All Yang’s work is interiorised in a visually paradoxical way. We are presented with images that have been conceived and processed (and exhibited to us) with all the exquisiteness, thoroughness and glamour required of an attractive advertising composition. However, they are images whose protagonists are banal objects with no value and/or that have been discarded (including food), simple objects of common use in daily life that, in principle, do not merit such exaltation. However, it is not only their banality that is of note, but also, and very much so, their incongruent formal and argumental mise en scène (with those exceptional choreographies, as incoherent as they are absurd, if we heed the conventional aesthetic logic).

Thus, the habitual concept we tend to have of those objects is subverted and they end up offering us an unaccustomed view of themselves. The insignificant, the commonplace, the banal take on a new meaning and a new and unexpected importance (Yang is closely linked to the ready-made and objet trouvé concepts of early-twentiethcentury Dadaism and Surrealism). In any event, all these still lifes move along an interesting, subtle and poetic frontier the grotesque and the exalted, the mundane and the sublime, the real and the ambiguous.

Jesús Micó.

Acknowledgements:

SCAN Tarragona, Chantal Grande and Pep Rigol.