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Sixue Yang

Sixue Yang



For the past decades, I have seen thousands of farmlands convert to industrial development. The lake I used to play around in my childhood disappeared; people filled the water with concrete, and new buildings grew rapidly as grasses after the rain in the spring. The green mountain I used to see every morning disappeared, instead, the view becomes numerous factories hiding behind the dusty air. The city I used to live in, with all the lake, hills, flowers, and trees, was covered by a suffocating cold city construction. I have no space to breathe. While many people feel that change automatically constitutes progress, I am uncertain. Personally, I was impacted by the changes that inclined me to reconsider the nature that was dismantled. For the past two years, we experience a dramatic change in our daily lifestyle. We are no longer able to travel, instead, during the quarantine, we were trapped in a space facing electronic products to keep our connection with the world. At this moment, the situation pushed us to rethink our relationship with nature and the environment surrounding us.In the work "Weaving Void," I wish to create an enigmatic composition with an eccentric electronic scene and abstract landscape within a familiar-looking but different format featured with grids, neon color, and ink. I explored the materiality in multiple ways by layering grid patterns with UV lights to make transparent and opaque forms. I intend to offer an ambiguous and alarming reading of nature.Lost in a strange arrangement with highly twisted space between grid, neon paints, and organic ink forms, an audience will experience the unformed chaos of industrial and electronic development under a poetic landscape veil. Here, time and space seem to disappear. All beings and non-beings are hidden in the iridescent neon light grids. However, the work also features a chaotic current under its veil of serene blandness. The work not only points to the essential abstraction of water-ink painting but also implies the fundamental uncertainty and ambiguity of life during troubled times when the environment in which humans live is chaotic and upended. By exaggerating differences and breaking the harmony, I want an audience to pay attention to the existence of conflicts between nature and our daily living conditions, and the process of digesting environmental trauma. I want to render an unresolved consequence by presenting harmony and discord in one piece.

Founder of SY. Art Space / Wuhan S.M.G Cultural Development Co. Ltd, China / 2020 - Present

• Group Ink Painting Exhibition, Wuhan Art Museum - Wuhan, China / 2022
• Solo Exhibition, Shan Art Museum - Wuhan, China / 2021
• A Thing Like You and Me, Kemper Art Museum - St.Louis, USA / 2021
• PARABOLA: Extraterrestrial Bruno David Gallery - St.Louis, USA / 2020
• Consent/Dissent Alt+Space - St.Louis, USA / 2020
• Child’s Play, Foundry Art Centre - St.Louis, USA / 2020


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