JAZOO Yang: Immanence ('Stolen Time' series)

Immanence ('Stolen Time' series)

Stolen Time 20210318

Collected various materials from streets, resin, silicone

200 x 120 x 3D cm_2021

Details/ Photo by Lutz Bertram

“The various collected materials which are not fixed to the canvas are combined with a highly fluid, liquid resin. Also, since the resulting surface is the bottom part of a mold, Yang cannot predict the result while working. This causes tension like gambling every moment. However, it is the gambling for creative coincidence combined with intuition, and any unconscious motive that goes beyond the artist's intention.”

- Text by Agnus Tam / Meanwhile Elsewhere, 2021

Installation view_ meanwhile elsewhere, Berlin, 2021

Stolen Time 20210329

Collected various materials from streets, resin, silicone, stainless steels

200 x 120 x 3D cm_2021

Details/ Photo by Lutz Bertram

Immanence no.18

Collected various materials from streets, resin, silicone

150 x 120 x 3D cm_2020

Installation view_ meanwhile elsewhere, Leipzig, Germany, 2020

Coverings from building outer walls, wallpapers, interior furnishings of abandoned houses, pieces of worn-out mosquito net, tiles, ‘Giwa’ which is a Korean traditional roof tile which are hard to find these days, fragments of crossbeam from old mossy buildings. During the process of bringing diverse collected traces from streets to canvas, objects that once were components of streets become the start point of painting, or rather the main agent, and the artist Jazoo Yang steps back. This ‘step-back’ methodology allows her to accept more objects from streets and walls as a ‘painting’ while her spontaneous response, even passiveness to the found materials gains more importance, which leads to her ‘Immanence’ series. Through the whole process of collecting street objects the artist’s point of view of the cities turns more active on the contrary.

건물의 외벽에서 벗겨낸 껍질, 빈집의 벽지, 내장재, 어느 집의 창문에서 잘라낸 낡은 모기장, 타일들, 이제는 보기 힘든 기와 조각, 오래되어 이끼가 낀 건물의 대들보의 조각. 거리에서 채집한 다양한 흔적들을 캔버스로 옮기는 작업은, 거리를 이루는 사물들이 회화의 시작점, 즉 주체가 되면서 작가 양자주자신은 한 발 물러나게 된다. 작가의 이러한 거리감에 대한 방법론은 ‘Immanence’ 작업의 주체인 재료들에 대한 작가의 반응(수동성 혹은 우연성)을 더 중요시하며 진행됨으로써 도시와 거리, 벽에서 더 많은 것을 회화로 수용할 수 있게 한다. 이때 거리의 오브젝트들을 채취하는 과정에서 작가가 도시를 바라보는 시각은 역으로 더욱 능동적으로 반전된다.