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reckoner

zamora 15

the waste land

vol 2: cabal

yegua

watchers

vol. 1: cowboys

trophies &orphans

ripple & shear

N 15° W 97°

the conqueror

batavia

ultra

1725 sokak

royal family

jungle

the practice

dead reckoning

MLYLT

the hustle

battle wizard

ghosts

 

 

vol. 2: cabal, ceramic, volcanic stone, steel, installation at PAOS GDL

The installation at PAOS GDL is a reaction to the courtyard of the historic site. It is an intervention meant to emphasize and support the use of the courtyard as a gathering place. Drawing on his interest in the first-phase industrial music movement of the late 1970’s, Mao provided a setting to encourage transgressive gatherings. PAOS GDL curated a series of events and workshops in the courtyard during the extent of the show.

This interest in the industrial music movement resonates through the machine-like ceramic forms, based on Chinese ritual bronze funerary bells. Mao’s first comprehensive works in ceramic use two different techniques. The majority of the pieces are made from existing industrial molds from the Cerámica Suro factory archive, cut apart and reassembled. Two of the pieces are loofah “burnouts”, a direct investment on a material that then burns out in the kiln leaving behind only ceramic. Each of the 12 components are subtitled with an astrological sign, a naming convention to reference their physical forms.

Vol.2: cabal is an extension of the architecture of the site. The steel and volcanic rock pedestals were built on-site as a rhythmic modular structure, a hyphen between the building and the ceramics. The slight cant of the pedestals allude to the stacked-block construction of ancient temple and pyramidal structures, though their steel and slab construction is a decidedly modernist technique. The installation serves as a junction between a body and the architecture.

Mao treats the historic courtyard as a centrifuge of codified archetypes, using material and form to reference an ever-widening circle of context. The recognition of vol. 2: cabal changes with circumstance; in Jose Clement Orozco’s courtyard, it impersonates a typical Mexican courtyard. The perception shifts with a conscientious look at the materials, the glazes reminiscent of Japanese techniques, volcanic stone playing a large role in Mexico but also indicative to the Ring of Fire around the Pacific. The work phases in and out of cultural circumstance. Mao brings into question the mutable significance of these materials, and how we build our own history with every new context.

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Text by Gamma Galeria:
vol. 2: cabal

A lo largo de la historia y el desarrollo tanto espiritual como intelectual de la sociedad se han creado y designado espacios como puntos de reunión donde la reflexión y el dialogo surgen a partir de la intimidad desarrollada a partir del entorno concebido por una agrupación de individuos. Los descubrimientos más antiguos de espacios designados para llevar a cabo rituales en grupo se remontan hasta la prehistoria, atestiguando por el hecho de que los seres humanos siempre han buscado reunirse en los confines de un espacio para participar en alguna especie de ritual cuya dinámica y afinidad termina por definirlos como sociedad. Ya sean protegidos por la secrecía de la intimidad o abiertos a ser compartidos libremente, los rituales realizados por diversas sociedades a lo largo de la historia han transformado los espacios donde acontecen y dejado su rastro para ser interpretado por el tiempo.

Desarrollado específicamente para el contexto del jardín de la Casa Taller José Clemente Orozco, vol. 2: cabal parte de la noción de un espacio concebido por la intimidad y el intercambio de ideas donde la contemplación juega el papel principal en la dinámica establecida por el artista. A partir de una instalación compuesta por módulos de esculturas en cerámica colocadas sobre estructuras de metal con tezontle, Yeni Mao (1971, Canadá) establece un perímetro donde el dialogo entre la materia y su entorno invitan al espectador a convivir con el espacio concebido para así encontrar un momento de reflexión.

 

vol. 2: cabal, exhibition photo, "Escultura de la Tierra" at Los Pinos

 

fig 20.07 cabal (libra), ceramic, steel, volcanic stone, 184 x 61 x 30cm, 72.5 x 24 x 12in

fig 20.03 cabal (gemini), ceramic, steel, volcanic stone, 730 x 61 x 30cm, 51 x 24 x 12in

fig 20.02 cabal (taurus), ceramic, steel, volcanic stone, 722 x 95 x 61cm, 48 x 37.5 x 24in

 

 

 

 

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