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...

Jason Baerg is a Métis Cree visual artist particularly involved in the transmission of Indigenous knowledge and vocation of taking his artistic practice fur...

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...

Jason Baerg is a Métis Cree visual artist particularly involved in the transmission of Indigenous knowledge and vocation of taking his artistic practice fur...

Jason Baerg is a Métis Cree visual artist particularly involved in the transmission of Indigenous knowledge and vocation of taking his artistic practice fur...

Tactile #11 is an original mixed media painting. I created this modern art piece using plaster, paper and black acrylic paints. Perfect for the modern contemporary home.

Materials: acrylic paint, craft paper Non-objective artist Aimée Farnet Siegel works with color and line through the medium of hand-painted and manipulated paper. Her works inhabit...

"Once Upon a Time" is a multimedia large scale 72 piece series by Indian Artist Ritu Sinha. This immersive series tells stories, talks back and forth to each other and the viewer. So...

Artwork size: 67 x 51 cm. Frame size: 112 x 97 cm. Free shipment worldwide. Archive number SF 89-153 in the Sam Francis Foundation. Stamped with the Sam Francis Estate logo and stamped signature on verso. Sam Francis’s paintings are a journey into a dream, a voyage into the landscapes of the soul where colours are lights on fire. Alongside names such as Jackson Pollock, Willem de Kooning and Franz Kline, Sam Francis is an artist who has succeeded in demonstrating a total mastery of abstract expressionism’s impassioned and spontaneous genre. The explosions of colour – red, blue, green and yellow – the streaks, strokes and bold lines of his pictures are the physical synthesis of the deepest crevices of the soul. His colours create rhythmical motifs that, characteristically enough, can be called the “musicality” of his paintings. The work of Sam Francis provides a visible meeting place for the conscious and the unconscious. His pictures are the cross-fertilisation of what has already been experienced with what exists still only as desire, a struggle between melancholy and merrymaking. Influenced by C.G. Jung, the father of psychoanalysis, Sam Francis spent a large portion of his life exploring the premise that dreams, instincts and intuition provide, the keys which unlock the mysteries and meaning of our inner lives. He was also fascinated by the four ancient elements – earth, water, air and fire – which developed into a leitmotif in his work. Sam Francis was born in San Mateo in California, USA in 1923. After starting to paint at the age of around twenty, he soon found himself increasingly consumed by the power of art. He spent much of the 1950s in Paris, from where he not only made frequent excursions to a number of European cities, but also embarked on many journeys to South America and Asia. He continued to move from place to place, primarily in the USA and Japan, right up until his death in 1994. Sam Francis’s first...

Rave Sister X, a vibrant watercolour painting on gessoed paper created in 2020, captures the essence of a dance trance in a mesmerizing and abstract manner. This monochromatic artwor...

Introducing "Emoship," a captivating painting by the esteemed American artist Rafael Melendez, renowned for infusing existentialism and profound meanin...