楊豐羽
楊豐羽
YANG Feng Yu Wendy
Previous Works
YANG Feng Yu Wendy

Yang Feng Yu is an artist born in Beijing who came to Hong Kong in 2014 for her Bachelor’s Degree in Visual Arts. She has been studying and living in Hong Kong for more than four years. Hong Kong is Yang’s source of creation in recent years. She has a complex feeling towards this city. On one hand, Yang tries to overcome differences in region, culture and language. On the other hand, she is naturally unaccustomed to communication and building relationships with people, as she likes to be a distant witness rather than a participant. Both sides of her personal character and their contradictions show in her works. For each art piece she made, Yang is eager to discuss and talk about her inspirations and the art-making process. She enjoys recording the process and showing it on the work. She believes artists should be honest about their making process and appreciate the change of ideas through time. Yang makes her artwork touchable so that the audience can have a closer look at drafts, touch the texture of different materials or even smell it.

楊豐羽是一位生於北京的藝術家。2004年她來港修讀視覺藝術學士學位,距今已近五年。 香港一直以來都是她靈感的來源。對香港,豐羽有很複雜的情感。一方面,她試圖瞭解人們,跨越文化、地域、和語言的不同去溝通。而另一方面,她害怕和人產生聯繫。她更願意作為旁觀者。豐羽的作品反映了這兩種性格和它們之間的矛盾性。 豐羽願意談論她作品的靈感來源以及製作的過程。她享受藝術品成形的過程並願意把這個過程呈現出來。 豐羽希望她的作品是可觸碰的,人們可以近距離接觸、觀察作品的材質,感受紋理甚至氣味。

Between Hong Kong and Shenzhen

2018

Painting and video documentation

Size variable

People travel between Hong Kong and Shenzhen every day and night, just like ants and migrant birds carrying with them a lot of stuff. I take my painting with me on this trip to Shenzhen and find whether there is anything happens in this journey.

Carry 帶墨

2018

Performance, ink and Chinese paper

Size variable

I cover my face with ink as I atone for my crime. I carry the ink with me from the basin to the wall. And every time I make marks.

我自贖般地以墨覆面。我的臉帶著濃厚的墨一遍一遍游走於臉盆和牆壁之間。我不斷地留下印記,哪怕一直碰壁;然而每一次,都有印記。

Relationship

2018

Gesso and glue on canvas

24 × 15 × 8 cm

What is a painting? Its physical nature can be considered as the pigment and canvas. I cut a piece of canvas into two and remodel them into one. In this process, I do not add any extra thing. I see the relationship through reshaping within a painting, or an object.

Vase-mother

2019

Acrylic and gesso on linen

Size variable

A parent’s body giving birth to a child is shown. The vase is a symbol of the mother. When the growing child inside is too large to be accommodated, birth takes place. The parturition happens. The monster comes out from the belly by a cesarean section. The vase is broken. It is a stressful and painful process that happens to every mother’s body. Many mothers in history died of parturition clearly. It is a birth of a child and a death of the mother. I would like the audience to surround me so they can see the parturition clearly. I try several times in my home as the infant inside—I feel suffocated and depressed that I have to break the bag and get out from the trapped cell.

我想表達誕⽣這個過程。花瓶作為⼀個意象。在花瓶中⽣長的東⻄,⼤到花瓶裝不下的時候,出来 的時候,不是從瓶⼝,⽽是破腹⽽出。作為⺟體的花瓶,由於誕⽣了一個異物,破碎了。 在表演的過程中,我希望觀眾可以圍著我,很近距離看到生產這個過程。我在家試過幾次,在袋⼦子 裡感到了窒息,壓抑。不得不撕裂、衝出母體。

Painting in the Corner

2019

Gesso, cornstarch and aspic on linen

Size variable

It locates in the corner of my messy studio. The place is not eye catching, in a kind of grey area but very unique in my mind. There are two walls creating a right angle. The upper red alarm contrasts against the lower socket. I like this corner. A painting which meets well with this area is created.