks upright in their food or bowl. This action is considered impolite and will bring bad luck in my culture. It represents death as it resembles the ritual of incense burning which is usually done when one is praying for the deceased. In certain funeral rituals, chopsticks are stuck upright in a bowl of rice, to symbolize feeding the dead. Doing so at another location such as a restaurant serves as an invitation for spirits to have a meal with you. No Chopsticks Upwards in Bowl shows this typical superstition. The painting illustrates what sticking chopsticks upright in a bowl of rice represents. 

 There are many taboos that one isn’t allowed to do during the Chinese New Year. Typically, one isn’t supposed to clean on that day, this includes sweeping the floor, washing clothes, and washing one’s hair. It is believed that one will wash or sweep away their fortune and luck for the following year. Three artworks depict these superstitions. A calendar is placed along the pieces as a context. It is an interactive piece that marks the dates of Chinese New Year for the following years.

Overview of the superstitions regarding “the Don’ts” on Chinese New Year, 2024

No Sweeping on Chinese New Year, 2024, installation

 No Sweeping on Chinese New Year is an installation piece that depicts fortune being swept away. A broom, dustpan, and garbage bag are displayed with red envelopes with festive designs created with paint markers and prints with symbols representing luck and wealth. The broom is painted with golden-color paint and patterns that are often used in Chinese festive designs. The dustpan has the same pattern as the broom. The garbage bag is laid on the floor open with garbage spreading on the floor. They are depicted with prints, red envelopes, and feng shui coins. The circular prints are Chinese motifs for prosperity and happiness. The prints that resemble money feature the 12 Chinese zodiac figures. The zodiac is essential in our culture as a specific animal is associated with each year of a 12-year cycle. It is believed that animals are connected with one’s personality, compatibility with others, and fortune. The back of the print depicts the zodiac race which is a myth which explains how the order of the zodiac is determined. The prints are intended to look like American dollar bills yet Chinese elements are integrated with it. It is also a reflection of my background as an Asian-American. Typically, red envelopes contain money that is given out on Chinese New Year to wish for a good year. Feng shui coins are often used in Chinese geomancy, a practice that involves the arrangement of objects in a space. They are believed to improve the energy flow to create a peaceful setting and attract prosperity. This installation takes the superstition literally in its meaning and depicts one’s luck and wealth being thrown away by taking the action of sweeping.

No Washing Clothes on Chinese New Year, 2024, multimedia on canvas

No Washing Clothes on Chinese New Year is a painting that presents an open washing machine with a white t-shirt sewn onto it. The shirt is positioned in a way that it seems to be falling out of the washing machine. Another shirt is placed on the floor directly under the painting along with prints of money, Chinese motifs, feng shui coins, and red envelopes. Koi fish are deliberately printed on both of the shirts because, in China, koi often represent fame and wealth. By combining symbols and representational imagery, it implies that one is washing away one’s fame and wealth for the following year.

No Hair Washing on Chinese New Year, 2024, multimedia on canvas

No Hair Washing on Chinese New Year contains two parts in which one is hung on the wall while the other is placed on the ground. The painting portrays a person washing their hair. Hair extenders are attached to the painting by inserting them into cut slits to create an eerie and uncomfortable feeling. Paint is stamped onto the hair containing an image of a Chinese motif representing prosperity. Water is replaced with the motif, referencing the superstition that fortune is being washed away. The piece on the floor is shaped to imitate a puddle of water. It is a painting of a shower drain with strands of hair, prints, and feng shui coins. This further conveys the superstition regarding washing one’s hair on Chinese New Year. This painting shows how fortune is being washed away, by incorporating elements representing prosperity.

Chime, 2024, approximately 56.75 inches x 18.5 inches x 4.75 inches, multimedia on canvas

Chime is a mixed media work that depicts the superstition that one should not hang trinkets with bells or things that will make ringing noises because it will attract spirits to follow you. Specifically, it is believed that you should not do it on the seventh month of the lunar calendar, which marks the Hungry Ghost Festival. This is when all gates of the afterlife open and wandering spirits are let loose to roam the Earth. The piece is a painting of a ghostly creature reaching its hand out of the canvas. Bell trinkets are attached to the lower section and hands to represent this superstition. The bell in the creature’s hand signifies the attraction to the sound made by the bell.

Name, 2024, print dimension: 12 inches x 18 inches, Intaglio on Plexiglass with watercolor

Name is an intaglio print with watercolor. It portrays the superstition in which one should not write another’s name with red ink. Historically, red ink was usually used to write the names of criminals who will be sentenced to death and on tombstones. Thus writing one’s name in red signifies the desire for another’s death or harm. The print shows an image of a hand holding a red pen, attempting to fill in the name section, possibly with anyone’s name. Red watercolor is splattered on the print to imitate the red ink and droplets of blood. It suggests that writing a name in a red pen is a bad omen, possibly causing harm to the owner of the name.

A Gift to Death, 2024, print dimension: 18 inches x 12 inches, Intaglio on Plexiglass with watercolor and ribbon.

A Gift to Death is an intaglio print with watercolor and ribbon. It depicts the superstition in which one should not give clocks or watches to another. In Chinese, the phrase “gifting a clock” sounds similar to “attending one’s funeral” thus giving watches or clocks is avoided. This print presents an image of a clock. Red watercolor is meticulously laid on certain areas of the clock and was allowed to slide down the print by moving and angling the paper. This is done to create the illusion that blood is flowing out of the clock, creating a sense of eeriness. A ribbon is attached to the print by inserting it into a cut slit and tied to create a bow to imitate bows on gift boxes. The piece combines two contrasting elements: a bow, symbolizing a gift and the action is a gesture of positivity. The watercolor represents blood, which suggests danger or misfortune. It conveys a gift with an ominous tone.

Ultimately, The Don’ts is a project to explore my Chinese background by illustrating the superstitions that I grew up with. Although superstitions may be dismissed as illogical, and many people today may have a more secular way of thinking, they are still deeply ingrained in individuals because they grew up listening to these beliefs. People may subconsciously avoid certain colors, and numbers, or follow certain practices for a specific reason. This project made me realize how these superstitions greatly impact me as they have been ingrained in certain practices and my experience. It greatly shaped my views and influenced the decisions that I make. For instance, I generally do not attach trinkets with bells on any of my bags or when told to choose a number for any reason, I would usually avoid the number 4 and am more inclined to choose 7 (as it is considered a lucky number in many western cultures such as America). Presenting these artworks serves as a method for people to gain a stronger understanding of Chinese culture in a unique and interesting way. These beliefs are addressed and embodied through combining fictional elements, Chinese symbols and motifs, and representational imagery, including, prints representing “happiness” and “prosperity”, and koi fishes printed on the shirts. Viewers are invited to a space where imaginations and beliefs are intertwined, offering them another perspective of the world.