Many Little Fires provides an exhibition of new paintings by American painter, Mark Yang, at No. 9 Cork Avenue, London, on watch until November 26thThe exhibition, Lucid Aspiration, signifies the artist’s initially European exhibition, and the initial exhibition of his works on paper. The artist was born in Seoul, South Korea. He grew up in California, and life and will work in New York.
Mark Yang paints the figure but isn’t fascinated in making narratives. In its place, he makes use of the human human body as a conceptual jumping-off issue to examine how we entwine, interact with, and go through other human beings.
Yang renders his types in an idiosyncratic, angular, graphically stylized manner, treating entire body sections as sculptures to be painted. His palette is made up of dim purples, acid greens, vivid pops of yellow, orange, and pink. He employs fluid gestures and undulating traces to produce entangled, mysterious, uneven compositions that really don’t promptly give away the plot.
Often, the viewer can not discern which limb is related to which body. Gratuitous legs wrap all around a single butt though several arms writhe in a tangled mass. These nonsensical knots connect volumes via style, system language, and other visible codes exceptional to human beings.
Yang normally avoids depicting faces in favor of ambiguity and a gradual visual examine. When faces do appear, they typically rest… or sleep eternally. Yang paints what he is aware of, working with himself as a quotidian model. His figures – male, female, and gender neutral – serve as mental clay for their maker, not sexualized amusements. In truth, he exaggerates male nipples, turning them into formal features, which resemble eyes and “look” again at the viewer.
For his Cork Avenue exhibition, Yang grapples with many new themes. He considers the magical procedure of developing new daily life, in Yeondu and Lucid Desire. He proceeds deciphering canonical operates such as Mantegna’s Lamentation of Christ, Michelangelo’s Battle of the Centaurs and Bartolini’s The Demidoff Table. Eventually, in Anterior (night) and Posterior (night), Yang explores the spectre of the pandemic, as properly as other current entire world occasions that have introduced us images outside of comprehension.
Entire body language can be ambiguous, as can individuals. At the close of the working day, Yang’s paintings examine the complexities and problems of comprehending other human beings – a conceptual puzzle most of us confront on a daily basis.