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Stolen Time no.2 Painting

Yang Jazoo

South Korea

Painting, Resin on Wood

Size: 19.5 W x 19.3 H x 4.7 D in

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About The Artwork

[ Stolen times no.2 (Materials series) _ found wooden drawer, collected objects from the former iron foundry in Berlin, resin_2018 _49.6W x 49H x 12D cm ] ------------------------------------------------------------------------------ It is about “time”. In Busan, Korea in 2016, I had the opportunity to work with an old building that had been sealed for a long time. It was the first time I walked into the building which no one had been visiting for 30 years. When I first unlocked the seal of it located in the middle of the city, it felt like touching something closer to nature than the violence of the city. The more I experienced the senses of it that were so sensitive and experienced the traces left in this house, the more I felt the longing and nostalgia that seemed to exist there as well. Feeling nostalgic in the unfamiliar place is a truly special experience. What is longing or nostalgia? What is this sense when I am suddenly nostalgic every time I walk old alleys and encounter strange places? Personally, the work at the old building in Busan has transformed the familiar feeling of longing into a special experience. I’ve decided to retrace the longing. And this experience gave me a better view of the city. - Jazoo Yang, 2016

Details & Dimensions

Painting:Resin on Wood

Original:One-of-a-kind Artwork

Size:19.5 W x 19.3 H x 4.7 D in

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Born in South Korea, Live and work in Berlin, Germany // Jazoo Yang is a Korean mixed media artist based in Berlin. She often distorts public spaces to profound ends. With a mixture of concept-focused art and an intriguing visual palette, she questions the relationship between ourselves and the spaces that we inhabit. Her more recent practice has focused on the transformation of housing in the city and the gentrification that is pushing local residents from their homes. The 'Materials Series' is an amalgamation of the diverse, the distant, and the disregarded. Formed of the lost fragments of urban life that she rescues before their inevitable disappearance – remnants of a building’s outer walls, scraps of wallpaper from an interior, the remains of antique tiles – these often silent, ignored objects are here transformed from the mundane, and framed to acknowledge the immensity of the intimate. Furthermore, while developing projects related to the issues of redevelopment, Yang keeps an interest in what the original senses of human beings might be like within the rapid changes of a city. The speed of city life runs much faster than that of the human body, thus enforcing its speed on the people living in that city. This situation, maybe even a violent one, may damage delicate aspects of the human senses. Yang is not only concerned with the material elements that make up our cities and about those living there, she also devotes herself to the details of natural systems, which unfold in urban space, yet remain invisible.

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