Yang Maoyuan in SIMPLE ONE
Artist
Yang Maoyuan
Curator
Zhang Chen
2023.08.26 – 2023.11.05
It seems as if it’s a subconscious presence deeply embedded within the memories of each individual’s life, much like returning to the old house inhabited during childhood—setting forth from here, embarking on a journey towards a more distant future…
In the current moment, deep within the hearts of individuals, there exists an inherent restlessness and unease, to varying degrees, leading them to seek a place of tranquility. The separation of the material and the spiritual, the dialectical unity between the domains of matter and spirit, infusing the essence of the spirit into the material realm, seeks out a habitat for the domain of the soul. From this arises an unfixed concept of space, rather than a narrative of detachment.
The richness of spatial aesthetics on its conceptual level predominantly points toward humanity’s unfinished state, with the ongoing reshaping of the relationship between humans and the world. This encompasses the establishment of perspectives, understanding, and ways of interaction between individuals and the external world, as well as between individuals themselves. Additionally, it involves connections to both history and the future. Amidst the rapid transformations of the material space, the swift alternations of information and emotional experiences, there lies a safeguard within, where old elements are dismantled and new experiences are constructed.
When it comes to the realm of spirituality, using the term “building temples” might not capture the essence as aptly as describing Yang Maoyuan’s work as “constructing houses.” In this era of rapid change and constant flux, our historical foundation and memories are continually subjected to impacts and divisions.
Each time, Yang Maoyuan’s creations go beyond merely producing a piece of art; rather, it’s akin to erecting a house, a sanctuary for the spirit. With a gentle touch, he navigates the fractures and reconstructions of experiences—abstracting reality into new symbols, deconstructing concepts to shape fresh meanings, reinterpreting history, reimagining encounters, and reconstructing the self.
Since it concerns a spiritual sense of belonging, the choice of attitude and mindset for engagement is far more crucial than the choice of methods employed. Yang Maoyuan’s exploration and practice are infused with intuition, imagination, and creativity when faced with uncertainty, accompanied by an almost audacious impulse and a force originating from innocence and simplicity.
The amalgamation of diversity not only brings inclusivity but also dissolves the weighty and resistant emotions associated with profound subjects such as humanity and life. This awakens, carries, and embraces myriad flashes of brilliance within individual lives. It seems as if it’s a subconscious presence deeply embedded within the memories of each individual’s life, much like returning to the old house inhabited during childhood—setting forth from here, embarking on a journey towards a more distant future.
However, those young individuals brimming with curiosity and adventurous spirit never miss where they have arrived. Yang Maoyuan’s creative work is a continuous search, an exploration of the origins and directions of our lives and art. Some elements of the past await the tug of inspiration, there are places yet to be trodden, expressions waiting to be realized, and stories still in progress.
Who can foresee where those stickers collected in notebooks will discover corresponding patterns in some corner of the world? How will tomorrow’s sun refract its light through the glass ball in one’s pocket? Where the next house will emerge, and who it will become the spiritual haven for, remains to be seen.
In the SIMPLE ONE exhibition, Yang Maoyuan has presented a unique temporal and spatial experience. This dimension is unveiled in the present, intertwining diverse individuals within the same space, and it also extends into history, connecting their respective experiences. Within this space, the artworks intersect and merge, becoming part of the live scene, while the resonance of the physical and spiritual gives rise to a multidimensional space-time.
We can’t help but contemplate how this experience might extend beyond the confines of the exhibition, evolving into what kind of spatial realm and expanding into what sort of spiritual domain. Setting forth from here, a segment of the exhibition becomes integrated into our lives, and likewise, a portion of our lives will become a pivotal point as we face the present and future.
The richness of spatial aesthetics on its conceptual level predominantly points toward humanity’s unfinished state, with the ongoing reshaping of the relationship between humans and the world. This encompasses the establishment of perspectives, understanding, and ways of interaction between individuals and the external world, as well as between individuals themselves. Additionally, it involves connections to both history and the future. Amidst the rapid transformations of the material space, the swift alternations of information and emotional experiences, there lies a safeguard within, where old elements are dismantled and new experiences are constructed.
When it comes to the realm of spirituality, using the term “building temples” might not capture the essence as aptly as describing Yang Maoyuan’s work as “constructing houses.” In this era of rapid change and constant flux, our historical foundation and memories are continually subjected to impacts and divisions.
Each time, Yang Maoyuan’s creations go beyond merely producing a piece of art; rather, it’s akin to erecting a house, a sanctuary for the spirit. With a gentle touch, he navigates the fractures and reconstructions of experiences—abstracting reality into new symbols, deconstructing concepts to shape fresh meanings, reinterpreting history, reimagining encounters, and reconstructing the self.
Since it concerns a spiritual sense of belonging, the choice of attitude and mindset for engagement is far more crucial than the choice of methods employed. Yang Maoyuan’s exploration and practice are infused with intuition, imagination, and creativity when faced with uncertainty, accompanied by an almost audacious impulse and a force originating from innocence and simplicity.
The amalgamation of diversity not only brings inclusivity but also dissolves the weighty and resistant emotions associated with profound subjects such as humanity and life. This awakens, carries, and embraces myriad flashes of brilliance within individual lives. It seems as if it’s a subconscious presence deeply embedded within the memories of each individual’s life, much like returning to the old house inhabited during childhood—setting forth from here, embarking on a journey towards a more distant future.
However, those young individuals brimming with curiosity and adventurous spirit never miss where they have arrived. Yang Maoyuan’s creative work is a continuous search, an exploration of the origins and directions of our lives and art. Some elements of the past await the tug of inspiration, there are places yet to be trodden, expressions waiting to be realized, and stories still in progress.
Who can foresee where those stickers collected in notebooks will discover corresponding patterns in some corner of the world? How will tomorrow’s sun refract its light through the glass ball in one’s pocket? Where the next house will emerge, and who it will become the spiritual haven for, remains to be seen.
In the SIMPLE ONE exhibition, Yang Maoyuan has presented a unique temporal and spatial experience. This dimension is unveiled in the present, intertwining diverse individuals within the same space, and it also extends into history, connecting their respective experiences. Within this space, the artworks intersect and merge, becoming part of the live scene, while the resonance of the physical and spiritual gives rise to a multidimensional space-time.
We can’t help but contemplate how this experience might extend beyond the confines of the exhibition, evolving into what kind of spatial realm and expanding into what sort of spiritual domain. Setting forth from here, a segment of the exhibition becomes integrated into our lives, and likewise, a portion of our lives will become a pivotal point as we face the present and future.
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About the Artist
Yang Maoyuan
Yang Maoyuan is a Chinese contemporary artist whose practice spans sculpture, installation, drawing, and painting. Fascinated by the convergence and transformation between different aesthetic traditions, he merges Eastern and Western images or subjects in a manner that is both distinctive and ambiguous. Yang freely references art history, reinterpreting the so-called “classics” in his own way, thereby altering their contexts and perceptions at a fundamental level. This approach guides viewers to a renewed sense of certainty in their own reflections. Infused with both humor and contemplation, his works resist being confined or defined by any single “concept,” focusing instead on the process of artistic practice and seeking to surface questions that are often overlooked.
In addition, Yang Maoyuan has a profound interest in the visual heritage of historical and traditional regions. Since 1994, he has twice undertaken field expeditions to the Taklamakan Desert and Lop Nur to conduct research and shoot documentaries, immersing himself in these environments to experience them firsthand. Rather than offering definitive interpretations of such historical legacies, Yang regards them as new points of departure for artistic practice, reshaping them through his own style and techniques.
In addition, Yang Maoyuan has a profound interest in the visual heritage of historical and traditional regions. Since 1994, he has twice undertaken field expeditions to the Taklamakan Desert and Lop Nur to conduct research and shoot documentaries, immersing himself in these environments to experience them firsthand. Rather than offering definitive interpretations of such historical legacies, Yang regards them as new points of departure for artistic practice, reshaping them through his own style and techniques.