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Wang, Sue. “ Taoxichuan Ceramic Art Avenue Art Gallery presents Renqian Yang’s exhibition ‘Construct Deconstruction.’ ” CAFA Art Info, 2018.6.28.

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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.

杨人倩《构建解构》展览前言

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 。

杨人倩在不同文化背景的交错之间成长为一名艺术家。她的旅程源自于在中国度过的充满求知和创造的童年。她度过了非常自由的童年时光。她讲述了自己是如何发现绘画中的可能性，那是从在墙上绘出的一条线开始，她对这一举动是如此的激动以至于在画满了卧室的一面墙后又将画面延伸到别的空间，直到整个家都被覆盖，这是她人生第一次的空间艺术创作，她至今仍然为此感到骄傲。同时我们也应当感谢她的父母允许了这样一位艺术家的诞生，即便当时她是如此年幼，但他们已然看出了她出众的天赋。

伴随着她艺术道路的成长，杨人倩乐于不断挑战有难度的新作品，她不妥协于任何限制，对她来说任何媒介都充满了可能性，她也时刻准备着挑战自己。也许正是这一特殊的天赋引领着她和优秀的老师和好的环境相遇。中国充满竞争的教育体系下成长，为她进入美国的大学学习做了准备。在美国雪城大学和伊弗森博物馆，她接受了作为新陶瓷艺术引领者的Margie Hughto教授的教导，当年是由她开创了让年轻的雕塑家和画家开始不受局限，运用黏土无拘束的进行创作的先河。在她个人作为艺术家和教育者的生涯中我们都会发现这一种无拘束的艺术文化的身影。这两种身份也使她成为了一位运用黏土材料的讲述人。

在杨的微型景观中，她创造的故事片段一部分来自回忆，一部分来自于代表她人生重要时刻的物件的启发。由此以邀请观众去体验和分享她的世界。

犹如艺术是人生的寓言，花园也是我们精神世界的寓言。她的故事并不是童话，而是更加严肃，更加真实，带我们走入一个超现实的世界。观看者们大可自由的进入，自由的离开，这代表的正是开放且自由的灵魂。

我希望我们能理解在杨人倩创作的迷失的花园之中隐藏的深意，我也希望我们有足够的好奇心去加入她的这趟旅程。这其中的挑战是我们如何来解构自己丧失的身份。总是有些回忆永远在我们的梦境中驻足停留。