On view @ MICA’s Leidy Gallery from June 27- July 11, 2015.
Rocks are solid. They are all around, under the ocean, under our feet and forming our ground. Water is fluid, moving from one spot to another spot. I took a walk and I paused a waterfall with my camera then I took those pauses and I worked with them- in my hand, molding, carving, sewing, gluing, drawing line by line, dot by dot. Slowly they took reminiscent shape into things I’ve seen in the landscape. I don’t know what they are, but these objects are so familiar to me. I am curious as to how we culturally define objects especially objects without a utilitarian purpose. I suppose now they are rocks, not because I told them to be, but because that is what everyone thinks they are.
The space of installation serves as a frame to isolate and expose the nuances that occur with each drawing and object. These extensions play with weight and appearances revealing visual and physical subtleties.
The frame of the space, paper and even the edges of the work itself are considered. The installations resemble constellations that can be viewed from all angles, where sentences begin to articulate themselves then wash away, waving into form and out.
Artificial rocks, salt, and drawings, were all physically connected through a precarious series of fishing line pulleys. Many objects and drawings were floated and balanced by the artificial rocks and walking amongst them gave a feeling that you could single handedly destroy the entire scene. Perceptions and expectations are skewed with Yang’s work, as the idea of weight and heft is visually questioned with paper rocks and piles of salt. Much of the collections of objects gave way to suspended drawings revealing segments of text, like the word truth, hidden under a pile of salt.
This installation was composed through juxtapositions of drawings, writings and images. The objects were shaped rom images of moving waterfalls. Through careful contemplation, the remnants of writing and images were positioned within varying contextual frames from page to place testing the bounds of where words can settle or slip off the objects they try to describe. The words are viewed as objects and the objects are viewed as words. These juxtapositions isolate my vocabulary within the space, unveiling my own language of extended metaphors of water, fluidity, and solid forms. Being mindful of the shape, sound and metaphors words connote, I experiment with methods of repetition, and rhyme and tone to alter the way in which a viewer tries to read their situation. My objects play with weight and appearances revealing visual and physical subtleties. These objects are placed carefully within an installation where the frame of the space, paper and even the edges of the work itself are considered. The installations resemble constellations that can be viewed from all angles, where forms simultaneously begin to articulate themselves and get lost within their environment.