Artificial Sprawl 虚拟蔓延

The work belongs to a series that Yang created at the Craigardan Residency in the Adirondack Mountains. The Craigardan Residency provides a collaborative platform for artists. The farmhouse between the mountains of Adirondack brings together creators from different fields, including artists, writers, and chefs. Living in a mountain that is completely away from busy city life, Yang began to explore a new rhythm of creation, returning to the material itself. She added paper pulp to the liquid clay then drying the clay; this process improved plasticity of the clay. In the new body of works, she returns to simply colors, adding only a small amount of black, red, cobalt, yellow ocher, etc. She also explores the limit of materials. Light, clay, water, the spirit of the mountains, as well as the traces of hands fully reflected in these sculptures. The pieces are so thin and fragile, almost transparent, as if light will pass through.

杨人倩这个系列的陶瓷作品在阿迪朗达克（Adirondack）山脉Craigardan驻地艺术项目创作。Craigardan驻地项目为艺术家提供一个共同创作的平台，这个位于阿迪朗达克群山之间的农庄汇集了不同领域的创作者，包括艺术家，作家，厨师等。在一种与现代都市忙碌节奏完全相反的山中生活，杨人倩开始探索一种新的创作节奏，回归材料本身，在瓷泥制作过程里加入纸浆来提高其可塑性，以纯色为主，只加入少量的黑、红、钴、赭，等色料，用一种缓慢而专注的状态挑战材料和造型本身的局限。在这些陶瓷作品中，可以看到自然的光、泥、水、山留下的痕迹。手的痕迹与造型融合，纱一般的轻薄，光一般的透明，山一般的延绵在这些雕塑上充分体现。杨人倩一直对二元对立非常感兴趣，关注对立属性的矛盾和统一，而这次山间特殊的创造环境，让她的关注点更为内化，在内心和外界的关联，简单的色彩和造型中寻找内与外，动与静，轻与重，浓与淡的平衡。