East Meets West in Contemporary Abstraction
Art Exhibition: YANGYANG PAN: East Meets West in Contemporary Abstraction
Date: Sept. 16– Oct. 29, 2016
Location: 37 Popham Rd, Scarsdale NY 10583
Artist: Yangyang Pan
Opening Reception, Friday Sept. 16, from 6-8:00 pm
Madelyn Jordon Fine Art is delighted to announce YANGYANG PAN: East Meets West in Contemporary Abstraction, a solo exhibition of recent paintings by Chinese/Canadian artist Yangyang Pan. The exhibition includes 17 oil paintings on raw linen, created in the past 2 years, which embody the artist’s signature spontaneous, celebratory, and sensitive style. This will be Yangyang Pan’s third solo exhibition with the gallery. The opening reception will take place on Friday Sept 16, from 6-8 PM and is open to the public.
Yangyang Pan’s large scale abstract paintings express the artist’s personal journey, cultural connections and aesthetic ideas. While ostensibly based on the dynamic visual forces of nature, these lyrical works are as much a landscape of Pan’s inner emotions, memories and history.
Says Pan: “I had a trip to China at the end of 2014, and it had been 6 years since my last trip. I was shocked by the huge change in my hometown Chongqing. The city had developed so quickly, strange but familiar. I was excited for these modern changes of the city, but on the other hand, I missed what trees and seasons smelled like in the past. The memory of odors was very rich. For many months thereafter, I let my mind wonder, to sense something I have the passion to paint. These paintings were the result.”
Pan’s paintings are created through an intuitive, spontaneous process beginning with her choice of palette, generally composed of bright and optimistic colors, exaggerations of those observed in nature. Laying down marks instinctually, Pan builds the surface over time, playing with thick and thin, varying strokes, while reacting to active and pleasant visual vibrations of paint against the raw linen. Each layer is a captured moment, the expressive gesture and activity reflected on its surface. Over time, the interlocking layers coalesce, creating a balanced, homogenous, and unified record of her emotional intensity.
The paintings’ titles provide visual cues to places in Pan’s memories. In Mountain Music, Under the Lemon Tree, and Wilderness, to name a few, floating, cloud-like clusters of thick paint give visual form and movement to the landscapes imagined in Pan’s sensual abstractions. Ethereal ribbon-like passages wrestle with strokes that abruptly stop and balance against broad open areas; at other times, strokes are crammed, in bold, lyrical spaces.
Yangyang Pan’s paintings, far more layered than those of the past, are a true fusion of Eastern and Western traditions. Pan, who is born and educated in China, credits Ma Yuan, the important Chinese landscape painter from the Song dynasty, known for his "one-corner" composition, as an influence. A painter in the shen shui tradition of pen and ink landscape painting, the intent is to capture an awareness of inner reality and wholeness, as though the painting flows directly from the artist’s mind, through the brush, onto the paper. Pan’s affinity for the work of American Abstract Expressionist painters Joan Mitchell, and Willem deKooning is also apparent. Like her mentors, Pan has the ability to reflect the flow of her consciousness in that of nature, and in paint. She has forged a vocabulary completely her own -- a unique blend of idea, desire and talent, emblematic of the global nature of art of our time.
Madelyn Jordon Fine Art, located in Scarsdale, NY is a fine art gallery focusing on 20th and 21stc art. Founded in 2001, MJFA has provided an open and friendly space for clients to discuss and view fresh, new work. The gallery mounts six annual exhibitions, handles the acquisition and resale of significant works by modern and contemporary artists, builds collections, and sources art for commercial and residential projects.
Dynamic colour, held within striations of movement, texture, and reflective light, ignite the visual velocity of Yangyang Pan’s chromatic Driving Through a Dream. Romantic in language and adventurous in nature, Yangyang’s kaleidoscopic atmospheres are as vitally esoteric as they are ruthlessly present – pulling us, the driver, into landscapes of iridescence that tear the line between tangibility and imagination.
Aggressively saturated spectrums of colour, meticulously brushed in tonal levels of weight and temperature, build shadow and depth in scenes that could be Earthly – like the rainy streets at a brightly lit blue hour or a bouquet of florals beneath a blazing sunset – but not before Yangyang’s pure, visceral motion delivers us from that familiarity. As if caught within a tunnel of light at incredible speed, Yangyang’s loosely formed narrative bursts to life at the corner of each canvas – throwing us, head first, into speckled fantasies of energy and vibration. Contradictions in form trap the eye between liquidity and rigidity, while intelligent colourations forge phantom florals of thick substance in heavily filled space. In a single, visual moment, transcendence and sensation collide beneath the magnetism of Yangyang’s animated universe.
At the cornerstone of the conscious and the unconscious, Drive through Dream sits palpably between the arcane and the distinct. Flickering light and swift colour mark the sound of Yangyang’s collective expression – inviting emotion and humanity into a chrysalis of illusion and nature. Simultaneously, we are both the subject and the catalyst.
-Editor at Large, Fshnunlimited Magazine / Dylan Dias
9 Sep - 14 Oct 2015, First Canadian Place Gallery
These artists entice viewers into phenomenal worlds through seductive imagery that seize the senses onto a path of fantastical immersion. Melissa Doherty, is known for her excruciatingly detailed paintings of trees, either from above or from within the bowels of the bark, pulling viewers into the heart and soul of the bewitching world that comprises the sanctuary of the tree. Yangyang Pan's intense, mash-up collision of textural colours, pull viewers into her world of germinating abstraction, only to push our anxieties to her outer limits of bliss and utter serenity. Douglas Walker lures viewers into his fantastical layers of wonder through his monochromatic paintings of otherworldly imagery that includes architecture, numerical text and astonishing, unexplored lands.
Douglas Walker and Yangyang Pan are represented by Parts Gallery in Toronto.
Melissa Doherty is represented by Renann Isaacs Contemporary Art.
Throw a glance out the window, feel the pull. Eyes seek, settle; mind follows, stays. The border between inner and outer zones fades to a blur. Yangyang Pan has done her job. What has been outside comes in.
As Yangyang Pan curates what nature has to offer, she situates the onlooker as an integral part of her work, for it is the ability to view the landscape thatprovides the link between seeing, seen and scene. She makes the connection between human and natural elements, to remind us that the landscape is not alone. Indeed, nor are we. Certainly, nature’s work can do without us, but the opposite cannot be said. Heedless, we draw lifeblood from our surroundings, but through artists such as Yangyang, we are made aware of how we are linked intrinsically to the gifts of the natural world.
Yangyang does the heavy lifting. Her emotional viewfinder and her bold use of colour, stroke and texture allow us to see, somewhat clearly, through a degree of abstraction. Cheeky, she makes sure to leave us at a point where we must make our own way to the end of the journey. Although the great outdoors is framed and edited through the artist’s vision, uultimately what we choose to see is up to us.
What is outside is gathered close and absorbed. What is internal to us is set free and reborn in our interpretation. What is inside is out.
Exhibition information: YangYang Pan: Inside Out, Nov 6 – 30, 2014, Parts Gallery,
DOWN THE RABBIT HOLE
SCARSDALE, NEW YORK, MADENYN JORDON FINE ART GALLERY PRESENTS
Yangyang Pan: DOWN THE RABBIT HOLE
May 9 to June 21, 2014
Madelyn Jordon Fine Art is pleased to present a second solo exhibition of paintings by Yangyang Pan entitled Down the Rabbit Hole from May 9 - June 2014. This marks the artist's first solo exhibition in New York since 2012. An opening reception will be held Friday, May 9, 2014 from 6-8PM. The public is invited. Previews and private showings are by appointment only.
On exhibit will be 11 paintings, completed in the past year, which highlight Pan's spontaneous lyrical approach to painting. The exhibition title, "Down the Rabbit Hole" serves as a metaphor for Pan's working process and personal existential journey inward in the creation of the works. Similarily, the title refers to historical artistic sources which have influenced Pan's celebratory style. Both provide a foundation for Pan's reinterpretation of action painting, fueled by youthful optimism, a cross-cultural history and outsized talent.
Like Alice in Wonderland following the March hare down the rabbit hole, Pan jumps into her painting feet first without looking in the hole or thinking about it. According to Pan, her paintings begin with openness--a space to explore conceptual ideas of memory, experience and emotion. A hands-on painter, she works intuitively, freely applying vigorous flurries of added or taken away, a self-imposed game explored through shapes, marks and colors, which organize the space of the canvas. At times her canvases are packed to the rafters with linear strokes; at other times, softer dabs of energetic colors float within fields of negative space. Canvases of raw linen, a new surface for Pan, accentuate depth, evoking a sense of deep physical space.
Channeling de Kooning, and Mitchell, Pan's fierce, unbashed, joyful clor palette evokes powerful emotional responses. Unapologetically ecstatic visions of nature's flora are rendered with both guts and grace--evoking a personal style which seeks honesty, openness and pleasure.
Unlike the Abstract Expressionist artists of the mid-20th century, who communicated the uncertainty and fear of a post World War II nuclear world, Pan's abstract painting evokes an idealistic, optimistic, global view. A link between Eastern and Western sensibilities, her works are successful for the subtle way she changes ab-ex tradition, and is emblematic of painting in the 21st century.
Yangyang Pan was born in 1976 in China. She received her BFA and MFA from the Sichuan Fina Art Institute in Chongqing, China, where she later taught. In 2006, she relocated to Canada with her husband and children. She has exhibited both in Canada, and the United States.
The Beautiful Moment
Toronto, Parts gallery presents
Yangyang Pan: The Beautiful Moment
Oct 10 to Nov 3, 2013
It is the sudden jolt when you become acutely aware of your surroundings. It is the sharp intake of breath that coincides with a double take. It is the ache of longing for the intangible: the very essence of what you see before you. It is the realization that there exists something bigger than you and your nitty-gritty. It is when you cease to see with only your eyes, when clarity is delivered with your whole being. It is the beautiful moment.
Yangyang Pan’s new body of work is a rich representation of this moment. Her series is composed of quiet landscapes and lush florals. Her brushstrokes are a call to action; they challenge, mesmerize and tease.
Yangyang’s abstract landscapes are compelling islands of fantasy vegetation that loom out of the mist. The exuberant nature of the artist’s palette is tempered by the soft blue greys that form a magical fog. Yangyang leads us to a place where we feel we are on the cusp of discovery. This beautiful moment is one of peace. The calm that settles allows us to recognize this Toronto painter’s adroitness with colour and composition, almost an act of alchemy. In a moment of lucidity we grasp that she has captured the intensity of life itself. Yangyang Pan sets the stage so artfully for our seduction. We cannot help but succumb to a reaction of pure emotion.
Yangyang’s new group of gardens and floral portraits, however, releases in us an almost physical pleasure. A heady mix of joy so strong it borders on fear, this beautiful moment is akin to flirting with the loss of control. It is overwhelming; we do not know if we will be able to experience such a burst of self-recognition again. Humbled by the potency of this visual feast, we are quick to put reason aside. The urge to be enveloped by her gardens and smothered beneath the velvet petals becomes too much. Yangyang’s bouquets compel us to lunge forward, to take what we can and make away with it. And isn’t that what the beautiful moment is all about?
Yangyang Pan’s gift to us is that she can make the moment last.
Parts Gallery presents new works by Yangyang Pan, October 10 – November 3, 2013. The exhibition takes place at 1150 Queen Street East, Toronto, Ontario.
It seems wrong to use words to describe the work of Yangyang Pan. Words are too black and white, letters too rigid to capture what it is Yangyang feels, sees and then translates through her paintbrush. Words seem the opposite of what is evoked: at first an ephemeral grasp on what feels like fleeting beauty, followed by the realization that the beauty has, indeed, been captured and will not flit away in the blink of an eye. This is Yangyang’s gift to us.
But the words do come, sometimes in a rush, prompted by the poetry on canvas proposed by this compelling Toronto artist. We want to elaborate on what she offers; however, if we pause, we realize that there is no need to decipher. We just need to keep looking. For Yangyang Pan’s work is, despite its abstraction (or perhaps because of it), complete in itself. A tidy package on the one hand, a fury of magic on the other, it is a gemstone of narrative, the few perfect notes, a choreography of colour.
Yangyang’s lyrical compositions burst with movement and energy that come to a delicate halt at just the right moment. This is due not to hesitation or reserve, but the artist’s skill at achieving balance. She exercises a certain measure of control over her strokes, yes, but is not afraid to let them lead her to a place where they can remain alive. An accomplished painter for many years, Yangyang’s trust in her brushstrokes and confidence in her palette allow her work to expose a freshness that will not be contained.
Yangyang absorbs the world around her in its most natural state and transforms her observations into paintings that are expressions of this connection. What can be difficult to grasp in its raw beauty becomes finessed into more manageable servings. But the intensity still overwhelms and humbles us.
Whether drawn in by the textures, the colours both vivid and gentle or the clever compositions, we are made to feel welcome to take our own place as interpreters within this artist’s realm. Through her work, Yangyang Pan helps us to see a world that is sometimes best described through images rather than words.
By Sabine Modder - Managing Editor – Mocoloco.com
Yangyang Pan:Spring Fever
May 3 June 16, 2012
SCARSDALE, NY (February 17, 2012) Madelyn Jordon Fine Art is pleased to announce Spring Fever, a series of new oil paintings on canvas by Canadian artist Yangyang Pan, in her first solo exhibition in New York. An opening reception will be held Thurs., May 3, 2012 from 6-8PM. The public is invited. Previews and private showings are by appointment only.
Pan expansive, joyous paintings are pure aesthetic pleasure. Informed by the controlled chaos of nature, this series of landscape-based, expressionist of works is rich in color and texture, densely packed with oil paint. Celebrating Spring arrival, her emotionally-charged canvases are laden with abstract imagery. Their vibrant palette greens, blues, pinks, yellows and reds applied with alternating heavy impasto brushstrokes and thin washes of oil paint -- create canvases bursting with visual excitement. Pan summer Garden evokes the energy of a star burst with the color palette of her garden. This kinetic composition is composed of visceral markings, each with their own energy, held together as a collective through the connection one brushstroke has with another. Pan explores nature diversity by pairing splashy, exuberant works with compositions of seductive, floating forms, such as in Ebb Tide with its drizzles of paint and charcoal. These works tend to suggest the captivating nature of slow moving clouds during the vernal equinox or the blooming foliage on Lake Ontario at the start of the season.
Stylistically, Pan fuses Asian and Western sensibilities seamlessly. Raised and educated in Sichuan, China, there is a clear influence of traditional Asian painting in the build-up of her markings on the canvas. At times, Pan crowds paint into corners, leaving white space in unlikely areas. Sometimes her markings cascade vertically, referencing traditional Chinese landscape painting. Other times, she fills the entire canvas with extravagantly colored, uninhibited strokes, recalling the all-over style of Joan Mitchell or Jackson Pollock.
The artist does not make a study or draft of each painting before she confronts the canvas. Instead, all choices, both conscious and subconscious, are made during the creation process. Her mark-making method consists of working herself up into a raptured rhythm while listening to music by Leonard Cohen. In the end, intuitive, gestural brushwork and unpredictable color arrangements form on the canvas. Her subject is the process of painting itself, as she revels in the activity, creating playful accidents that result from free-wheeling experimentation.
The show title, Spring Fever, refers to the common phrase that is used to describe the physical and psychological effects that arrive during a season often considered a time for rebirth and renewal. Spring is often associated with the hostility and hospitality of nature, a tease as the winter weather turns warm, accompanied by bursts of color as foliage blooms. Pan explores these elements of nature in her paintings, developing a visual, saturated language that feeds off of nature impulsive energy. The result is a visual rhetoric of pure feeling and youthful exuberance.
Yangyang Pan was born in 1976 in China. She received her BFA and MFA from the Sichuan Fine Art Institute in Chongqing, China, where she later taught. In 2006, she relocated to Canada with her husband and children. She is currently based in Ontario, Canada.