Jinny Yu

Interlace

2003

Text by Donald F. Andrus. The initial impression to be gained from Jinny M. Yu’s new paintings is that of a wonderfully expressive, repetitive/obsessive, linear calligraphy of visual ‘static.’ The grammar of parallel horizontals of paint barely conceals the punctuation marks of paint which seem to exist simultaneously above, behind and within that linear energy field. In sifting out these marks, one begins to realize that they may also act as a visual metaphor for natural forms such as marsh sedge and grasses. Yu seems to have initiated the use of repetitive horizontal striations of pain found in her most recent work about a year and a half ago in Montréal. However, by comparison, the painting in Montréal gave the impression of a much more dense and impacted textural physicality in which all of the action of the paint occurs most emphatically on top of and across a resistant surface. In that sense this earlier painting was absolutely consistent with the effect which Yu expected from her usual practice of encaustic painting as her medium and process. So it is a surprise to find the new work to be painted on large sheets of paper using mixed mediums such as ink, acrylic and watercolour and in which, while still present, the encaustic medium plays a more subdued role. The result is that the most recent paintings have obtained a new weightlessness, translucency and mobility of painterly form and space. Furthermore, the new paintings are to be embedded into the surface of the gallery’s walls. They will be absolutely flush with the surrounding wall surfaces and, in fact, appear to be painting on the surface. Since the work will not project outward from the wall, will not cast a shadow in fact, the actual installation of these new paintings will continue the action of the paintings themselves, appearing to vibrate, slightly above, or behind, the wall surfaces. For Yu, this installation system, together with the interlace effect and the 3:4 proportional format of some of the paintings, makes reference to the television format. To some degree the process has to recall Gerhard Richter’s paintings...

Text by Donald F. Andrus. The initial impression to be gained from Jinny M. Yu’s new paintings is that of a wonderfully expressive, repetitive/obsessive, linear calligraphy of visual ‘static.’ The grammar of parallel horizontals of paint barely conceals the punctuation marks of paint which seem to exist simultaneously above, behind and within that linear energy field. In sifting out these marks, one begins to realize that they may also act as a visual metaphor for natural forms such as marsh sedge and grasses. Yu seems to have initiated the use of repetitive horizontal striations of pain found in her most recent work about a year and a half ago in Montréal. However, by comparison, the painting in Montréal gave the impression of a much more dense and impacted textural physicality in which all of the action of the paint occurs most emphatically on top of and across a resistant surface. In that sense this earlier painting was absolutely consistent with the effect which Yu expected from her usual practice of encaustic painting as her medium and process. So it is a surprise to find the new work to be painted on large sheets of paper using mixed mediums such as ink, acrylic and watercolour and in which, while still present, the encaustic medium plays a more subdued role. The result is that the most recent paintings have obtained a new weightlessness, translucency and mobility of painterly form and space. Furthermore, the new paintings are to be embedded into the surface of the gallery’s walls. They will be absolutely flush with the surrounding wall surfaces and, in fact, appear to be painting on the surface. Since the work will not project outward from the wall, will not cast a shadow in fact, the actual installation of these new paintings will continue the action of the paintings themselves, appearing to vibrate, slightly above, or behind, the wall surfaces. For Yu, this installation system, together with the interlace effect and the 3:4 proportional format of some of the paintings, makes reference to the television format. To some degree the process has to recall Gerhard Richter’s paintings...

In their new exhibition kisewâtisiw_miyootootow – S/he is Mercifully_Respectful, Jason Baerg continue to explore the Cree Medicine Wheel, Indigenous futuri...

In their new exhibition kisewâtisiw_miyootootow – S/he is Mercifully_Respectful, Jason Baerg continue to explore the Cree Medicine Wheel, Indigenous futuri...

In their new exhibition kisewâtisiw_miyootootow – S/he is Mercifully_Respectful, Jason Baerg continue to explore the Cree Medicine Wheel, Indigenous futuri...

In their new exhibition kisewâtisiw_miyootootow – S/he is Mercifully_Respectful, Jason Baerg continue to explore the Cree Medicine Wheel, Indigenous futurism, and signature technique...

Pallav's art is a visual representation of his autobiography. His works concisely encapsulate his intense experiences with dyslexia, dyscalculia, and ADHD through chaotic arrangement...

Pallav's art is a visual representation of his autobiography. His works concisely encapsulate his intense experiences with dyslexia, dyscalculia, and ADHD through chaotic arrangement...

Pallav's art is a visual representation of his autobiography. His works concisely encapsulate his intense experiences with dyslexia, dyscalculia, and ADHD through chaotic arrangement...

Ralph Anderson PT (Sketch) Acrylic on paper H 30cm x W 42cm

Ralph Anderson G Acrylic on paper H 30cm x W 42cm

Blackheart's Rave, 2019, Collage, Mixed media: Marker, Pencil, Drawing, Acrylic and Watercolour on gessoed shopping bag mounted on archival museum board in a Street Art styled bespoke oak wood frame. , 93.2 x 63.2 . 3.5 centimetres total dimension This Rave Dance club-inspired artwork takes the energy found in New York City's nightlife. Rafael Melendez - July 2022 Rafael Melendez (b.1970, USA) renders motifs from high past art with self-taught experimental techniques to produce an unexpected and highly unique visual language riddled with esoteric symbolism. The figures that inhabit his paintings are born from a desire to understand 'abnormal' worldviews, such as Outsider Art, transgressive fiction, and metaphysics. In a constantly evolving practice encompassing drawing, collage, and painting, Melendez strives to visualize/express a moment of unity between beauty and that which doesn't make sense. Melendez starts out as an installation and video artist in 1990s San Francisco. As a student for internationally acclaimed writer Kathy Acker and conceptual artist Nayland Blake...