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April Yang
(30 years old. Born in United Kingdom. Lives in: London)
Royal College of Art

(I studied MA Painting from Royal College of Art.) For me contemplation and painting are both languages of being which demand a similar process, and a way of being and responding both externally and internally. They both share the same threshold and state of condition; of emptiness (fullness), openness, and de-conditioning of the self, ego, prejudice, past, future, and waiting and listening, upon which one discovers, and enco ...[more]
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Work of art I would like to make

I want to work with my investigation of aporia, stillness, and emptiness, in regards to the same approach and syntax which I have explained above about my practice. What happens in the place of stillness? When one arrives at a place of nothingness or emptiness (which are different from one another) what does one have? What is the inner structure and application of emptiness, and how can I apply or work with its syntax with painting? What does one become? When one is in aporia what does it means to pick up a paint brush and walk it along the surface of paper?
Is pure movement and pure gesture possible? If so what space of the mind, body, spirit, is needed to enter and register for it to be accessed?
How far can I allow myself and the painting to work under a mode of negativity? I also want to experiment with the erasure and disregard of the dualisms that prevail in both life and painting, such as figure and ground relationship.
Continuing with developing ways of working with the limitations and demands of different types of surfaces and see how the temperature of color determines the physicality and sensitivity of the space. What happens with monochrome?
I wish to investigate these conditions through the medium of painting, using fluid paint, on paper and also this time on canvas as well, keeping to large (around 3m) and also small (10cm) scales.
My Artworks (6)
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