IN FLUID MOTION
Artist Jewelle Yeung finally decides to settle down, in turn rousing a set of abstractions to roaring life
In her book A History of Sensuality, American essayist and naturalist Diane Ackerman states that “our senses define the edge of consciousness . . . [and so] we spend a lot of our lives pacing the windswept perimeter.”
That said, there are probably few sights in the city more seductive than artist Jewelle Yeung’s painted visual euphoria. They teeter on the highs and lows of feeling, as if some sort of calculated drunkenness were involved in their creation. What she really wanted to do, she says, “was to go nuts.”
Her hair tied in a messy high bun the afternoon she allows us into her studio, the bubbly, outspoken fashion designer- turnedartist tells us she’s basically been a hermit for the past weeks. “Oh my god, I’m the worst person to ask what’s going on in the city,” she says, laughing. “I don’t go out.”
There’ve been, of course, several things that have kept her busy. Her clients in Manila comprise of Solaire and a few private collectors, while in Hong Kong, she collaborates with Above Second Gallery and an artisan purist tea company called Basao.
She just launched a show last Feb. 11 in Manila called “Biophilia,” curated by art and design company Collective 88. This March, she’s having an exhibit in Hong Kong along with other artists, the grouping brought about by Qube Gallery for the Asia
JEWELLE YEUNG DESCRIBES HER WORK AS A CROSS BETWEEN SURREALISM AND ABSTRACT EXPRESSIONISM.