Nai-Jen Yang is a Taiwanese artist based in London. Nai-Jen works primarily in painting, but her practice also extends to photography, print, and installation. After receiving a BFA and an MFA in Fine Art from Taipei National University of the Arts, Nai-Jen completed her MA in Painting at the
Royal College of Art in London in 2023. Her work explores repetition and gesture to produce paintings of profound visual effect. Nai-Jen's recent exhibitions include “Pacing the Void”, Alma Pearl, London(2024), “Positions, part 2”, Alma Pearl, London(2023) and “Paris, Texas”, Soka Art, Beijing(2023), and the solo exhibition “(a long) way to go”, Carp Gallery, Taichung(2022).
‘Seeing myself as a person who paints, I approach painting as a verb—an action—and try to answer the question: “What is painting (to me)?” My work currently focuses on the basics of painting, with surface being the most important element. By painting on canvas that has only been primed with rabbit skin glue, I aim to create a looking experience that can only be fully comprehend by witnessing the works in person. Through repetitive use of simple gestures and subtle palette, combined with the texture of the canvas and the shine of the crystalized glue, the marks often remain invisible and only emerge when the viewer allows themselves time with the paintings. While attempting to maintain a sense of revelation within the act of covering and to extract lightness from the weight of the material, the marks also challenge the contemporary trend of quick and virtual ways of looking.’
www.naijenyang.com
楊乃臻，台灣藝術家，現居倫敦。主要從事繪畫創作，但創作範疇也延伸⾄攝影、印刷和裝置。在 取得臺北藝術⼤學的美術學⼠和碩⼠學位後，於2023年完成倫敦皇家藝術學院的繪畫碩⼠學位。作 品通過重複性的筆觸和⼿勢來創作出具有深刻視覺效果的繪畫。近期展覽包括《Pacing the Void》，Alma Pearl，倫敦（2024），《Positions, part 2》，Alma Pearl，倫敦（2023），
《Paris, Texas》，索卡藝術，北京（2023），以及個展《a (long) way to go》，鯉⿂藝廊，台中 （2022）。
「作為⼀個畫圖的⼈，我將繪畫看作⼀個動詞、⼀種⾏爲，並試圖回答「繪畫對我⽽⾔是什麼？」這 個問題。作品⽬前專注於繪畫的基本要素，⽽「表⾯」是其中最重要的。通過在只⽤兔⽪膠打底的 畫布上⼯作，我企圖創造⼀種只有親眼⾒證作品才能完全接收的觀看經驗。通過重複使⽤簡單的⼿ 勢和細微的⾊調，結合畫布的質地和兔膠的結晶，覆蓋畫布表⾯的痕跡往往隱⽽不⾒，只有當觀者 花時間與畫作相處時才會浮現。在試圖在畫⾯的覆蓋中保有揭露、在材質的重中提取出輕的特質的 同時，這些痕跡也挑戰了當代快速和虛擬的觀看⽅式的潮流。」
