View To Scale
View In Room
View To Scale
View In Room
Collected materials on streets, resin, wood box
Dimensions: 22.7cm (H) x 15.8cm (W) x 3cm (D) / 8.9" (H) x 6.2" (W) x 1.2" (D)
Note: Actual colours may vary due to photography & computer settings.
About 'Materials' series
From 2016 to 2017, Yang continued her art practice in Busan which is the second biggist city in Korea. At that time, more than 100 towns in there were being redeveloped or planned to be redeveloped.
In the old town of Busan : 'Gamman - dong, Choryang , Oncheonjang ' that is disappearing due to redevelopment, she scrapes, gathers and re-assembles remnants of flaking paint, old wallpaper, rusted metal and the flotsam and jetsam of demolished and vacated sites, reconstituting them in the studio in acts of remembrance; time and memory sealed in resin.
It is about “time”.
In Busan, Korea in 2016, I had the opportunity to work with an old building that had been sealed for a long time. It was the first time I walked into the building which no one had been visiting for 30 years. When I first unlocked the seal of it located in the middle of the city, it felt like touching something closer to nature than the violence of the city. The more I experienced the senses of it that were so sensitive and experienced the traces left in this house, the more I felt the longing and nostalgia that seemed to exist there as well.
Shipping & Returns
Hometown: South Korea
Based in: Berlin
Born in South Korea, Live and work in Berlin, Germany
Jazoo Yang is a Korean mixed media artist based in Berlin. Her work often distorts public spaces to profound ends. With a mixture of concept-focused art and an intriguing visual palette, Yang’s work questions the relationship between ourselves and the spaces we inhabit. Her more recent practice has focussed on the transformation of housing in city and the gentrification that is pushing local residents from their homes. Her 'Materials series' are an amalgamation of the diverse, the distant, and the disregarded. Formed of the lost fragments of urban life that Yang rescues before their inevitable disappearance – remnants of a building’s outer walls, scraps of wallpaper from an interior, the remains of antique tiles – these often silent, ignored objects are here magnified from the mundane, framed to acknowledge the immensity of the intimate. Yet what we see in Yang’s works could easily have been taken from the space in which they hang. (…) Yang’s works, however, show how the past, present and future are fused in the very materiality of walls.
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