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Loretta Yang considers glass as being the most appropriate material to formulate her origins in Asian culture or the cyclical conception of time expressed in the never-ending eternity of life, up until the enlightenment, where the «body and the spirit become similar to crystal. Pure, transparent. Perfect». The divinities of the series «Beyond the form», frozen forever in glass, are a perfect illustration of this and are also a representation of the Buddhist philosphy that all things are transient. In the series entitled «The flowers are open, the moon is full», the artist recalls the ephemeral aspect of life : the unique moment, between blossoming and withering, where the flower is at the height of its beauty.
Loretta Yang was born in 1952 in Taipei, on the island of Taïwan.
For Loretta Yang, as for Antoine Leperlier, the technique of Pate-de-Verre is a means of expressing the question of time and thus also the existential issue of Being and Life. Under the effect of heat, glass is transformed from a liquid to a solid state. Its fluidity is fixed in art objects that for some remind us of a serene vision of time, and on the contrary for others recall the melancholic tradition of its passing. The eternal Buddhists and the excessive refinement of Loreta Yang’s lotus blossoms are the expression of an oriental culture which seeks to show the fullness of life, whereas on the contrary, the still life and vanities by Antoine Leperlier undeniably remind us of theWestern, linear conception of life, characterised by the inevitable payment for decadence then the ending of life.
The one and the other thus address the question of temporality by producing pieces that recall the history of their own civilizations and the imaginary and symbolic worlds that build them.Their creations refer to cultural and religious objects that exist in the West for popular religious devotion and which are still enshrined today in Far Eastern religious practice. Now they figure more as art objects than sculpture and in this way avoid the globalised aesthetic domination of Conceptual and Minimal Art.
Since 1998, multiple casting has been the primary technique used in Loretta Hui-shan Yang’s work. Through various treatments and temperatures, it emerges an alternate realm of translucency and precision. Yang breathes life into Buddhist figures that appear to exist in an ethereal yet concrete state, an expression of her inner countenance.
Yang said on Formless, but Not Without Form:
The series was first shown in 1998 at The Victoria and Albert Museum. Throughout the years and from both physical and technical standpoints, the series has consistently brought forth new ideas and is recognized as Yang’s significant style.
Since in 1987,