This installation reflects the unfolding dialogue between Yang and Delikoura which emerges through metaphorical and material, bridging the subtle fruits of labour which reflects the spiritual contemplations occurring in the space and the ambiguous trajectory of pink.
With the pull of an illusory alter space, and where the elements participate in a non-human sanctuary and bathe in an uncanny pink, this captivating and unthreatening colour radiates a sympathy and a tenderness towards neighbouring architectural structures.
The naturally occurring clay pink circulates amongst the Taiwanese landscape forms in gentle contrast to the raw iconography pigments which drown the Byzantine tiles.
In this context, the colour pink is used beyond its obvious associations with femininity; a force which binds the sacred with the mundane, the domestic with the industrial.
Integral to this body of work in the notion of tying and how it permeates every level of the artists’ process, through the accumulated actions of carving, twisting, sewing and assembling, new connections are forged between personal histories and material trajectories.
Yang and Delikoura tend toward material philosophies and techniques which have been annihilated by the vast cannon of mass production. The elements belong to a series of gestures towards anti-industrialisation.
The two artists continually find parallels and contrasts, while their continued dialogue continues to expose the continual revealment and exposure of synchronicities.