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Coverings from building outer walls, wallpapers, interior furnishings of abandoned houses, pieces of worn-out mosquito net, tiles, ‘giwa’, traditional roof tiles which are hard to find these days, fragments of crossbeam from old mossy buildings. During the process of bringing diverse collected traces from streets to canvas, objects that once were components of streets become the start point of painting, or rather the main agent, and the artist Jazoo Yang steps back. This ‘step-back’ methodology allows her to accept more objects from streets and walls as a ‘painting’ while her spontaneous response, even passiveness to the found materials gain more importance, which lead to her ‘Material’ series. Through the whole process of collecting street objects the artist’s point of view of the cities turns more active on the contrary.
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detail
Coverings from building outer walls, wallpapers, interior furnishings of abandoned houses, pieces of worn-out mosquito net, tiles, ‘giwa’, traditional roof tiles which are hard to find these days, fragments of crossbeam from old mossy buildings. During the process of bringing diverse collected traces from streets to canvas, objects that once were components of streets become the start point of painting, or rather the main agent, and the artist Jazoo Yang steps back. This ‘step-back’ methodology allows her to accept more objects from streets and walls as a ‘painting’ while her spontaneous response, even passiveness to the found materials gain more importance, which lead to her ‘Material’ series. Through the whole process of collecting street objects the artist’s point of view of the cities turns more active on the contrary.
Exhibition sketch, ‘EINE LETZTE SACHE NOCH’ , curated by meanwhile elsewhere , 2020
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Immanence no.18 Painting

Yang Jazoo

South Korea

Painting, Resin on Other

Size: 59.1 W x 47.2 H x 2 D in

Ships in a Crate

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SOLD
Originally listed for $6,850
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49 Views
9

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About The Artwork

Coverings from building outer walls, wallpapers, interior furnishings of abandoned houses, pieces of worn-out mosquito net, tiles, ‘giwa’, traditional roof tiles which are hard to find these days, fragments of crossbeam from old mossy buildings. During the process of bringing diverse collected traces from streets to canvas, objects that once were components of streets become the start point of painting, or rather the main agent, and the artist Jazoo Yang steps back. This ‘step-back’ methodology allows her to accept more objects from streets and walls as a ‘painting’ while her spontaneous response, even passiveness to the found materials gain more importance, which lead to her ‘Material’ series. Through the whole process of collecting street objects the artist’s point of view of the cities turns more active on the contrary.

Details & Dimensions

Painting:Resin on Other

Original:One-of-a-kind Artwork

Size:59.1 W x 47.2 H x 2 D in

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Born in South Korea Live & work : Berlin <-> South Korea Jazoo Yang is a Korean mixed media artist based in Berlin. She often distorts public spaces to profound ends. With a mixture of concept-focused art and an intriguing visual palette, she questions the relationship between ourselves and the spaces that we inhabit. Her more recent practice has focused on the transformation of housing in the city and the gentrification that is pushing local residents from their homes. The 'Materials Series' is an amalgamation of the diverse, the distant, and the disregarded. Formed of the lost fragments of urban life that she rescues before their inevitable disappearance – remnants of a building’s outer walls, scraps of wallpaper from an interior, the remains of antique tiles – these often silent, ignored objects are here transformed from the mundane, and framed to acknowledge the immensity of the intimate. Furthermore, while developing projects related to the issues of redevelopment, Yang keeps an interest in what the original senses of human beings might be like within the rapid changes of a city. The speed of city life runs much faster than that of the human body, thus enforcing its speed on the people living in that city. This situation, maybe even a violent one, may damage delicate aspects of the human senses. Yang is not only concerned with the material elements that make up our cities and about those living there, she also devotes herself to the details of natural systems, which unfold in urban space, yet remain invisible.

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