Tang Contemporary Art Hong Kong is proud to present “Blue-green: Yin Zhaoyang New Works”. The exhibition will showcase oil paintings from his Landscape series, sculptures, and installations reflecting the artist’s all new experiments with materials.
It has been nearly ten years since Yin Zhaoyang began making his Landscape series in 2011. As a theme, landscape is a vast realm that has been embraced in China and the West for more than one thousand years, and re-examining and re-interpreting something so ancient is where the creativity lies. Yin diligently examined and copied ancient Chinese literati paintings, then he studied the beginnings and later development of Impressionism and Expressionism in China, focusing on the comparative study of the language of painting. Yin Zhaoyang is an immensely talented and confident artist, and he has a careful, thorough understanding of the Chinese and Western traditions. Almost from the beginning of this series, he created immensely individual landscapes. With dynamic creativity, he has broken barriers and experimented for ten years, advancing the techniques and implications in his paintings. Thick textures, deep colours, and tight structures give the landscapes a fierce, direct visual effect. The language of Western Abstract Expressionism is fused with Eastern visual imagery, presenting a valiant power and vigorous tone. “I used a famous mountain as a starting point for seeing myself and completing myself.” Yin Zhaoyang’s landscapes draw from the ancients and from nature, and in the end, their uniqueness stems from his self-projection.
For several years, Mount Song has been a key source for Yin Zhaoyang’s sketches. In his recent work, he directly replicates portions of the mountain’s rock, then he applies blue and green pigments to that rough texture. Blue and Green were made in this way, with minimalist blocks and colours that have an elegant and forceful sensibility. The two installations are extensions of Yin’s Landscape series, constituting a new creative direction for him.
The three sculptures span nearly ten years. In Inflation (2008), people are pressed by outside objects until they are distorted, and in Alien (2007-2008), marble figures produce alienation from themselves. In his new work Alien (2019), Yin Zhaoyang first scorches the surface of a piece of wood into charcoal, paints it with a layer of pitch to entirely transform it into a demon life, then binds it. His materials and production methods have become more complex, and his forms have become more tense. The three are connected into a spiritual thread, which reflects Yin Zhaoyang’s concern for and consideration of society and himself.
240 x 775 x 27 cm oil, cloth, and wood 2019
180 x 200 cm oil on canvas 2019
131 x 180 cm oil on canvas 2019
60 x 60 cm oil on canvas 2019
167 x 170 x 20 cm painted fiberglass 2019
188 x 115 x 100 cm wood, iron, asphalt 2019
60 x 69 x 36 cm marble 2007 - 2008
48 x 44 x 46 cm granite 2008
B.1970, Nanyang, Henan Province, China
Yin Zhaoyang graduated from Central Academy of Fine Arts in 1996. He currently lives and works in Beijing. Represented by Yin Zhaoyang and other artists, “Cruelty of Youth Paintings” in the late 1990s have added to this category an experimental dimension and enhanced its depth of thinking in terms of narrativity, pictorial concept and aesthetic taste, constituting a major tendency in avant-garde painting of a decade.
In his later series of works such as “Myth”, “Utopia”, “Façade”, through in-depth internal inquiry and complex yet profound language exploration, he completed the transformation from experiencing the sensitive youth to a deeper spiritual world, and became an important representative of China's "new painting".
Since 2011, Yin Zhaoyang has turned to a "spiritual landscape" with a strong personal temperament, a keen contemporary perspective, and a profound tradition. With a magnificent and pure painting language, he has developed a new scope of painting that includes both personal and social, historical and present landscape.