The Obsessive Aesthetic
Yong Sin’s Pursuit of Perfection
by Evan Senn
The spell-binding presence of Yong Sin’s rhythmic and transcendental works in “De/Form” evoke the greater meditative and wandering soul in all of us. Yong Sin’s handmade patterned artworks recall hundreds of years of tradition in textile design and the therapeutic traditions of repetition, meditation and mantra. For hundreds of years, the enduring practice of replication has been pursued to aid in the search for enlightenment. Sin uses reiteration as a means to explore her own personal interest and inflection in art. Through her artwork, she is able to express more thorough and heart-felt concepts and feelings than with words in any language. With a background in a culture that values uniformity, Sin finds solace in her obsessive art practice, valuing both the stability and diversity inherent in the use of pattern and the satisfying, endless pursuit toward perfection.
Her works are delicate monuments, meditating on existence and life. Thousands of hours and meticulous attention paid to the handmade, massive works of art give the work an energized presence. With subtle variants, her works seem as if perfect expressions of pattern and abstract form, but up close, these poignant and fragile pieces seem to breathe with strong and thoughtful imperfection with every undulating mark. The abstract images beg for your soft, undivided attention. Your eyes follow every line and curve, waiting for a break to appear, as if each shape is connected.
The patience and fortitude of Sin’s De/Form series is intimidating and comforting at the same time. The circular pieces feel as if they are moving you through a tunnel, with forceful inertia pulling your concentration across its complex surfaces. Layers upon layers of shape, time and personal touch cover the De/Form surfaces, further propelling the personal investigation of purpose, process and perfection. The squares seem to reflect urban atmospheres, human communities, and diversity in the midst of conformity. The patterns are imbued with the warmth of the collective human consciousness while also playing on minimalist aesthetics and cold repetition. Each piece is unique; each square, its own image and life are individual, even within the collection of hundreds of similar-shaped creations clustered together in a seamless pattern.
The intuitive method is key in Sin’s work—her actions and reactions in her process are as much a part of the finished work of art as the stretcher bars or the paint used. Bordering on obsessive compulsive, Sin’s art practice is commanded by the pursuit of perfection, but admits its futility with its inherent irregularity and imperfection. Compelled to scrupulously create every detail with her hands, piece by piece, her thoughtful and meticulous digits add detailed humanity to the seemingly perfect abstract compositions—filling, layering, constructing, deconstructing—constantly pursuing and reflecting the continuity and resilience in life itself.
Words by the Artist
My art displays a process that is linear and transparent. The works are visually recognizable but contain a shifting and unpredictable perspective. The simple becomes unexpectedly elaborate; the ordinary metamorphose into distinctiveness. The goal is to create work that is inherently distinctive and belies its repetitiveness.
The ordered linear grid format is often a composition to experiment with group structure and the dynamics of configurations. There is persistent interplay within each grid that amplifies within a group setting. Modulations of color derive from varying accumulations of semi-translucent tape and paper layers. Color transformation occurs and interacts with neighboring colors and surrounding elements to achieve dense layers of dimensionality and unpredictable characteristics.
I am interested in art offerings based on a different perspective of form/identity which are already defined and measured. The deviated perspectives evolve from a purposefully idiosyncratic approach to creativity. I create nuances to challenge the ideas of identity, and I create just enough expressive variations to the seemingly recurring shapes.