The Dialectics of Mind
LEE Kwanhoon _Curator, Project Space SARUBIA
The field of contemporary art has become more complex and diverse than before. In this field, the creative motives of artists are different from each other. The mode of creation differs by the kinds of inspiration artists receive in the process of acquiring their artistic languages. In the case of Yang, he takes his motive from ‘emotion’. Within his creative framework, Yang weaves the artistic language by weaving the emotions that one has to experience in the everyday relationships, which are of joy, anger, sorrow, fear, love, hate, and lust. As if he applied the principle of the earth’s rotation, Yang catches the image of the chain of destiny, which is twisted, untangled, and repeated. Unfolded on the paper, each image in Yang’s drawings implies the individual language that resembles the minute nerve cell tissues. The images function by the delicate and diverse principle that the artist designed as if he created sentences by weaving individual words.
The principle is similar to an organic form in a biological sense. The primary material of the structure is wood. The shared properties between tree and human are linked to the creative motive of “emotion.” Yang thinks that tree and human share the properties of inhalation and exhalation, and coincidence and necessity. The vanishing point of emotions, which are connected to a certain event, are organically linked upon the shape of the lines made of wood. They draw the attention of people through movement, sound, and light. In addition, they generate an inner language within a circular space shared by the vertical and horizontal lines created by one’s own intuition, dreaming of a world where the agent(artist)and object(others) have be come one. There, two invisible air currents flow. One is the “generation” of a language that never ceases to think. The other is the “sacrifice” that is captivated by one’s subconscious that comes out of the generation. The sacrifice instinctively produces obsession, and the accumulation of obsession leads to a generative mode of creation.
Yang finds meaning from trivial and mundane things that constantly appear in everyday life. He then analyzes them through intuition. He does not cease to question, establish, pull down, and rebuild, finally finding a solution of a certain problematic situation through the power of positivity. He proves that trifling matters are accumulated to become a torrent of social irony, which is no less different than the order of nature. He shows it through the objects he creates. Such an attitude is present in the titled of his works that are filled with rather whimsical humanism that are captured from episodes in his life: Fragile Diligence (2009), I Saw the Light Bending(2009), He Always Tell the Same Things Seven Times(2010), There Is No Room of Mine(2012), Even the One Who Drowses Has Enlightenment(2012), Adversity whispers Hope(2011), Be at a loss how to act(2014), and Only Turtle Doesn’t Know the Weekend of Ours(2014), This tendency comes from the artist’s own character of simple logic that he persists to focus on things that he cannot rationalize with reason but feels an interest through the heart.
Yang’s creative work takes a mechanical structure in terms of its visual properties. However, the inner language of the structure is composed of narratives with a strong emphasis on humanistic reality. Thus, his work can be represented as an analogue sensibility, drawing the viewers’ attention to “movement-sound-light” with a power to arouse emotions. At the center of Yang’s mind lies a habitual logic where an infinite row of images are multiplied and creates another language. Whereas, Yang deserves a nickname of “a researcher of small worries” who is not in tune with the refined, exact, and quick system of contemporary art, being somewhat sluggish and out of fashion. This must be that behind his mind lies certain “unexpectedness” that does not work in accordance with the modern sensibility that the current era pursues.