Meeson Pae Yang understands the power of repetition. While one tree seen in isolation can be an object of breathtaking beauty, a cluster offers a very different visual and emotional experience, built up of the variations that occur across species, the contracting and expanding spaces between forms, and the fragmentation of light and ensuing tonal variations—all resulting in a shifting, almost breathing pattern of interactions. Significantly, Yang uses synthetic materials more often than not to allude to principles found in nature at large, as well as within our own bodies. Her forms may appear to float, evoking organisms in water, blood, air, or the cosmos (Pods, 2010; Biomes, 2009; Traverse, 2009), or they may remain anchored to the floor, like stones rolled into spheres by a river and now languishing in puddles, where they sprout algae-like accretions (Geodes, 2010). Yang’s constructions look back to the building blocks of life, as well as forward into our future. …see the entire article in the print version of June’s Sculpture magazine.
