The work A Solitary Temple Amid Clearing Peaks represents a space extended from flat images. It connotes the Buddhist concept of “Samara,” a continuum of ever transmigrating and transfiguration being. The thread, when moving from the surface into an empty space, changes its character entirely. On the surface of one side of the framed screen, it is part of a famous Chinese landscape painting. As it traverses the inner space of the frame, it becomes part of a three-dimensional sculpture. But the object often revert to its beginning state upon being returned to its original space, just as the thread becomes once again part of the painting once it reaches screen. The existent (the painting) and the illusive (the abstract body), in my view, are but two states of one realm.
In Dust In Evolution, numerous silhouettes of people selected from news photographs are carved out from the wall. Below each floating figure, the carved-off scraps are carefully collected and kept in a small plastic bag. Each figure becomes a visual narrative of his own, and each has a story which is up to the viewer to discern. Whether the depicted person is in present or has gone, the social traces left by that person are remained in the world and existed as another state of being. The endless cycles of different states of being then comprise the life in the boundless universe.
Xiang Yang, ‘Dust in Evolution II’
400cm x 250cm, Wood, paint and sealing bags, 2012
Xiang Yang, ‘A Solitary Temple Amid Clearing Peaks’
130cm x 215cm x 200cm, Thread, stainless steel, silk screen, water colour, 2012
Xiang Yang, ‘Dust in Evolution I’ (detail)
Xiang Yang, ‘Dust in Evolution I’
200cm x 250cm, Wood, paint and sealing bags, 2012
Xiang Yang, ‘Dust in Evolution II’ (detail)
Xiang Yang, ‘Dust in Evolution III’ (detail)
Xiang Yang, ‘Dust in Evolution III’
300cm x 250cm, Wood, paint and sealing bags, 2012