The publication Wang Yin 2021 reflects Wang Yin’s recent painting practices (2018-2021). The subjects of Wang Yin’s paintings remain anonymous people, anonymous places. And the degree of namelessness seems to correspond to our original state in the world, a time in which every hand gesture and every movement of a limb possesses profound significance. From this starting point, the texture of Wang Yin’s paintings gives a hint of a method of gently touching the world that is both sensory and emotional. The painting’s natural, fecund light produces an effect of body warmth, enhanced by the particular temperature that the painting seems to emit as an actual object. As the faint light of the painting breathes, it endlessly expands our perceptions.

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Selected Pages

The survivor is no longer restricted and entangled by the explicit guidance of his environment. All that remains is the individual, radiating a versatility that fuels our imaginations, or unveiling a distinctive assemblage–a kind of conjoining. Correspondingly, painting becomes multifarious, implying the anticipation of future transformation: one day, due to the slightest change in texture or hue, they will move toward a new era, toward re-formation–and rebirth–on the remaining sense of survival.

-Excerpts from Untitled (The Art of Survival), p 50.

Concept: The Pavilion
Language: Chinese, English
Size: 26 × 35 cm
Pages: 56 (full color)
Year: 2021
The Pavilion

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[About the Artist]

Born in 1964 in the city of Qingdao, Shandong Province, Wang Yin graduated from the Department of Stage Design, the Central Academy of Drama in 1988. He currently lives in Beijing.

Photo by Wen Peng
Image and Text: The Pavilion, ©Authors, The Pavilion, 2022