Yaze Huang（b.1997 China）A sensitive sculptor who is delicately molded in sentiment.
Yaze makes a ridiculous attempt to communicate. She wants to act quickly to put ideas into action. She keeps researching and learning about her truest feelings as she creates it in order to portray something more fundamental.
Most of my works start from the details around me, and extract my emotions to show my analysis and interpretation of myself, my understanding of society, thoughts and feelings about things around me. The trivial details around me interweave together, with unreasonable combination, inappropriate space, illogical display to everyone, and then show real and meaningful things.
The creative intention behind the work is to have a better understanding of "me". In this process, I constantly think, repeat, deepen and even fossilize, and finally withdraw from the work itself. Camus said, "I will always be a stranger to myself." In my opinion, "Works are always strangers to me."
Neon lights frequently have a loud, sensual, and ambiguous connotation because they are employed in commercial advertising and other boisterous scenarios, but I have used them in a completely natural setting to make the neon installation seem even more out of place and silly. The neon lights are less brilliant in natural light, as is seen from the collision of natural and artificial light. I've encased the neon sign in clay like a fungus to stop the light from moving and to make it change colour in accordance with the neon sign's colour. The neon lights have wide lips that resemble geometric fruits and give off the impression of enticing us in. The natural texture of tufting plants is also lost. When one first sees a scene made of colourful neon lights and foliage, one is attracted by the dazzling colours, but as time goes by, one becomes dizzy in the neon-lit environment and the coloured light from the neon lights makes things lose their colour.
During my research on light and neon I learnt about light pollution, most of us care about the environmental issues such as exhaust, dust and water quality and most of us ignore light pollution. When there is too much light in the environment, it can have a bad effect on humans and other living things. This is the case with skyscrapers full of mirrors, street lights and neon lights. Light pollution can lead to mental problems in some people, such as depression and suicidal behaviour. So I hope that through my work I can make more people aware of the problem of light pollution.
Absurdism
The work is inspired by the state of an alcoholic person, who arouses my reflection about the fickle ambiance over the whole city.
The melting ice is used in the work to reflect the dissipation of life, and to leave only the butter shell in the end. Ice and butter can't be merged the same way spirit and body always rub and collide, can't reach the final unification; the neon light is made into the shape of the cake, in order to express the contrast of pureness and beauty, hot and painful; I connected 16 long sockets to an remote area on the mountain. The glittering cake is very abrupt in the forest, and the mirror extends it all into blur and chaos. Just as alcohol mixed in our body, the fusion of organs leads to mental confusion and paralysis. The frog is what makes me fear, and it also symbolizes trouble and uncleanness. It’s put on the top of the work to laugh at others.
In addition, since animals, insects and humans have phototaxis and thermotaxis, they attract the attention of other animals. Life is also full of neon-like temptations. They are grilling me and pulling me. Apart from the optothermal, there will be more desires to drive and anesthesia.
Sometimes I think I am an apple, a mysterious and ordinary fruit.
The apple is placed in a nine-box grid as if it were a game and as if I were living in a box. The apple, the cheapest and most common fruit in the world, has also been a vehicle for culture for a long time, projecting our desires and fears onto it. Our desires collide and hide from the rules and regulations of society until we dry up and die.
