Adelaide Central School of Art Graduate work.

This body of work is the continuing exploration of how Yang can make public his concealed inner-world. This turmoil revolves around the duality of putting up façades, and the heavy expectations that come from a conservative Chinese upbringing. He addresses and endeavours to break down the walls put in place when faced with conflicting cultural viewpoints.

The corruption and absurdity of images by use of a bright palette on traditional iconography is an act of defiance against conservative individuals and age-old belief systems.This is an attempt to make the use of queer imagery palatable to a traditional and conservative mind. Through the process of subverting and ‘corrupting’ images familiar in Yang’s life, they have become symbols and beacons of protection, and head a warning before entering the installation of works. Movement from the boundary of hard, wooden frames and icons into soft, flowing fabrics, lush environments and romantic figures, you see a physical manifestation of Yang’s identity.

The large figurative oil painting scrolls focus on the inner world and sense of freedom in a safe space, true to Yang’s private life and the heart of this work. This is an honest reflection of not only his journey of growing and self-acceptance, but a pillar of his duality and his most authentic self. An application of understanding of queer and Chinese culture to inform ways of introspection in his paintings express the obstacles that conflicting cultures have put in his way.

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