Day: November 24, 2023

The dappled texture of the trees, slightly damp soil, vibrant green grass, natural barks, scattered leaves, and stones, all blend harmoniously. Such a scene outlines a serene natural view, where one feels immersed in the embrace of the forest.

This is an art installation and ceramics exhibition by the emerging young artist Haiwei (Jojo) Yeh, held at the Gong Art Gallery in Newport Beach this year. In this exhibition, Jojo reveals the estrangement and disconnection between humankind and the natural world due to modern technology and urban life. 

By positioning herself as an “external force”, she brings nature indoors, creating an unconventional and lifelike “natural environment,” aiming to maximize the awakening of human senses and re-establish the proximity between humans and nature. Through this process of exploration, which involves both breaking and reconstructing, individuals are able to re-imagine nature, the self, and the relationship between the two.

Haiwei (Jojo) Yeh, was born in Taiwan in 1990. Her early exposure to calligraphy, ink-wash painting, and sketching, laid the foundation for her artistic endeavors. She started to pursue her education in the field of art during her high school and university years. Recently, she earned a Master of Fine Arts in Design from USC this year.

Her artistic vision and design methodology seamlessly blend natural materials with digital technology, probing the realms of space, nature, and sustainability. By exploring various artistic dimensions and disciplines, she leverages her creativity in a unique manner. Simultaneously, she expands her artistic pursuits by amalgamating her fine arts background with graphic design, illustration, and brand design.

Jojo’s exhibited pieces in the Gong Art Gallery took several months of preparation. Through various art forms such as earthy fiber installations, glazed ceramics, paintings, mix media on wood sculpture, and multimedia creations, she explored creative techniques, with the essence of nature at its core, infusing a broader sense of natural ambiance and visual perception into the indoor space. She expressed that her years of artistic study have trained her to be not limited to singular forms, but instead employ various media to express her artistic creations.

In this exhibition, Jojo presented a total of six artworks, with the most striking being an installation piece titled “Bringing the Outside In” crafted from mulberry tree bark. The creation process involved soaking gathered leaves and barks from the streets in water, then stretching them into paper mulberry tree fiber, mimicking the structure and texture of a real tree’s bones, nerves, and veins. It is in this anticipation of the unpredictable trajectory of its growth that once again highlights the wondrous natural beauty of plants. In the aesthetics and mathematical structure of plants, she noted “some are like bones, others are like the flow of nerves, matter, and energy, supporting these vivid lives.” All of this further evokes a sense of the mystery, wisdom, and self-awareness of nature beyond human understanding. For Jojo, utilizing plants and natural materials to recreate a piece of art becomes a means to explore and bear witness to the complexity of the boundlessness of nature.

The inspiration for this piece can be traced back to her childhood. She still vividly recalls visiting an indigenous reserve with her family, witnessing the use of this material by the indigenous people to create clothes and handicrafts. The intimate bond between humanity and nature afforded the urban dweller an experience that diverged from her everyday life. This experience made her realize deeply that people should no longer view the surrounding natural environment from an industrial perspective. In essence, nature ought not to be reduced to a utilitarian resource, subject to exploitation and commodification. Through the utilization of paper mulberry fiber as a creative medium and metaphor, she describes the symbiotic relationship between indigenous people and the environment, exploring the theme of bringing nature indoors and bringing viewers into an inner-world fantasy.

The same juxtaposition between humanity and nature is pushed further within Jojo’s ceramic work. The envelope is pushed further through the fusion of nature and her subtle feminine perspective. It’s through this process a brocade is created and composed of a mellow yet resilient divine perception. In the “Dream Garden” series, delicate tendrils frequently appear on the fragile halo of plant ceramics. Similarly, in an alphabet-based ceramics series, where petals and leaves overlap with the metaphorical letter “W” representing female. Rather than conceal her identity within her work, she embraces it as a woman connected fully to nature.  

These pieces ingeniously provide insight and equate certain aspects of femininity synonymous with nature. Harnessing the power within the female perspective, JoJo captures and compels one to reconsider the eternal and inseparable connection with nature. Thereby creating a resonance between femininity and nature itself. 

And yet, beneath these tender and heartfelt emotions, what must be recognized is Jojo’s inner resolve. This is to be found from observing Jojo’s recent pieces where self-awareness resounds within her desire to grow from experiences of which individuate her creative essence. It’s through her individuation she can unite and create various elements, mediums, and materials, with an awareness that is rare to find among young artists. 

A theme of Presence and Reality is implied within Jojo’s work. It’s an invocation that suggests that the physical presence, rather than the virtual presence, can one truly achieve emotional communication and integration with nature and be liberated from the complexities of life. It is this sense of presence of which exposes the authenticity and raw relationship between humanity and nature.

In a logical sense, this perfectly echoes one aspect of her current multidimensional artist identity – that of bridging the gap between humans and nature, not solely as an artist but also as a designer. Through the installation and ceramic pieces in this exhibition, the existence of nature reveals an urgent public health issue that pervades society. She reminds us that nurturing a deep connection with nature is an essential factor for our own well-being, as nature can positively influence our mental health, providing solace and inspiration, and perhaps serving as a remedy for self-preservation.

Awards：

2012 Bronze Prize in International Biennial Print Exhibit R.O.C. Taipei
2023 Iron A’ Design Award in Handmade, Crafts and Artisan Design Category

Exhibitions：

Ceramics Exhibition Tainan University of Technology Art Center November 2011
Surrealism Art Exhibition Pingtung Art Museum April 2013 to June 2013
Art Site Exhibition Chaiyi Railway Warehouse May 2013
A Glimpse of Love for the Unseen Taipei Taiwan June 2014
17th international exchange exhibition: nature created by design 2023

Marking the inaugural exhibition at Gong Gallery, situated along the scenic Newport Beach coastline, “Affectionate and Continuous” emerged as a group show of three female Taiwanese artists. This exhibition was a celebration of womanhood, casting a spotlight on the nuanced identities and viewpoints of women through art. Among the featured artists was Haiwei “Jojo” Yeh, a versatile artist and designer whose current endeavors bridge the organic and the technological. Yeh’s innovative work is a dialogue with the elements, an intersection of space, nature, and sustainability, using a palette of natural materials complemented by the precision of digital innovation.

In her featured installation work “Back to Nature”, Jojo Yeh used paper mulberry tree fiber to mimic the true texture of trees, in an attempt to bring nature indoors. Her artwork profoundly underscores the symbiotic relationship we share with the natural realm, encapsulating the harmonious coexistence between Aboriginal culture and the environment. It beckons us to delve deeper into the formidable essence of nature and to ponder our role in safeguarding this cherished sanctuary we call home. Through the lens of arboreal life, this piece aspires to evoke a sense of wonder and veneration for the natural world, spurring a collective commitment to nurture and sustain the vitality of our planet.

In her artistic process, Yeh contemplates about nature and its dwellers as conscious beings of their own sense, beyond human understanding. She appears to engage deeply with the philosophical and existential musings on the intrinsic value and complex beauty of plant life – a theme that resonates with an ecocentric approach to art. “Back to Nature”, therefore, is no longer simply a furnishing piece in one’s home or other types of interior space, but rather a warm welcome to invite the natural beings into one’s house to coexist in harmony. By centering plants not just as subjects but as active agents with possibly their own forms of understanding and communication, the artwork nudges viewers towards a contemplative stance regarding the non-human world.

1. Your work brings a piece of the natural world into a gallery setting – how do you hope this affects the viewers’ perception of space and light?

By utilizing natural elements, I hope to blur the boundaries between the indoor and outdoor space and thus creating a unique connection with nature. The interplay between natural materials and light not only alters the visual effects, but it also enhances the viewer’s understanding of the interaction between light and nature. Additionally, it raises awareness of the coexistence of artificial and natural environments.

2. How do you believe your work, especially with the use of natural materials, resonates with the audience in the context of digital technology’s prevalence in modern life?

In this digital age, the warmth, texture, and organic nature of natural materials create a contrast with the screen-centered world we live in while also evoking emotions about nature, tradition and sustainability. Therefore, a richer sensory experience through touch and interaction will allow viewers to feel closer to nature.

3. How do you incorporate natural elements into other aspects of your practice, like design, painting and ceramics?

Nature is my muse, and the textures, shapes, colors and ecosystems found in nature are where I draw my artistic inspiration from. For example, I utilize bark fibers as a medium in an installation. With ceramics, I use the texture of plants to decorate the surface of the pottery, and I design totems that incorporate different spaces found in nature. Then, in my paintings, I use a nature-inspired color palette.

4. As a female Taiwanese artist, how do your cultural identity and experiences influence your artistic expression?

Taiwan is a multicultural and free country, influenced by Han Chinese culture, aboriginal culture, and other cultures. This cultural diversity has inspired me to explore and integrate different artistic mediums. These cultural backgrounds and Taiwan’s natural environment are deeply integrated into my artistic expression, making me an artist/designer concerned with nature, ecology, and sustainability. My works aim to inspire viewers to value nature and to appreciate Taiwan’s culture and nature.

5. What role do you feel artists have in addressing global issues like environmental conservation and cultural preservation?

Artists have the power to bring awareness to prevalent global issues. Through various mediums, artists can express their emotions, which can then resonate with the audience. At the same time, they can also present problems through their works, provoking the audience to engage in dialogues, thus increasing the visibility of these issues.

6. Your work suggests a deep connection with nature. Do you have any personal rituals or practices that help maintain this connection in your daily life?

In addition to gardening, I try to spend time outdoors every day to be close to nature. This can be as simple as taking a walk, outdoor sketching, botanical garden visits, etc. These activities help me maintain a sense of connection with nature. While I am outdoors, I also like to use my phone to capture still shots of beautiful moments in nature. These everyday practices help me maintain a deep connection with nature, which becomes the creative drive behind my artworks.

Yeh’s approach to art is deeply philosophical and eco-centric. She sees nature and its inhabitants as entities with their own consciousness, urging a contemplation of the intrinsic value and beauty of nature. Also, she regards human interaction with nature not only as a source of inspiration but as an essential element of human existence. Her work is more than decorative; it is an invitation to coexist harmoniously with nature in our living spaces – Yeh nudges her audience towards a deeper appreciation of the non-human world. Her use of natural materials in a digitally dominated age offers a tactile contrast, fostering a richer sensory experience that connects viewers with nature. This connection is further deepened by her incorporation of natural elements into various facets of her practice, including design, painting, and ceramics, where she draws inspiration from the textures, shapes, and colors of nature. 

As a female Taiwanese artist, her cultural identity and experiences deeply influence her artistic expression, integrating Taiwan’s multicultural environment and natural beauty into her work. Additionally, Yeh sees artists as crucial in raising awareness of global issues like environmental conservation and cultural preservation, using their work to engage and inspire audiences towards these causes. Holding the natural elements dear as her muse, Jojo Yeh’s practice is inspiring and refreshing while contemplative and profound at the same time.