Interview | RaFOO Yang
RaFOO Yang is a Chinese artist currently living and working in Shanghai, who is a rising star in the contemporary art world. Her works have attracted wide attention and she has participated in international art exhibitions in Paris, Italy, New York, and Japan.
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RaFOO's works are a combination of conceptualism and minimalism, in which the depiction of everything maintains a consistent style of idiomatic construction with clear attributes, and at the same time, order and motifs are introduced into her works.
#Instagram:rafooart #Red:184372701
"Black" helps to construct the order, integrity, and harmony of the entire work, which is widely accepted though hard to express. The work itself carries the revelation of various traces in the process of its production which can be understood completely by virtue of the work itself, without referring to any external object, and can deliver a huge space of imagination. What a gentle and wanton thing the imagination is. The appreciation of natural materials is reflected in the use of natural organic materials that are full of vitality, such as pulp, wood, ceramic, etc. I prefer to involve these natural materials in my works to break the aesthetic habit of showing art in the area of traditional painting through "color, form, and space".
10 Questions with Artist RaFOO Yang
Feb 28, 2023
Q1. First of all, would you please introduce yourself to our readers? Who is RaFOO in three words?
Kindness, Wisdom, and Sensitivity.
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Q2. You have a background in architecture; how does it influence your work as an artist?
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I am an architect who fled the city. In my works, I aim to convey the atmosphere, vibrations, and power of northern nature. With my art, I want to show people how important it is to love themselves and the world around them, always follow the call of their hearts, and maintain constant contact with nature. Strong in spirit, following the call of the heart, free as the north wind!
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Personally, I find painting very similar to architecture and music. One of the most impressive aspects of Bach's music is its "architectural" construction and clarity. Tones are related not only to colors but also to writing and painting. Immersing oneself in a project sparks a process of creativity. Concentrating on the essentials is of great importance in both architecture and painting.
Q3. What are the differences and similarities between your work as an architect and your art practice?
Whenever I think about architecture, various images come to mind. Many of these images are related to my training and practice as an architect. They contain the architectural expertise I have accumulated over the years, while others come from my childhood memories and writing experiences. There was a time when I could feel architecture without thinking about it. This is the treasure I received from working as an architect. Nowadays, when I work on my art creation, I frequently find myself falling into vague and long-ago memories. I recall what these situations really looked like, what they really meant to me, and finally present them on the screen. Even though I can't sketch out any particular form, everything is very obscure and uncertain. Creations become extremely important in this; creation is the art of using individual parts to create a meaningful whole.
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The Black Garden I 2023
120CM.120CM
Hemp silk paper and acrylic paint mixed media on canvas canvas
Q4. You work with different mediums, such as paintings, ceramics, paper, and site-specific installations. What is your philosophy to combine these different mediums?
A large part of my deep fascination with art stems from creative experiments and discoveries. Mottled or smooth paper, acetate fiber, linen, clay, or resin...... There are countless varieties of mediums that can be used for painting or as paintings, with endless variations. The works range from images with a rough surface like stoneware to representations of nature, air, clouds, waves, and mountains. They are united under the color 'black' and imbued with energy: quietness, wildness, or boldness. I like to explore this energy. For example, in my Moon Cloud series, the fibers of the paper are altered to create subtle reliefs and brushstrokes like paintings. Made from the inner bark of the wikstroemia, Dongba paper is rich in fibers that loosen when mixed with water. Once altered, it is fixed with gesso and glue. In some cases, I also attach special materials such as organic toner, glass baking paint, and stiffener to the surface to express a richer texture as well as a sculpture-like touch.
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Moon Clouds II2022
80CM.100CM
Dongbaand acrylic paint/alkyd medium mixed media on canvas
Q5. In your statement, you speak of "a consistent style of habitual construction”. What do you mean by that? And how do you use this language in your work?
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My works are faint, delicate, and subtle, without a strong paradigm. They are like a 'walk', united under the color 'black'. I don't want the audience to be guided by any specific graphics but only to give them an emotion, an atmosphere. I hope they will think, imagine and look for their own answers. A person who says "I know", who says "what exists" or "what doesn't exist", has obviously stopped thinking and stopped following the whole process of looking for desire. The biggest problem we have today is that we are bound by our beliefs, we are overwhelmed by knowledge. Our minds should be freed from yesterday, freed from faith, and freed from authority.
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My process of creating is also like a wander, not knowing where the end is. I often work on five or six paintings at the same time in my studio, adding something to my work according to my moods each day, the atmosphere of the studio, and the materials at hand. I seek 'simple complexity'. Till one day, I think I have reached the end of this work, then I will go back or start again. It is like a walk in the night, with the moon shining enchantingly, and the soft stars casting autumn waves on the anxious, hurrying pedestrians. When the night comes, all is quiet and the stroller breathes in the fresh, sweet air greedily. Pause, start again, and continue wandering, with bright or dark thoughts, with blue sky or night sky, sunrise, or bright moon overhead, sometimes sad, sometimes smiling...
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Q6. A key element in your production is paper. What does this material represent for you?
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I am always looking for materials that express myself, and I hope that these materials will have some connection with my own personality. This is one of the reasons why I finally chose paper as a raw material to play an important role in my work. For example, the seemingly soft Dongba paper is the toughest of all, with a certain self-protective toxicity beneath its beautiful surface, and it can be stored for 800 to 1000 years. This temporal, beautiful, unintended, free, abundant, strong, soft, and multifaceted diversity is what I am looking for. It is said that the work and the artist are of the same origin mutually, and my work certainly needs to convey my attitude towards life and my philosophical thinking: "My work is the representation of myself."
The expression of content is not directly related to the material itself, but the more important thing is thinking. It is all based on ideas and past experiences that shape my behavior. We are often in a space of unnatural neutrality, accustomed to getting by and being confused about everything. To escape this dilemma, I am learning to perceive and feel, to seek purity and unique expressions - love and hate, brightness and darkness, anxiety and detachment - so that I can feel that I'm real and embrace the beauty of life.
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Narratives of Forest Philosophy 2023
80CM.100CM
Sydney paper and acrylic paint mixed media on silkcloth
Q7. Speaking of themes, your work reflects on personal memory and shows transience and impermanence. How much do personal experiences influence your practice and the themes you work with?
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Human beings are born to create utopia. The value of a person is to constantly anticipate and strive to achieve a part of that vision. One of the most important reasons why art can surpass science is that only art can realize this vision, which is the "imagination" given by the artist. The aim is not just to create beauty or show beauty, but to inspire your free spirit.
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My work never seeks to depict objects that actually exist, and they have no reference because I do not want to bind the viewer through images. Although it is not possible to completely leave behind personal experience, I try my best to really engage with it without giving any signals by envisioning and entering the context. This context is not limited. Even though we are still not able to totally let go of our beliefs, perceptions, and egos, each viewer will get a very personal perception because of their different backgrounds, experiences, knowledge, sensitivity, and so on. This is invaluable because there won't be any perception without a process of thinking.
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I, on the other hand, only describe a painting. If we know ourselves moment by moment, without accumulating anything, we can see how calmness emerges. It is not a product of the mind, an imagination, or a result of intentional formation; it is only in that calmness that creation can take place.
Q8. You have a particular color palette of black and composition preferences. What is your creative process like? Can you walk us through the realization of one of your works from start to finish?
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The process of creating art is supposed to be mysterious and unreplicable, even by the artist themselves. In my 'wandering' process, I cannot reproduce any of my works, as each piece is the result of an unconscious, experimental, and random process. The color black has no particular aesthetic value; "without art theory, black paint would be just black paint and nothing more." In my case, black is not only a color but also a distinctive emotional and spiritual experience. It contains the complete grasp of experience, the extraction of philosophical awareness, the construction of a language space, and the imagination of integrating everything with art eventually. Black can symbolize the infinity of space, the passage of time, and the impermanence of life. Using black as a dominant color and combining it with natural textures and density creates a unique atmosphere. This atmosphere is often very mysterious and obscure but at the same time full of power and energy. Sunlight, solitude, nature, love, time, and creation itself are all brought into my work and presented to you. The black-based creations not only show beauty and mystery but also an exploration and reflection of the human existence and spiritual world. Unique works full of depth and symbolic meaning are created through this process.
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Dwelling Near The Origin II 2022
25CM ×25CM
Dry pigment and synthetic resin /color pigments transform into on canvas
Q9. You already have a long and successful career. What do you think of the art community and market?
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Not only have I had a long career, but I am also attending an EMBA course. In my opinion, the art community and market are two very broad concepts. Although it is not necessary for artists to cater to the market's preferences, it is more important to stick to their own style, they should be clear about the future value of their creations in the market and the path to take to sell their works. That is what many people are talking about nowadays, namely personal art IP building. For example, if you are an illustrator, then you should work more with commercial brands to make your art as marketable as possible. If you are an artist in a popular style, then you can participate in more art community activities to increase your visibility and sell your works in bulk. If the artist creates an inherently elegant and niche style, then he should cherish his reputation and follow the collector's route. In short, art is also a business, and artists shouldn’t change their style in the way of creation. They should try to find their own style at the beginning and achieve a circle of business.
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Q10. Lastly, what are you working on now? Do you have any new projects you would like to share with our readers?
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This April I will be in Paris for the SINO FRANÇAISE D'ECHANGE D'ART event at the Musée du Louvre, and then I will post a video project on my personal account for about 2 months of traveling around art galleries in Europe.
