"Making art allows me to make sense of the world and of myself."--Shizico Yi
Dr. Shizico Yi is a London based artist, working on installations, films and paintings; the documentary nature of her work often concerns about the loss, repetition and the everyday subject. With design and film background, Shizico combines her interests making installation projects which relate to artist's personal life in relation to the society and human condition at large.
Shizico Yi's work aims to explore artistic obsession through repetitive documentation of the domestic and the everyday.
Yi uses photography, films, large-scale installations, 2D visual images (paintings, drawings and prints) to articulate her relationship to memories and time.
Yi uses photography, films, large-scale installations, 2D visual images (paintings, drawings and prints) to articulate her relationship to memories and time.
Time is the essence in Yi's work. With Yi's unique ways of working through various materials, she wishes to fundamentally understand what time means to human also to memories.
Through working on materials , Yi creates her unique visual language in film, sculpture, and 2D images then apply them together to her environmental installation which tells the stories of time. For examples, in Yi's casting sculpture, she deals with resin and it's transformative character when cured which brings time into forms; Yi uses photography and drawing to give evidence of time, they are also the landscape of what her eyes see the world around us; each photo frame or drawing line shows her sensitivity in observation of time in our synthetic world. Yi also experiments with time-lapse, stop-motion, one-shot camera and long-period of documentary in film to describe time.
Through working on materials , Yi creates her unique visual language in film, sculpture, and 2D images then apply them together to her environmental installation which tells the stories of time. For examples, in Yi's casting sculpture, she deals with resin and it's transformative character when cured which brings time into forms; Yi uses photography and drawing to give evidence of time, they are also the landscape of what her eyes see the world around us; each photo frame or drawing line shows her sensitivity in observation of time in our synthetic world. Yi also experiments with time-lapse, stop-motion, one-shot camera and long-period of documentary in film to describe time.
Over the past decade, Yi had been created a series of large-scale installations which project moving images onto sculptural surfaces and real objects. The projected videos are developed from Yi's documentary photos and video-footage archive.
For her two dimensional works, Yi creates series of drawings , diptych and polytypic paintings which develop from her daily drawing project. Most of her works are working in series format and developing each project over a long period of time.
Over the past decade, Yi had been created a series of large-scale installations which project moving images onto sculptural surfaces and real objects. The projected videos are developed from Yi's documentary photos and video-footage archive.
For her two dimensional works, Yi creates series of drawings , diptych and polytypic paintings which develop from her daily drawing project. Most of her works are working in series format and developing each project over a long period of time.
The most significant resource for Yi's works is her life experience and the culture clash of the east-meets-west. She takes inspiration from her culture, background, memories and hardships in childhood and early adulthood. Art practice allows her to bring new energy to the burden of memories and dealing with loss. Although the content of her work seems personal, loss is a universal human experience. Yi believes artists’ ultimate responsibility is to reveal universal truths through exploring their lives and experiences.
When asked why did audiences have to be made to suffer through the three hours of his film Andrei Rublev (1966), Tarkovsky wrote in his diary :
‘It’s because the twentieth century has been the rise of a kind of emotional inflation….there are some artists who do make us feel the true measure of things. It is a burden which they carry throughout their lives, and we must be thankful to them.’ (Tarkovsky, 1994: 9, entry 1st Sep 1970)
When asked why did audiences have to be made to suffer through the three hours of his film Andrei Rublev (1966), Tarkovsky wrote in his diary :
‘It’s because the twentieth century has been the rise of a kind of emotional inflation….there are some artists who do make us feel the true measure of things. It is a burden which they carry throughout their lives, and we must be thankful to them.’ (Tarkovsky, 1994: 9, entry 1st Sep 1970)
Many artists are obsessive in their own way, for instance: Kusama’s obsession with self- obliteration, Tarkovsky’s obsession with his childhood memories, Hatoum’s obsession with exploring the conflicts and contradictions of our world, On Kawara’s obsession with the four decades in which he made Date Paintings. Shizuco Yi's obsession might be to find the order in day to day living, to seal memories by documenting mundane moments, ultimately to leave traces of her own existence.
Since 2013, other than the studio practice, Shizico yi is also working on a not-for-profit art project to curate exhibitions and publish art magazines to feature and support independent artists. This curatorial project helped more than 140 artists around the world to exhibit in professional galleries in central London and viewed by the tens of thousands. As the founder of this not-for-profit art project , she continues to run the project throughout her career along with her studio practice. Shizico believes that human life is as much about giving as to receiving; because being an artist means mostly needs personal time in isolated studio in order to work, by devoting a part of artist's life helping other artists is her way of balancing artist's role in our society.
Elsewhere on shizico yi archive
Shizico Work Archiveprojects from 2013 to the most recent
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GSY StudioGSY is about shizico's design works
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[ Favor Cottage Garden Project ]Constant Gardener is an ongoing project in memory of Favor, her beloved dog son. Started in 2015, it is a project of making a garden for then 14 years old ill Favor to recover from. Shizu lost her beloved dog-son to Wobbler Syndrome after 4 years battle with this neurology disease.
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