The Brightest Darkness－YANG Zong-Jia《Gleaming Innocence》

Installation Photo, 1st floor

Article by LAN Chung-Hsuan (Artist/Curator)

Upon entering Hiro Hiro Art Space, one steps into a frosty-white ethereal realm, where gleaming humanoid creatures encircle, welcoming you into this fantastical world. Yet, as we draw near, a subtle sense of unease arises, as if beneath the dazzling exteriors of these beings, an unknown darkness lurks. We find ourselves transfixed, unsure whether to feel joy or shrink back, as if enchanted by some mysterious magic. "Gleaming Innocence" is the world crafted by artist YANG Zong-Jia, or more precisely, YANG Zong-Jia represents "Gleaming Innocence".

Twin Butterfly Orchids, porcelain, gold, glaze, underglaze, luster, H 46 x W 30 x D 30 cm, 2023

YANG Zong-Jia, utilizing porcelain clay as his primary medium, intricately embodies the interplay between the internal and external within his creations: mysterious forms conceived in the mind travel from the brain to the fingertips, then hand-build into sculptures, only to be returned to the heart and emotions through the senses. Amidst the despondent era, the emergence of heart-healing art is viewed as an artist's societal responsibility. However, despite their adorable exterior, YANG Zong-Jia's works diverge starkly from the realm of heart-healing, with even minimal self-soothing functionalities. At their essence, his creations delve into self-exploration and realization, where cuteness and fear intertwine, unveiling his most authentic self-expression.

YANG Zong-Jia and his sculpture 'Symbiosis Beast'

Gleaming Innocence I, porcelain, underglaze, luster, gold, fiber, H 103 x W 50 x D 40 cm, 2023

The sculpture "Gleaming Innocence I" is hand-built from layered pastel-colored porcelain clay, displayed with the scattered magical wands that subtly allude to sexuality. These elements evoke the quest and transformations experienced during the growth process. The inspiration for "Twin Butterfly Orchids" is drawn from his grandfather's orchid business, depicting the mysterious legend about expecting twins within the family, akin to other works with the theme of twins, such as "Symbiosis Beast" and "Twin Candles ll." Sculptures like "Gilded Stone" and "Silver White Stone," featuring mineral shapes, symbolize different facets of human nature, each radiating its own brilliance. "Little Dragon" and "Black Butterfly" are the materialization of recurring deities from YANG Zong-Jia's dreams. In the world where deities are typically portrayed in established forms, his deities appear more like rebellious spirits, a quality that is unjudgeable and enhances the uniqueness and transcendence of YANG Zong-Jia's creations.

Twin Candles II, porcelain, underglaze, platinum, luster, glaze, H 55 x W 33 x D 18 cm, 2023

YANG Zong-Jia and his sculptures 'Little Dragon', 'Little Sun' & 'Shadow' (left to right)

Black Butterfly, porcelain, underglaze, glaze, luster, gold, H 38 x W 22 x D 12 cm, 2023

Going up to the second floor, a dimly lit space unfolds, reminiscent of a warm and humid abdominal cavity. Transitioning from brightness to dimness, in this confined space, we are granted a glimpse into YANG Zong-Jia's sensual representation. In "Transforming Compact," he takes inspiration from a magical weapon in the animated series "Sailor Moon Crystal." The inflated organic heart-shaped flesh, constrained by a silver bead, presents a predicament of urgent desire for transformation and a struggle for liberation. "Cushion" directly articulates carnal desires, with a caterpillar-bodied figure crouched over an expanding orifice, ready to descend and merge. In addition, his self-sculpture, "Gleaming Innocence II," akin to the ancient Greek sculpture "Venus de Milo," is adorned with a neck choker. The facial expression exudes a serene yet suffocating aura, engaging in an intriguing and contradictory dialogue, while the absence of both arms accentuates a robust physique embellished with confident stars.

Installation Photo, 2nd floor

Transforming Compact, porcelain, underglaze, luster, metallic powder, H 40 x W 31 x D 15 cm, 2023

'Flesh Lotus' & 'Cushion' (left to right)

Human beings are a union of the physical and the spiritual, yet the physical body is not merely a symbol of sexuality; it serves as an involuntary vessel, encompassing, but not limited to, beauty and illness. Similarly, the spiritual is not confined to morality alone; it harbors emotions and impulses that are difficult to explain and often conflict with reality. It is in the fusion of these two elements that YANG Zong-Jia (we) takes shape. The portrayal in "Gleaming Innocence" is not that of a purely innocent child but rather the most primitive form of the self. When individuals break free from societal constraints and preconceived notions, liberating their true selves, the true self radiates as the brightest, most radiant darkness.

Perhaps, this represents the most profound aspect of humanity.

Gleaming Innocence II, porcelain, underglaze, glaze, luster, gold, fiber, leather, H 42 x W 28 x D 20 cm, 2023