Yang Din' s painting is reliving today, bearing the scar of its interruption. But this return reminds us that all his painting has always been a rebirth, and that every rebirth - every Renaissance- has to do with painting. Where, however, lies the mark of his having been wounded in Yang Dins' painting, in the painting of his rebirth, of his return or one could also say of his resilience (just as in psychology one speaks of resilience to indicate that rebounding faculty after a shock) ? It is clear, although it also bears some worriness or anxiety to us. In his recent canvasses, small or large, the ones that he painted after his brain was wounded and cured, some new forms and figures appeared, interposing themselves between the familiar background brush strokes, and the solitary but how sovereign figures that used to reign in his landscapes : the tree, the branch, the stream or the house, that used to appear alone in his light. There now seems to be, in between, an indistinct mass or object, a dark planet or a pack of wool, the brain itself, so it seems- or a human and mystical presence, a buddhist monk, a hand, a foot. That mass, that very presence,we worry about them. But they are the counterpart of this renaissance, that rebirth, this return.

Together with these forms and forces, and their obscure mystery, what also return sis the source of Yang Din' s deep and beautiful work : these emerging beings in the world' s colors, the living image of the painting or on-looking bodies, and of their relationships. Nothing in visual arts can serve as a substitute for painting, it is the only art to so be able to use both background and form, line and colour, and revive one from the other. Yang Din always living between the abstract and how expressive and tormented background, and the vital, present, and peaceful figures, remains the painter of this double renaissance, of our Renaissance. Our Renaissance may well be wounded, injured, even when coming back, bearing a scar ; it will be all the more forceful for all that. Let us just have a look at these new great canvasses, these great renascent paintings. There is a shade overcasting them. But even in Leonardo' s paintings, do we not find the shade of a vulture, towering the most sublime smiles a human face can bear ? Our Renaissance does not rely any more on the myth of the origin or the Return. But, as Yang Din' s painting shows and demonstrates, it still brings us the freedom we need !