Wang Yin

        When we approach Wang Yin’s latest paintings, it feels like we are walking from twilight into the sunlight of high noon.

        What we are faced with are clear, explicit, and bright forms that share relationships of reflection and embedding. The images in these paintings, whether they gaze upon us or turn their backs, maintain an effective silence. Rather than say that their desires are activated by our gaze, it is more accurate to say that they are already immersed in confrontation. Honesty, equality, and a certain degree of difficulty characterize the interaction between humans and paintings; when we authentically confront otherness, we sometimes feel helplessness.

        Now, we can see how the forms in a painting are mutually dependent, and how this dependence is retained and reinforced through certain fantastic gestures. A person sits in the void, and the mere movements of a single hand allow him to maintain this posture for much longer. The artist, bearing portraits of himself and his family, steps into a river; there, he meets and replaces nameless others. Through repeated outlining, his own portrait becomes unified with those of his family, which in turn become portraits of all humankind. Paintings, constituting a perceptual reality that serves as a unifying genealogy of our species, pile up in the noontime sun, no longer reliant on our gaze to shine.

Oct 18 – Oct.21, 2018
FIAC, Paris

Wang Yin Solo Exhibition, Exhibition view at FIAC 2018，Paris, 2018.
Courtesy of Vitamin Creative Space.