10 Questions with Xinyi Yang

Xinyi Yang (b. 1999) is a young potential artist and interdisciplinary designer. She currently works and lives in Winchburgh, Scotland. She started studying art at four years old; Xinyi gained a BA in Fine Art in 2021 at Hubei University in Wuhan and went on to achieve a Master's degree from the University of Edinburgh, UK, in 2022.

Xinyi's paintings primarily feature oil and watercolour, exuding vitality as they continually explore light within darkness, specifically reflected in the relationship between people and the environment in her painting. Her paintings combine ancient East Asian poetry beauty with the reflection of contemporary philosophy, creating an aesthetic that brings forth an illusionary beauty, allowing audiences to perceive the present reality. Since graduating in 2022 from Edinburgh, Xinyi Yang has exhibited her works across the UK, such as Edinburgh; her works exhibited around the UK, such as in Glasgow, Edinburgh, London, and Cambridge. Her upcoming exhibitions are scheduled in Korea and Paris.

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ARTIST STATEMENT

Xinyi Yang, a young watercolor and oil painter, works in Scotland. She has been studying art theory since childhood within China's art examination-based education system. Before deciding to focus on easel painting, she explored various artistic techniques like prints, digital paintings, sculptures, embroidery, Chinese paintings, calligraphy, and others. These experiences gradually shaped her current creative style. She underwent an Impressionism-focused education until university, where she embraced modern and conceptual art. Navigating seemingly opposing ideologies, after years of contemporary art study, she flexibly uses traditional art methods with contemporary theory.

She believes self-exploring is vital for understanding the world; she draws down her inner mind to create resonant expressions in her paintings. In Xinyi's oil paintings, you can encounter a profound exploration of color, form, and emotion to describe the tension between reality and dreams. Influenced by Francis Bacon and Japanese ukiyo-e prints, her art surprises with detailed intricacies and awe-inspiring storytelling.

During the process of her creation and exhibition, she will constantly ask herself questions and solutions. Through this process, she expresses philosophical thoughts more clearly and expresses her own visual language, like Socratic dialectics. Noteworthy is her captivating portrayal of female figures, adding a distinctive dimension to her artistic narrative and raising critical thinking questions for the audience and society by elaborating stories and plots in an expressionistic way. This excerpted and fragmentary description of her painting leaves unlimited room for the audience to imagine. The pictures and stories become unique to each person. This is a process full of fun chasing and exploring.

Chasing, Oil on Canvas, 20 x 20 cm, 2023 © Xinyi Yang

INTERVIEW

You started studying art at the young age of 4 and later pursued a Master's degree in Fine Art. How has your early exposure to art influenced your creative journey?

I think that art education is a double-edged sword for me, and it serves as a tool for my visual style. My artistic foundation comes from years of consistent and continuous training. This education has laid a solid groundwork for my art, enabling me to better manifest my ideas and draw wherever inspiration strikes. However, contemporary art seems to contradict the education I received. This makes me question whether such rigid foundational education is truly necessary. After graduating from high school, I delved into the study of contemporary art at university, aiming to break free from the influences of 'traditional education'. Eventually, I noticed that I couldn't give away the experience of who I am. I accepted this educational experience was part of me and provided me with the knowledge to develop my artistic ideas and form my style—it became a tool for me. I see this as a gradual and progressive process. I once questioned it, but with the accumulation of my understanding of the art, I gradually accepted the impact it had on me.

Having studied both in China and the UK, how has your diverse educational experience shaped your artistic perspective? Are there any specific moments or teachings that have significantly influenced your approach to art?

I feel fortunate to have had the opportunity to study art and design in both China and the United Kingdom, two different countries with distinct educational approaches. While studying in China, my university professors had a profound impact on me. They taught me to approach problems from different perspectives and encouraged me to experiment with various painting tools during my uni years. However, they also warned me about the potential limitations of exam-oriented education, advising that strict follow to rules such as "emphasizing light and shadow, human anatomy, etc." – could restrict one's thinking." Consequently, I maintained this awareness while contemplating issues and constantly reflecting on them. Subsequently, my journey to the United Kingdom contributed to the cultivation of critical thinking. In the same year I graduated from Uni, I came to the University of Edinburgh to continue my Master's degree. The most valuable part of this journey is it indeed opened my mind and helped me think about things more critically and peacefully. It became a crucial aspect of my artistic creation. In the process of studying graphic design, repeatedly asking myself "why" and "how" allowed me to think deeply about my artwork. The education systems in the two countries have their respective emphases. While studying art in China, I focused on sensory experiences. Studying in the UK liberated me from the constraints of an exam-oriented mind. These two different educational systems have provided me with a comprehensive artistic perspective, enabling me to express my ideas more individually and more like myself.

Since graduating in 2022, you've exhibited your works across the UK and have upcoming exhibitions in Korea and Paris. What is your favorite experience as an artist so far?

The opening nights of various exhibitions and feeling the enthusiasm and recognition from artists, audiences, and gallery owners are priceless moments. They are always at the top of the list. However, One particularly memorable experience that stands out is successfully selling my painting at an art fair in London. I see this as a significant milestone in my artistic career, marking the first time I brought my creations to the art market. Initially, many visitors appreciated my paintings, but no one made a purchase. When I encountered a couple, patiently explaining the content of my paintings, I thought they were just offering words of admiration. But they said, "We will take it." The experience felt incredibly unreal as someone liked my art and was willing to collect it. Such moments inspire me to continually challenge myself, explore broader creative realms, and infuse more vitality and inspiration into my art.

Love is Blind, watercolour, 38x26 cm, 2023 © Xinyi Yang

Your paintings primarily feature oil and watercolor. Why did you choose to work with these mediums specifically? And what do they help you achieve?

When I first started painting, I used Gouache and pencil sketches. This choice was influenced by the initial impact of exam-oriented education. Throughout my undergraduate and graduate studies, I focused on creating visual sensory experiences in my artwork. While I considered trying other mediums, such as digital art, oil painting, watercolor, embroidery, comprehensive materials, etc. After those experiments, I enjoy watercolors and oil paintings the most. I appreciate that painting offers me an escape from reality. Particularly during my studies, I realised that many famous paintings experienced through photos and books couldn't capture the impact and texture of seeing them in person. The colours, compositions, and textures in physical paintings resonated deeply within me, unlike the static representations in photos and books. I found that after seeing them with my eyes, I couldn't go back to relying on photos and books, as they lacked the authenticity of true existence. Perhaps in the future, I'll explore more diverse mediums in my art, but currently, I feel that oil painting and watercolours are the most suitable for expressing myself.

As you mention in your statement, your works blend ancient East Asian poetry beauty with contemporary philosophy. Could you elaborate on how these diverse cultural elements come together in your aesthetic?

Poetic beauty is an ethereal and elusive form of beauty, resembling the beauty of imagery. We call it "yi xiang Mei（意象美）" in Chinese. It creates captivating scenes or themes through the combination of colours, shapes, and lines. This artistic style often emphasises emotional expression and resonating with the audience's emotions, rather than a precise reproduction of form. Perhaps influenced by traditional Chinese painting, when expressing beauty, we do not necessarily make realistic representations of the theme of our artwork. Instead, we use metaphorical expressions, borrowing scenes and objects to convey a sense of ethereal and poetic beauty that aims to achieve emotional resonance. With the idea of poetic beauty combined with abstract and contemporary visual language elements, my artwork engages in a dialogue with the viewer. Such as contemplations on the existence of life. It goes beyond the surface of things, posing critical questions and consistently opening up avenues for further reflection. Everyone has their understanding, so I often raise open-ended questions in my work, provoking contemplation and engagement from the audience.

Cry for the last time, Oil on Canvas, 50 x 50 cm, 2023 © Xinyi Yang

You mention being influenced by Francis Bacon and Japanese ukiyo-e prints. How do these influences manifest in your art, and are there other artists or movements that continue to inspire your work?

I have delved into the study of Francis Bacon, whose work is characterized by grotesque portraits and depictions of beast-like figures. From my perspective, his creations reflect a profound philosophical contemplation on human nature and existence. On one hand, my exposure to traditional painting inclines me toward Japanese ukiyo-e. The vibrant colours, intricate ornamentation, and narrative elements within this style allow me to immerse myself, dedicating significant time to observation and deciphering. Furthermore, I draw inspiration from a diverse array of influential artists such as David Hockney, Gerhard Richter, Gauguin, Dali, Magritte, and others.

Your paintings mix abstract elements and more figurative ones, especially female figures. What themes or messages do you aim to convey, and how, in your opinion, does this style contribute to "raising critical thinking for the audience and society"?

I believe that visual language is stronger than written words. I aim to give a proposition to my paintings and use them to tell a story. Each person interprets this story in their way. For example, In my paintings, The portrayal of female figures entangled within a leaf-like chaos in "Who Am I?" is a self-inquiry and a question posed to society, asking society: "Who am I?"
I believe that enhancing critical thinking involves approaching the same questions from different perspectives. "As an Asian woman, I contemplate my position in this society, and as a European woman, I reflect on the place of Asian women in Western society. Additionally, considering the thoughts of European men on Asian women in the Western context, we arrive at different answers." In a patriarchal society, the pursuit of universal equality and the fight for women's rights have been ongoing movements with a long history. What identity does the direct symbolism of female characteristics in a patriarchal society correspond to? East Asian women, especially as a minority group, are contemplating their identities. Topics concerning the reflections on the identity and rights of East Asian women in Western society are often overlooked. I want to express my personal feelings. At this stage, my introspection and reflection on society give me a constantly shifting and uncertain sense.

Floating, Oil on Canvas, 20x20 cm, 2023 © Xinyi Yang

Speaking of the audience, you stress the importance of your work to leave room for interpretation by the viewers. How do you see the interaction between your art and the audience, and what do you hope viewers take away from your paintings?

Just as there are 1,000 Hamlets in the eyes of 1,000 audiences, each viewer's understanding of an artwork is unique. People come from different social positions, identities, and life backgrounds, leading to diverse interpretations. At every stage and social class, individuals engage in introspection, whether it be forward-looking, retrospective, or a form of self-validation. I think reaching a consensus or letting the audience appreciate, approve, or disapprove is a meaningful aesthetic and reflective process.

How do you see your artistic style evolving in the future? Are there specific themes or techniques you are eager to explore in future exhibitions?

I believe that the evolution of my future artistic style will be built upon the knowledge and foundation I have accumulated, as well as the exploration of different mediums. There are no limitations for me. I don't have specific themes to adhere to; rather, I aim to explore topics that interest me, drawing inspiration from my observations of daily life. There is no rigid demand to achieve a particular purpose; I want the journey of art to be an enjoyable one.

And lastly, what are your goals for 2024?

In 2024, I want to create more works and participate in more exhibitions, and I plan to hold a solo exhibition next year. If I have a chance, I would like to participate in an artist residency event and get to know more artists and gallerists. Read more books, study more artists and art history, etc.

Artist’s Talk

Al-Tiba9 Interviews is a promotional platform for artists to articulate their vision and engage them with our diverse readership through a published art dialogue. The artists are interviewed by Mohamed Benhadj, the founder & curator of Al-Tiba9, to highlight their artistic careers and introduce them to the international contemporary art scene across our vast network of museums, galleries, art professionals, art dealers, collectors, and art lovers across the globe.

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