Yongyang Wu (she/her)
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[post_content] => Her master's degree project 'Vernix casesosa 'was inspired by the sense of belonging from 'transitional objects'. The impenetrable distance helps people acquire a sense of satisfaction and belonging. Through the observation of the object, re-making, re-view and the interpretation of authenticity, the reflection on the presence of 'thinghood' in the object, the authenticity of the object, false and ephemeral (presence). She is interested in exploring the presence of potentiality and implication in 'the third space of the object'. The 'third space' always combines a double and contradictory function, precisely our re-viewing of the object and our feeling and interpretation of its authenticity. Christian Metz said, 'It endlessly mimes the primal displacement of the look between the seen absence and the presence nearby. 'While the authenticity of the object, the pseudo and episodic presences are constantly occurring in the displacement'. These sculptures are thus detached from the material itself, exerting its potential and presence of implication.
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Works
Vernix caseosa
Her master’s degree project ‘Vernix casesosa ‘was inspired by the sense of belonging from ‘transitional objects’. The impenetrable distance helps people acquire a sense of satisfaction and belonging. Through the observation of the object, re-making, re-view and the interpretation of authenticity, the reflection on the presence of ‘thinghood’ in the object, the authenticity of the object, false and ephemeral (presence). She is interested in exploring the presence of potentiality and implication in ‘the third space of the object’. The ‘third space’ always combines a double and contradictory function, precisely our re-viewing of the object and our feeling and interpretation of its authenticity. Christian Metz said, ‘It endlessly mimes the primal displacement of the look between the seen absence and the presence nearby. ‘While the authenticity of the object, the pseudo and episodic presences are constantly occurring in the displacement’. These sculptures are thus detached from the material itself, exerting its potential and presence of implication.
