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Li Yang's Solo Exhibition
February 28th - April 8th
191 South Su Zhou Rd.
Remaining Island is the second part of Li Yang’s “Remaining” series artwork.
In November 2018, Li Yang went to Pingtan Island in Fujian Province on the Southeast coast, which is the closest place from Mainland to Taiwan. She took photos from a perspective in parallel. She walked inch by inch, passing by the blue shades of the sky, and by the green shades of the vegetation, and then reached the end of the mountain, where a bunch of stone buildings for local residential use, in which they hold the unique warmth of life of the islanders.
Previous to this project, Li Yang’s creative ideas generally derive from a certain theme, then a series of new techniques was enabled, and traditional painting technique, sculpturing or photography techniques were considered. This kind of guidelines and steps became habitual over time. But now she realised that her true understanding of art boils down to “borderless.” Any form can be replaced, but time will not be. Time seems to propel Li Yang forward. At the end of 2018, the photographies were connected though post-production in terms of visual consistency. After completing the first round of creation, with consistently changing thoughts in her mind, Li Yang started to make refinements again from 2019 to 2021.
This process took her more than two years, breaking inertia and changing habits, this project started everything. Li Yang chose the visual language of long scrolls to present her photographies. Nowadays, we see less and less form of long scrolls in fine art because there are fewer ink painting artowrk in general, or it could be a form that is considered too classical, too old schoo. Long scroll is a unique way of Chinese literati painting, and this form is extremely rare outside of China. Considering Pingtan Island’s special geographical location next to Taiwan Island, the exhibition echos the history and culture of Long scroll painting, speaaking to the viewer of the Pingtan Island as the scroll unfolds…
RI-D1-1, Over the sea 1, Archival Pigment Print, 40×40×5cm, 2018-2021
RI-D1-2, Over the sea 2, Archival Pigment Print, 40×40×5cm, 2018-2021
RI-D1-3, Over the sea 3, Archival Pigment Print, 40×40×5cm, 2018-2021
RI-D1-4, Over the sea 4, Archival Pigment Print, 40×40×5cm, 2018-2021
RI-D1-5, Over the sea 5, Archival Pigment Print, 40×40×5cm, 2018-2021
RI-D1-6, Over the sea 6, Archival Pigment Print, 40×40×5cm, 2018-2021
RI-D①-7 Changing 1, Archival Pigment Print, 40×40×5cm, 2018-2021
RI-D①-8 Changing 2, Archival Pigment Print, 40×40×5cm, 2018-2021
RI-D①-9 Changing 3, Archival Pigment Print, 40×40×5cm, 2018-2021
RI-D①-9 Changing 3, Archival Pigment Print, 40×40×5cm, 2018-2021
RI-D②-1, Archival Pigment Print, 20×150 cm, 2018-2021
RI-D②-2, Archival Pigment Print, 20×150 cm, 2018-2021
RI-D②-3, Archival Pigment Print, 20×150 cm, 2018-2021
RI-D②-4, Archival Pigment Print, 20×150 cm, 2018-2021
RI-D②-5, Archival Pigment Print, 20×150 cm, 2018-2021
RI-D②-6, Archival Pigment Print, 20×150 cm, 2018-2021
R-E ② Island,Archival Pigment Print+ Epoxy resin L150 cmX W35 cm X H80 cm ED: Unique piece 2021
R-E ① Fade,Archival Pigment Print+ Epoxy resin L150 cmX W35 cm X H80 cm ED: Unique piece ( possible customization) 2021
RI-B Video,ED:1+AP 4k HD |50 versions /1 to 3 mins each |Customized opening/closing credit including the name of the collector 2021
Remaining Island is the second part of Li Yang’s “Remaining” series artwork.
In November 2018, Li Yang went to Pingtan Island in Fujian Province on the Southeast coast, which is the closest place from Mainland to Taiwan. She took photos from a perspective in parallel. She walked inch by inch, passing by the blue shades of the sky, and by the green shades of the vegetation, and then reached the end of the mountain, where a bunch of stone buildings for local residential use, in which they hold the unique warmth of life of the islanders.
Previous to this project, Li Yang’s creative ideas generally derive from a certain theme, then a series of new techniques was enabled, and traditional painting technique, sculpturing or photography techniques were considered. This kind of guidelines and steps became habitual over time. But now she realised that her true understanding of art boils down to “borderless.” Any form can be replaced, but time will not be. Time seems to propel Li Yang forward. At the end of 2018, the photographies were connected though post-production in terms of visual consistency. After completing the first round of creation, with consistently changing thoughts in her mind, Li Yang started to make refinements again from 2019 to 2021.
This process took her more than two years, breaking inertia and changing habits, this project started everything. Li Yang chose the visual language of long scrolls to present her photographies. Nowadays, we see less and less form of long scrolls in fine art because there are fewer ink painting artowrk in general, or it could be a form that is considered too classical, too old schoo. Long scroll is a unique way of Chinese literati painting, and this form is extremely rare outside of China. Considering Pingtan Island’s special geographical location next to Taiwan Island, the exhibition echos the history and culture of Long scroll painting, speaaking to the viewer of the Pingtan Island as the scroll unfolds…
