Yiyang Chen

MLitt Fine Art Practice (painting) 2021-2022

My practice mainly focuses on the gaze, the Asian female body image, and the relationship between virtuality and reality through various mediums. Based on the comparison analysis of patriarchy between the Western and Asian social contexts. Fandom(appropriation), archive, collage, painting, and ceramics are employed as my methodologies. When it comes to the notion of “body” within my practice, it is talking about the Asian female physical body and the body in the background of Asian political systems. “As If I Am Invisible” (2022) focuses on the relationship between historical objects, knits, and the objectification of women’s body. The painting is created from an Asian woman’s perspective, associated with the psychological background of fetish. I intend to build up a connection between the Western and Eastern patriarchy, by imagining if I could abstractly treat the Asian female body as a fragile vessel, wrapped and oppressed by a huge net, a wide sweater, or an exquisite cardigan.

I intend to combine the notion of “fandom” with both my research on feminism and contemporary painting. Fandom as a methodology is used to portray the art produced by fans related to the object of their admiration. My fannish attachments to people and objects motivate and drive my work. They could be historical objects, costumes, and icons. I kept collecting the images of “body” in East Asia, broadening my view of what could be seen as a body or female symbol and enabling me to apply more surreal symbols and fantasy notions to my paintings. “404 Fantasy” (2022), developed from my exploration of making collages. I imitated the effect of tearing up the edge of collages on canvas by doing brushstrokes. Meanwhile, negative space is deemed commonplace within both Eastern and Western art. I left space in both my paintings and collages. In addition, the painting is empowered to carry conflicting meanings. It presents a woman with double braids, wearing a Qing dragon robe (which was worn by the male, especially the emperors of China, symbolizing the highest power in ancient patriarchy). At the same time, there is a female torso in a destroyed kimono. A bento box (ceramic) with the shadow of a table was placed below the painting, associated with the red table in the painting.

In terms of my installation, The Maid, The Bride, The body (2022), the hoop skirt could be regarded as the most important symbol within my practice, originated in collages, and then pushed my practice forward to paintings and small-scale ceramics. I exploited the hoop skirt as a blank paper to make collages. I questioned whether I could employ cyberspace as a new environment to express my concepts on women’s bodies and gazes. This was done through an online performance with the hoop skirt. This performance was inspired by Laura Mulvey’s film theory. This theory gave me the insight to explore how Eastern Asian women’s bodies might be reshaped by cyberspace's digital filters and techniques. By projecting the keyword “gaze” into a specific context, to investigate the new cultural meanings of “gaze” and “filter” in the context of social media.

More on Yiyang's GSA Showcase website and Instagram

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100 gifs + 20 as a gift (80px) of Xu Yiyang have been delivered safe & sound. Yiyang is a c-pop idol, is chinese and has 23 years old, please cast her respecting that information. This pack is public thanks to @mpyiyang​ so check the source link to access to the pack. If you want to commission me, you can im me or check on my blog to have more info about it. Be safe!

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