RENQIAN YANG: CONSTRUCT DECONSTRUCTION
Exhibition Time: June 16–June 30, 2018
Venue: 8 Exhibition Area, 2 Floor, Taoxichuan Ceramic Art Avenue Art Gallery
Jingdezhen－Fou Gallery is pleased to announce that Renqian Yang's exhibitionConstruct Deconstruction is on view at Taoxichuan Ceramic Art Avenue Art Gallery in Jingdezhen, China. As an Chinese residency artist based in the U.S.A., Renqian Yang is interested in the concept of binaries. Her work addresses the unity and the contradiction of dichotomies: restriction and freedom; pessimism and optimism; complexity and simplicity; representation and abstraction; the man-made world and the natural world. The exhibition at Ceramic Art Avenue Art Gallery features her new series of works she created during her residency at Jingdezhen International Studio.
景德镇 – 否画廊祝贺艺术家杨人倩在陶溪川美术馆举办展览《构建解构》。力求在二元的矛盾对立中谋求平衡统一，是驻美艺术家杨人倩创作中很感兴趣的主题。她的作品关注对立属性的矛盾和统一，如束缚与自由，复杂与简单，具象和抽象，人造和自然，悲观和乐观。此次展览她将与大家分享在景德镇国际工作室驻留期间的最新创作。
I. Landscapes Deconstruct
II. Fabricated Construction
III. Space Deconstruction 空间解构
Renqian Yang: Construct Deconstruction Exhibition Preface
Text by Tapio Yli-Viikari, Professor Emeritus, Ceramic Art, University of Art and Design Helsinki; Artist member of the International Academy of Ceramics IAC
Seeing art of Renqian Yang is a mental journey into a world that has been deconstructed from fragments. On the first look seems random: no order, no stories, no obvious answers to meet the viewer’s expectation. Is there a key to the many locks that are common in many of her work Fabricated Construction? Other elements that passes the viewer’s eyes are stones, broken fragments of domestic objects, things that we usually ignore but live with; things like light bulbs, tubs and different nails, those are usually what keep things together, but now are useless and loose, lost their function. They seem like what were left behind when god created the world.
Paradise lost, is to be found in her series of works titled Landscapes Deconstruct. They remind me of traditional landscapes in China, on porcelain to be more specific. Miniature garden stones are randomly covered with fragmented blue and white landscapes. They offer associations to landscape escapism. They represent thousands years of tradition and history. After living and working in the United States for seven years, it is her return to her heritage, a representation of her searching to reconstruct her identity as a Chinese artist.
Ren has grown as an artist in between different cultures. Her journey began in China where her childhood was full of stories that she read and created. Her childhood was very free. She talked about how she had discovered the possibility of drawing. She began to draw a line on a wall, she was so exited of that act that she continued filling the whole wall of a living room, and continued to the next space. She was allowed to fill the entire home, that was her first site specific artwork. She is still very proud of what she had accomplished. We are very thankful to her parents for allowing this artist to be born and already understood her special talent when she was so young.
Ren takes new challenging projects very naturally, she does not compromise to any limitations to her growth as an artist, everything is possible and she is always preparing herself for new tasks. Maybe it is this special talent that has taken her to work with excellent teachers and in excellent circumstances. Going through very hard competition in Chinese education system prepared her to work in universities in America. Under guidance of professor Margie Hughto, who is instrumental for new free ceramic art that brings together young sculptors and painters to work with clay without limitations at Syracuse University and Everson museum of art. This very free art culture has also been seen in her own career as an artist and educator, both roles make her a storyteller in clay.
In Ren’s miniature gardens she creates stories of fragments, partly from her memory and partly from found objects that represent important moments of her life. By doing that she invites the viewer to experience and share her world.
Art is allegory of life as gardens are allegory of our mental world. Her stories are not fairy tales, rather her stories are more serious and more real, inviting us into a surreal world. Her stories are open for viewers to enter and leave, they are representations of an open and free spirit.
I wish we have an understanding that there are secrets hidden in Ren’s lost gardens and I hope we are curious enough to join her journey. The challenge is to deconstruct our own lost identity. There are memories that do not leave us even in our dreams.
文/Tapio Yli-Viikari, 赫尔辛基艺术与设计大学艺术设计建筑学院, 陶瓷学名誉教授; 国际陶瓷艺术协会会员
当我们在欣赏杨人倩的作品时，就像踏上了一次由片段组成的心灵旅程。乍看之下毫无规律可言， 没有秩序，没有故事，没有显而易见的答案来回应观赏者的预望。有没有一把钥匙能解开那把反复在她作品-重造筑建系列中出现的锁呢？石块、破碎的日常物件，这些伴随着我们的日常，却又常被忽视的元素也映入我们眼帘；还有灯泡、水管 和不同大小的钉子，这些部件通常是用来建立连接，现在却失去了它们原本的功能，看来无用且散乱。他们像是在上帝在创造世界之后多出的零部件一般，被遗忘 。
迷失的天堂，能在她的系列-山水重置中寻找到 。我脑海中浮现出中国的传统山水风景画，特别是描绘在传统中国瓷器上的。那些缩小版的园林山石随机的覆盖在青花山水的片段中，它们提供了一个与现实无关的世外桃源。他们代表着数千年的传统和历史。在美国工作和生活了七年之后，这是她回归本源，同时也象征着她在找寻并重新构建自己作为中国艺术家的个人身份 。
Installation Views 展览场景图