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THE PROJECT
Yin Zhaoyang (Chinese, b. 1970) is a painter and sculptor born in Nanyang, in China’s Henan province. He graduated from the printing department of the Central Academy of Fine Arts in Beijing, China, in 1996. Yin’s paintings include Youth is Far Gone, a part of his Cruel Youth project, and a series of thirteen paintings he created based on his visit to Taipei. His Island of Four Seasons series depicts nude figures and his interpretation of humanity and history.
To support and reflect the depth of his artistic career, we created a comprehensive new website that presents his work in a modern, immersive digital space. The site serves as both a curated archive and a living portfolio—showcasing major series, exhibitions, publications, and milestones in his evolving career. The user experience is designed to echo the emotional and conceptual layers of Yin’s practice, offering visitors an intuitive way to explore his visual language.
Beyond the website, we collaborated closely on the design of his latest catalogue, ensuring a seamless visual identity across print and digital media. We also supported the visual direction for related events, exhibitions, and promotional materials, strengthening the overall brand presence of the artist across platforms.
This project is not just a digital showcase—it’s a dynamic platform that grows with the artist’s ongoing work and legacy.
WORKS
Watercolour
Painting
Sketch
Catalogue
Book Review :
Yin Zhaoyang : Landscape into Shanhe
The book on Yin Zhaoyang:Landscape into Shanhe is a compressive overview of a sustained and impressive practice which opens out a transpersonal account of a Chinese response to Western aesthetic modernity, as well as the Chinese Classical tradition. Rather than an assumption of a ready-made Modernity, the essays in this publication demonstrate a sensitive awareness of how an artist might construct a relationship to the situation of a disrupted and even broken modernity due to the conditions of Chinese history. What was at stake with the passage of a Late Modernity for a generation of practices, was the appropriation of a memory system that is a product of this context. This implied a revitalised response to tradition, as well as a navigation of exact passages within Western painting. This could be theorised as an operation of aesthetic complexity based upon folds within the distinct memory systems. There is a lush immediacy to this painting style that also contains within a mediative repose born out a relationship to mark making of a much more distant time.
A pre-occupation with the depiction of mountains demonstrates the principle of the combination of aesthetic appropriation if we examine a painting such as Guo Xi’s ‘Early Spring’ (1072) and Paul Cezanne’s ‘Mont Sainte Victoire with Large Pine’ (1887). There is a paradox at the heart of such a contrast because many of the exploration of each painter appear to overlap and be in accord with each, despite a thousand-year temporal difference. What is presented in such a contrast are questions related to the privileging, and it is dealing with such complex relationships that the essays nuance in exacting ways to open the third space of a Contemporary response to such conjunctions. What also follows from such comparative explorations are relations between inscriptive processes, intensities (particularly of colour), gestural mark making, abstractions, relationships of visibility and invisibility, the play of mind and matter, and the beyond of representation. Central to these facets, is what is the relationship between the subject of perception and the object of attention and with this the pulverisation or collapse of difference between them.