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Renqian Yang 杨人倩

Perspective Projection 5 透视投影5

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Renqian Yang 杨人倩

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Perspective Projection 5 透视投影5 by Renqian Yang 杨人倩

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Perspective Projection 5 透视投影5

by

Renqian Yang 杨人倩

US$ 500

Overview

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2016

Stoneware, Underglaze, Glaze 泥,釉下彩, 釉

Unique Work

Dimensions: 5.1cm(H) x 26.0cm(W) x 7.0cm(D) / 2.0"(H) x 10.2"(W) x 2.8"(D)

Note: Actual colours may vary due to photography & computer settings.

Item Description

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Perspective Projection is a series of sculpture, which is not about the actual representation of reality but about the relationships among human beings, urban space and the society. The series explores the multifaceted emotions within these relationships. Each side of the sculptures employs different textures, colors and brushstrokes to reveal different characteristics. While each side is different, together they form contrasts and connections. It is like the scenes your eyes capture when hurrying through the streets and crowds. Every side represents its own unique time and space. Viewers will not be able to see all the sides from one fixed perspective. While other sides are partially visible through certain angles, viewers may be driven by curiosity to move around and examine each side of the work. It shows that we are used to see the world and ourselves from one single perspective but inevitably, we are curious about the opposite viewpoint. Based on the complementary colors, the sculptures feature artificial and repetitive brushstrokes to emphasize the combination of urban landscape and the nature, which is defined by the changing colors and curved lines. These series of sculptures are contradiction formed by the juxtaposition of the urban and natural sensations.

这一系列的雕塑与真实的视觉效果无关,而是更接近人与城市,与社会的关系,探讨这一背景下在放大镜下的情绪及其多面性。这种多面性由每一面不同的肌理,色彩以及笔触营造而来。每一面与其它面都产生对立和联系,也仿佛是匆匆忙忙走过街道人群中,不同的视觉停驻的瞬间,带给观者的某些突如其来的感受。 每一面都是一个独立的时间和空间,受到视觉和角度的限制,观者永远无法在一个固定角度同时见到其它的面,而当其它面偶发地映射出的一部分破碎的图像,好奇心由此引发,趋使观者移动步伐,驻足观察。这个系列提醒我们总是习惯性的在同一个角度看世界,看问题,看自己,却又一直对其对立面有模糊不清的好奇心。同样以对比色作为基础,这种人为的,反复的笔触强调出的城市景致和由色彩变化,曲线形成的自然形态混合并置,组合而来一种矛盾体,成为这组雕塑的代名词。

Exhibition History

Literature HistoryMeng Du: The Climb, The Fall, Fou Gallery, New York, 25 June–7 August, 2016. (Brochure)

Meng Du: Remembrance, Rochester Institute of Technology NTID Gallery, Rochester, New York, May 3–17, 2013

Literature History

Meng Du: The Climb, The Fall (exhibition brochure). Text by Michael Rogers. New York: Fou Gallery, 2016.

Melissa, Chapman. “Meng Du.” The Spoiler's Hand, Issue 12, September 2016. http://www.thespoilershand.com/mengdu

"Mengdu was awarded Honorable Mention at the International Exhibition of Glass Kanazawa 2016." Art China, 21 November 2016. http://art.china.cn/zixun/2016-11/21/content_9171321.htm?from=groupmessage&isappinstalled=0

Feng, Yuanya. "The Climb, The Fall: Revealing the Time Through Glass." Art China, 25 October 2016. http://art.china.cn/huihua/2016-10/25/content_9109180.htm?from=groupmessage&isappinstalled=0

Dong, Fangdong. "An Interview Note: She Blows Glass in Rochester." Wanfenyi, 18 June 2016. http://www.wtoutiao.com/p/1f5Y15J.html

Du, Meng. “Artist Meng Du: A Witch Who Tells Stories with Glass.” Interview with Su Muzhe. ZaoWuji, May 2016.

Liao, Hansi. "Meng Du: Nostalgia Finds Permanence in Glass.” Beyond Chinatown, 29 July 2016. http://www.beyondchinatown.com/2016/07/29/meng-du-nostalgia-finds-permanence-in-glass/

Wang, Sue. "New York Based Artist Meng Du’s Solo Exhibition “The Climb, The Fall” to be Presented at Fou Gallery" (exhibition preview). CAFA Art Info, 20 June 2016, illustrated.
http://en.cafa.com.cn/new-york-based-artist-meng-dus-solo-exhibition-the-climb-the-fall-to-be-presented-at-fou-gallery.html

"Meng Du: The Climb, The Fall." Art China, 17 June 2016.
http://art.china.cn/tongzhi/2016-06/17/content_8840618.htm

Cordaro, Cordell. “Glass Tiger-- Meng Du.” Art House Press, June 2015.

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Artist Profile

Born: 1987

Hometown: Xiangtan, Hunan Province, China

Lives and Works: Canton, New York

Renqian Yang earned her B.F.A. in Ceramics from the Sichuan Fine Arts Institute, Chongqing in 2009 and her M.F.A. in Ceramics from Syracuse University in 2014. Currently, she lives and works in Oswego, New York as an artist and Assistant Professor at the State University of New York at Oswego. Yang’s work has continued to exhibit in the U.S. and China. Her recent exhibitions include: Renqian Yang, Cayuga Museum of History and Art, Auburn, New York (2019); Renqian Yang and Lan Zhaoxing: Between Mountains, Fou Gallery, New York (2019); Renqian Yang: Construct Deconstruction, Taoxichuan Ceramic Art Avenue Art Gallery, Jingdezhen, China (2018); Renqian Yang: Complementary Colors, Fou Gallery, New York (2016); Rare Earth: National Ceramics Exhibition, Cabrillo Gallery, Aptos, California (2016). In January 2017, she had her first solo exhibition in New York at Fou Gallery. She served as a residency artist at Craigardan (2018), Jingdezhen International Studio (2018), and the Watershed Center for the Ceramic Arts (2017).

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. At the same time, her work explores how an individual is related to nature, society, and oneself. Yang combines both traditional and nontraditional methods in her practices. While primarily focusing on ceramics, her work also extends to installation, sculpture, drawing, painting, video and functional everyday objects.

杨人倩 2009年在四川美术学院陶瓷专业毕业后,赴美就读于雪城大学(Syracuse University)艺术设计学院陶瓷系 ,并在2014年取得艺术硕士。毕业后,杨曾先后任教于雪城大学,卡泽诺维亚学院(Cazenovia College), 和圣劳伦斯大学(St. Lawrence University )。 目前,她工作和创作于纽约州奥斯威戈,并在纽约州立大学奥斯威戈分校(SUNY Oswego)教授陶瓷。她的作品曾在美国,中国等地展出。近期展览包括:杨人倩个展(卡尤加历史与艺术博物馆,纽约州奥本市,2019);兰昭形与杨人倩:山间(否画廊,纽约,2019);杨人倩:构建解构(陶溪川美术馆,中国景德镇,2018),杨人倩:对比(否画廊,纽约,2016),珍稀泥土—全国陶瓷雕塑展(卡布里略画廊,阿普托斯,加州,2016)。2017年1月她在纽约否画廊举办个展《对比》。她曾在Craigardan,景德镇国际工作室,和Watershed陶瓷艺术中心参加驻地艺术家项目。

杨人倩对事物的二元对立非常感兴趣。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。与此同时,她通过作品探讨人与自然、社会、及自我的关系。杨人倩一直积极地运用传统技法和实验材料进行跨界创作。在主要使用粘土进行创作的同时,她还探索了装置,雕塑,纤维,混合材料,绘画,多媒体,以及实用陶瓷等领域,挑战固有规则和传统,不断寻找陶瓷与其它材料的创新结合。

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