Edition 17/38

Happiness occurs in unpredictable bouts, masked as seemingly insignificant moments that capture one's soul. With greater frequency, such joyous mementos can amass to form a sense of escapism, a subconscious drift from reality that propels the mind toward the apex of instinctive creativity. 'Inspiration' sums this up in a word, and occasional visitations to her husband's home country of Bulgaria, has proved a useful muse for the birth of Yang Yang's imaginative energy. The beauty and stature of the country's natural landscapes provide the artist with a sense of calm, a feeling which preludes an elevation of the spirit. Upon returning to China, the sense of inspirational joy accumulated from the holiday spent in South-Eastern Europe, motivates her desire to create, and she accomplishes this with such fluidity, sans inhibition. 

Yang Yang's beautiful protagonist (female figures depicted in various poses), are at times caught amidst nature, the tousled foliage in raw parallelism with their nude, liberated bodies. Carnival sceneries endow them with elaborate, vibrant clothing, the bold colours of a spring coat in striking contrast with pale, silky skin. This combined with mystical, airborne game cards, with a shy mask in hand, creates a profusion that borders between surrealism and reality, and art is caught in limbo, a half world that steals inspiration from both but belongs to neither portal.

However, despite their fully-bloomed physiques, their eyes exude an impression of innocence, exposing their inability to form definite conclusions about life and time. This lack of knowledge on their part, lays bare a more delicate and childish aspect of their personalities. The soul of a child is encapsulated in the body of a woman, and it is via these sacred windows, through the eyes of her protagonist, that acts as a mode of communication between Yang Yang and her viewers, as she too, exposes her inner struggles and desires through her work.