All Yang’s work is internalized in a paradoxical way: we attend to images that have been conceived and treated (and exposed) with all the exquisiteness, care and glamor required by an attractive advertising composition, but, nevertheless, Are images of banal, worthless and / or rejecting objects (including food), simple objects commonly used in everyday life, which in principle would not correspond to this elevating distinction. But not only the fact of its banality is remarkable, but also, and much, that of its incongruous staging
Formal and plot (with these unusual choreographies, as elegant as incoherent and absurd, if you look at conventional aesthetic logic).
Thus, we subvert the habitual perception that we tend to have of these objects and end up offering us an unusual view of themselves. What is anodyne, ordinary, banal acquires a new meaning and a new and unexpected transcendence (Yang’s work is closely intertwined with the concepts of ready made and objet trouvé of Dadaism and surrealism of the early twentieth century). In any case, all these still lifes move in an interesting, subtle and poetic border between the grotesque and the lofty, between the mundane and the sublime, the real and the ambiguous.
SCAN Tarragona, Chantal Grande and Pep Rigol.