Yaya Yajie Liang’s practice is built on painting and installation to explore the metamorphosis of the body and the potential of ‘becoming an animal’. From the legendary banished beast to the interpenetration of biological space, Liang interrogates how men’s analogic mapping to and from animals helps us to reconsider the prescribed definition of ‘humanity’. and objects that treat both animal and human figures and spaces in heteronormativity, racialism, and animacy hierarchies intersectionally by considering the insistence collisions of race, animality, sexuality, and ability in the context of China. Liang's hybrid creatures combine objecthood and animality in posthuman subcultures of “furries”; in pursuit of a fluid queer identity only possible through hybridization, aiming to test “animal”s viability as an alternative from an autobiographical context.
Yaya Yajie Liang’s work explores the metamorphosis of the body and the potential of ‘becoming animal’. From the legendary banished beast to the interpenetration of biological space, Liang interrogates how men’s analogic mapping to and from animals (within imagined, lived, or taxonomic intimacies) helps us to reconsider the prescribed definition of ‘humanity’. Taking inspiration from Agential Realism, Liang views painting as a movement that is constantly repeating the ‘becoming’. Shifting restlessly between abstract and figurative modes, she uses improvisation to kick-start new paintings, allowing unplanned initial strokes to help dictate the works’ subsequent direction.Yaya Yajie Liang’s work explores the metamorphosis of the body and the potential of ‘becoming animal’. From the legendary banished beast to the interpenetration of biological space, Liang interrogates how men’s analogic mapping to and from animals (within imagined, lived, or taxonomic intimacies) helps us to reconsider the prescribed definition of ‘humanity’. Taking inspiration from Agential Realism, Liang views painting as a movement that is constantly repeating the ‘becoming’. Shifting restlessly between abstract and figurative modes, she uses improvisation to kick-start new paintings, allowing unplanned initial strokes to help dictate the works’ subsequent direction.Yaya Yajie Liang’s work explores the metamorphosis of the body and the potential of ‘becoming animal’. From the legendary banished beast to the interpenetration of biological space, Liang interrogates how men’s analogic mapping to and from animals (within imagined, lived, or taxonomic intimacies) helps us to reconsider the prescribed definition of ‘humanity’. Taking inspiration from Agential Realism, Liang views painting as a movement that is constantly repeating the ‘becoming’. Shifting restlessly between abstract and figurative modes, she uses improvisation to kick-start new paintings, allowing unplanned initial strokes to help dictate the works’ subsequent direction.Yaya Yajie Liang’s work explores the metamorphosis of the body and the potential of ‘becoming animal’. From the legendary banished beast to the interpenetration of biological space, Liang interrogates how men’s analogic mapping to and from animals (within imagined, lived, or taxonomic intimacies) helps us to reconsider the prescribed definition of ‘humanity’. Taking inspiration from Agential Realism, Liang views painting as a movement that is constantly repeating the ‘becoming’. Shifting restlessly between abstract and figurative modes, she uses improvisation to kick-start new paintings, allowing unplanned initial strokes to help dictate the works’ subsequent direction.Yaya Yajie Liang’s work explores the metamorphosis of the body and the potential of ‘becoming animal’. From the legendary banished beast to the interpenetration of biological space, Liang interrogates how men’s analogic mapping to and from animals (within imagined, lived, or taxonomic intimacies) helps us to reconsider the prescribed definition of ‘humanity’. Taking inspiration from Agential Realism, Liang views painting as a movement that is constantly repeating the ‘becoming’. Shifting restlessly between abstract and figurative modes, she uses improvisation to kick-start new paintings, allowing unplanned initial strokes to help dictate the works’ subsequent direction.My practice, build on painting, installation, and object that treat both animals and humans’ figures and spaces in heteronormativity, racialism, and animacy hierarchies intersectionally by considering the insistence collisions of race, animality, sexuality, and ability in the context of China. The references, of which artworks in this research, span from Chinese legendary Beasts, to the hybrid creatures combining objecthood and animality in posthuman subcultures of “furries”; in pursuit of a fluid queer identity only possible through hybridization, aiming to test “animal”s viability as an alternative from an autobiographical context. My practice, build on painting, installation, and object that treat both animals and humans’ figures and spaces in heteronormativity, racialism, and animacy hierarchies intersectionally by considering the insistence collisions of race, animality, sexuality, and ability in the context of China. The references, of which artworks in this research, span from Chinese legendary Beasts, to the hybrid creatures combining objecthood and animality in posthuman subcultures of “furries”; in pursuit of a fluid queer identity only possible through hybridization, aiming to test “animal”s viability as an alternative from an autobiographical context. My practice, build on painting, installation, and object that treat both animals and humans’ figures and spaces in heteronormativity, racialism, and animacy hierarchies intersectionally by considering the insistence collisions of race, animality, sexuality, and ability in the context of China. The references, of which artworks in this research, span from Chinese legendary Beasts, to the hybrid creatures combining objecthood and animality in posthuman subcultures of “furries”; in pursuit of a fluid queer identity only possible through hybridization, aiming to test “animal”s viability as an alternative from an autobiographical context. My practice, build on painting, installation, and object that treat both animals and humans’ figures and spaces in heteronormativity, racialism, and animacy hierarchies intersectionally by considering the insistence collisions of race, animality, sexuality, and ability in the context of China. The references, of which artworks in this research, span from Chinese legendary Beasts, to the hybrid creatures combining objecthood and animality in posthuman subcultures of “furries”; in pursuit of a fluid queer identity only possible through hybridization, aiming to test “animal”s viability as an alternative from an autobiographical context. My practice, build on painting, installation, and object that treat both animals and humans’ figures and spaces in heteronormativity, racialism, and animacy hierarchies intersectionally by considering the insistence collisions of race, animality, sexuality, and ability in the context of China. The references, of which artworks in this research, span from Chinese legendary Beasts, to the hybrid creatures combining objecthood and animality in posthuman subcultures of “furries”; in pursuit of a fluid queer identity only possible through hybridization, aiming to test “animal”s viability as an alternative from an autobiographical context. My practice, build on painting, installation, and object that treat both animals and humans’ figures and spaces in heteronormativity, racialism, and animacy hierarchies intersectionally by considering the insistence collisions of race, animality, sexuality, and ability in the context of China. The references, of which artworks in this research, span from Chinese legendary Beasts, to the hybrid creatures combining objecthood and animality in posthuman subcultures of “furries”; in pursuit of a fluid queer identity only possible through hybridization, aiming to test “animal”s viability as an alternative from an autobiographical context.
Liang, who is completing a PHD at the RCA in London, creates abstract worlds in which paint layers metamorphose women into human/animal hybrids. The fluidity of paint and broadness of brushstrokes create a hazy world in which paint and flesh merge.Liang, who is completing a PHD at the RCA in London, creates abstract worlds in which paint layers metamorphose women into human/animal hybrids. The fluidity of paint and broadness of brushstrokes create a hazy world in which paint and flesh merge.Liang, who is completing a PHD at the RCA in London, creates abstract worlds in which paint layers metamorphose women into human/animal hybrids. The fluidity of paint and broadness of brushstrokes create a hazy world in which paint and flesh merge.Liang, who is completing a PHD at the RCA in London, creates abstract worlds in which paint layers metamorphose women into human/animal hybrids. The fluidity of paint and broadness of brushstrokes create a hazy world in which paint and flesh merge.Liang, who is completing a PHD at the RCA in London, creates abstract worlds in which paint layers metamorphose women into human/animal hybrids. The fluidity of paint and broadness of brushstrokes create a hazy world in which paint and flesh merge.Liang, who is completing a PHD at the RCA in London, creates abstract worlds in which paint layers metamorphose women into human/animal hybrids. The fluidity of paint and broadness of brushstrokes create a hazy world in which paint and flesh merge.
