Born 1990 in Taiwan, Deng-Lin Yang graduated from Graduate Institute of Fine Arts, Tunghai University in 2016, with emphasis in mixed media installation. Deng-Lin Yang lives and works in Taichung, Taiwan. He had participated Taiwan Annual Exhibition in Taipei and... Read More
Born 1990 in Taiwan, Deng-Lin Yang graduated from Graduate Institute of Fine Arts, Tunghai University in 2016, with emphasis in mixed media installation. Deng-Lin Yang lives and works in Taichung, Taiwan. He had participated Taiwan Annual Exhibition in Taipei and exhibited at some alternative spaces in Taichung and Pingtung. He also participated in artist-in-residence programs at Taitung Art Museum in Taiwan and Saari Residency program in Finland.
Deng-Lin Yang’s arts is practiced on the basis of getting along with houseware and hardware materials from his everyday life. By creating artworks using objects(materials) which have already been functionally defined, he attempts to reconstruct the relationship between materials and human’s behavior, which finally leads to the narratives of the materials themselves.
While those objects and materials speaking certain ‘languages (the way connected)’ with users are reformed, the strangeness, privacy and mystery they have brought are not necessarily distant. They can provide a lot more meanings which are beyond their original definitions while being known again and interpreted differently. Choices of material and results of his artistic practicing may be various, but the discrepancies occur in the process of seeing, and the new meanings that alchemically synthesized afterward, have become the way of how they communicate with viewers. This is what Deng-Lin Yang is always pursuing.
By using the collective memories the materials provide, he forms his own spirituality which can only be comprehended by few. Although those works usually seem distant from everyday life, with no obvious issue, still, they are proximate to life.
Deng-Lin Yang is concerned about the feebleness, viscosity, concealability of materials, and their residuals. He approaches the mind state of ‘Mono no aware (物の哀れ)’ with all these characteristics.Therefore, most of his works are not created stable and preservable and sometimes are even site-built. Creating works on-site has allowed him to change materials’ nature alchemically, to expand those characteristics of deathly stillness, and to combine different materials with contrasting characteristics. These processes seem to has enabled those materials to start their own narrative threads. Some works have gone through their short lifespan during the exhibiting. In these cases, those site-specific works, while given lives and limitation simultaneously, was driven by time, and merging into each other’s characteristics completely.