Taming the elements/Digital soul
Keren Liang, Yirui Fang
Keren Liang, Yirui Fang
September 10 – October 26 2024
Triangle Gallery is pleased to announce TAMING THE ELEMENTS / DIGITAL SOUL, the first two person show of paintings by Yirui Fang (b.1997 in China, lives and works in Venice, Italy) and digital work by Keren Liang (b.1996 in China, lives and works in China). Opening reception September 10 at 19:00. Through October 19, 2024.
Yirui Fang, a native of Shandong, and Keren Liang, from Jiangsu Province, graduated from the Liu Xun Academy and continued their studies at the Academy of Fine Arts in Venice. Changing countries and contexts, the artists tried out different mediums, mixing them like a natural symbiosis. Fang and Liang started out together with digital art, which allowed them to model an imaginary future with signs of a familiar past.
The post-apocalyptic world seemed to have been destroyed and started anew in the ensuing unity of the living and the inanimate, man and nature, the laws of physics and dreams of flying and merging with other forms of existence. Recently, the tandem of artists broke up, and each began to develop common themes in their own way. Yirui Fang is leaning towards more material mediums - performance, action painting, series of paintings that grow into total installations. It is all the more interesting how in new works the search comes to medium-sized painting, almost decorative, but full of meanings collected by the artist along the way.
At first glance, "Western" abstraction reveals completely different sources. The compositions resemble patterns of Persian carpets, thin, "watercolor" strokes evoke associations with precise and light Chinese painting. Biomorphic elements have already appeared in digital works, the human figure acting along with abstraction, sometimes going beyond the canvas and screen. At the new stage, man disappears, only colors-energies remain, tamed, subordinated to the harmony and balance of the composition. "River", "Wind", "Whirlpool" - the paintings follow the elements of nature, sometimes raging, but even then remaining in harmony with themselves.
Keren Liang has remained committed to the digital dimension and creates her own version of universal art within it. Video in 3D modeling technique is the equivalent of imagination unleashed by modern technologies. Human corporeality, visual effects, animal and plant organics form impossible combinations; the present and the future, the familiar and the never-before-existent are superimposed on one another. The physical and the virtual are also organically connected in the augmented reality format - the work appears between a material object and an application on the viewer's phone. The practice of young artists uniting schools and continents evokes optimism - contradictions that seemed insoluble can be reconciled by art.
Posthumanistic - posthuman optics can become extra- and inter-human, capturing currents operating outside, above and in the depths of us, in a reality that we comprehend with a set of feelings that are not fully counted.
Alexander Merekin
Yirui Fang, a native of Shandong, and Keren Liang, from Jiangsu Province, graduated from the Liu Xun Academy and continued their studies at the Academy of Fine Arts in Venice. Changing countries and contexts, the artists tried out different mediums, mixing them like a natural symbiosis. Fang and Liang started out together with digital art, which allowed them to model an imaginary future with signs of a familiar past.
The post-apocalyptic world seemed to have been destroyed and started anew in the ensuing unity of the living and the inanimate, man and nature, the laws of physics and dreams of flying and merging with other forms of existence. Recently, the tandem of artists broke up, and each began to develop common themes in their own way. Yirui Fang is leaning towards more material mediums - performance, action painting, series of paintings that grow into total installations. It is all the more interesting how in new works the search comes to medium-sized painting, almost decorative, but full of meanings collected by the artist along the way.
At first glance, "Western" abstraction reveals completely different sources. The compositions resemble patterns of Persian carpets, thin, "watercolor" strokes evoke associations with precise and light Chinese painting. Biomorphic elements have already appeared in digital works, the human figure acting along with abstraction, sometimes going beyond the canvas and screen. At the new stage, man disappears, only colors-energies remain, tamed, subordinated to the harmony and balance of the composition. "River", "Wind", "Whirlpool" - the paintings follow the elements of nature, sometimes raging, but even then remaining in harmony with themselves.
Keren Liang has remained committed to the digital dimension and creates her own version of universal art within it. Video in 3D modeling technique is the equivalent of imagination unleashed by modern technologies. Human corporeality, visual effects, animal and plant organics form impossible combinations; the present and the future, the familiar and the never-before-existent are superimposed on one another. The physical and the virtual are also organically connected in the augmented reality format - the work appears between a material object and an application on the viewer's phone. The practice of young artists uniting schools and continents evokes optimism - contradictions that seemed insoluble can be reconciled by art.
Posthumanistic - posthuman optics can become extra- and inter-human, capturing currents operating outside, above and in the depths of us, in a reality that we comprehend with a set of feelings that are not fully counted.
Alexander Merekin