YANG Zong-Jia: Gleaming InnocencePost date：2024-01-10
Updates：2024-01-31
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- Event Time
- 2024-01-06~2024-02-04Tue. – Sun. 11:00-19:30
- Event Location
- No.10, Shausing S. St, Zhongzheng Dist., Taipei City Taiwan, R.O.C
Hiro Hiro Art Space is pleased to present YANG Zong-Jia’s solo exhibition, on view from January 6, 2024 to February 4, 2024. Through the fragile porcelain sculptures, YANG hand-builds a diverse series of innocent children, each delicately embellished with lustrous translucent glazes. The spiraling pastel-color clay coils are reminiscent of the magical transformation sequences swirled with enchanting glow, seeking to transform into “Gleaming Innocence.”
Innocent children are born with an untarnished heart, while vulnerability is the medium through which their courage is established. Without the need to be meticulously cut and polished, they still emit an effulgent luminosity like a diamond. YANG Zong-Jia has long used porcelain as his artistic medium—an inherently fragile and unpredictable substance, mirroring the very essence of vulnerable life. However, he believes that vulnerability in this contemporary era is not synonymous with timidity, as acknowledging vulnerability is also an expression of courage.
In this exhibition, the work Transforming draws inspiration from two works named “Crystal,” which are the novel Crystal Boys by a Chinese writer, Pai Hsien-yung, and the anime Sailor Moon Crystal, adapted from Japanese manga artist Naoko Takeuchi’s manga. Crystal Boys portrays the marginalized position of the Chinese gay community in society, yet each boy, despite vulnerability, radiates an inherent brilliance like crystal. Sailor Moon Crystal subverts the traditional role of males as primary protectors, emphasizing that girls also possess resilient protective strength. Whether boys or girls expressing their crystalline essence, they all shine with their purest forms, akin to flawless crystal gemstones.
Transforming Compact is not crafted with the intent of treasuring the beauty of crystal gemstones, but rather amasses the purest essence, transforming into a force of metamorphosis. Vulnerability may cause wounds, but acknowledging vulnerability with bravery allows healing and forming new skin. Like the surface of works such as Silver Erosion and Black Butterfly, they crystallize into rustic silver ore and profound black charcoal, respectively. Each gleams its own splendor, unveiling its beauty through a transparent innocence. With bowed heads, closed eyes, and softly pursed lips, a silent anticipation awaits the subtle recognition of their true visage.
Innocent children are born with an untarnished heart, while vulnerability is the medium through which their courage is established. Without the need to be meticulously cut and polished, they still emit an effulgent luminosity like a diamond. YANG Zong-Jia has long used porcelain as his artistic medium—an inherently fragile and unpredictable substance, mirroring the very essence of vulnerable life. However, he believes that vulnerability in this contemporary era is not synonymous with timidity, as acknowledging vulnerability is also an expression of courage.
In this exhibition, the work Transforming draws inspiration from two works named “Crystal,” which are the novel Crystal Boys by a Chinese writer, Pai Hsien-yung, and the anime Sailor Moon Crystal, adapted from Japanese manga artist Naoko Takeuchi’s manga. Crystal Boys portrays the marginalized position of the Chinese gay community in society, yet each boy, despite vulnerability, radiates an inherent brilliance like crystal. Sailor Moon Crystal subverts the traditional role of males as primary protectors, emphasizing that girls also possess resilient protective strength. Whether boys or girls expressing their crystalline essence, they all shine with their purest forms, akin to flawless crystal gemstones.
Transforming Compact is not crafted with the intent of treasuring the beauty of crystal gemstones, but rather amasses the purest essence, transforming into a force of metamorphosis. Vulnerability may cause wounds, but acknowledging vulnerability with bravery allows healing and forming new skin. Like the surface of works such as Silver Erosion and Black Butterfly, they crystallize into rustic silver ore and profound black charcoal, respectively. Each gleams its own splendor, unveiling its beauty through a transparent innocence. With bowed heads, closed eyes, and softly pursed lips, a silent anticipation awaits the subtle recognition of their true visage.
