Yang Jiechang (; born 1956 in Foshan, Guangdong Province) is a contemporary artist of Chinese origin whose work combines traditional Chinese painting and calligraphy with contemporary art practices.
Yang Jiechang was born in 1956 in Foshan in Guangdong Province, PR China. He grew up during the Cultural Revolution (1966âÂÂ1976) and received a early training in traditional Chinese culture from his grandfather, who taught him calligraphy and the use of the Chinese brush. From 1973 to 1978, Yang apprenticed at the Foshan Folk Art Institute, studying calligraphy, ink painting, paper mounting, and meticulous colour painting. He studied Chinese painting at the Guangzhou Academy of Fine Arts from 1978 to 1982, where he taught until 1988 and subsequently taught there until 1988. Yang Jiechang belongs to the first generation of artists educated after the Cultural Revolution - universities and art academies reopened in late 1977 - , and his early career developed alongside ChinaâÂÂs cultural opening in the late 1970s and 1980s. In 1988, French curator Jean-Hubert Martin, at the time director of the Centre Georges Pompidou in Paris, invited him to take part in the exhibition "Magiciens de la terre", held in the Centre Pompidou in 1989. Yang has since lived and worked in Europe.
Yang Jiechang works in painting, calligraphy, installation, video, photography, and performance. He is best known for his use of traditional Chinese mediaâÂÂparticularly ink painting, meticulous color painting, and calligraphyâÂÂrecontextualised within contemporary art.
Yang achieved international recognition with Hundred Layers of Ink (1989âÂÂ1999), a series of large-scale monochrome ink paintings first shown in Magiciens de la terre. Created by applying successive layers of pure and diluted ink onto Xuan paper, the works emphasize the material qualities of ink, water, and paper. The paintings feature abstract forms in which distinctions between figure and ground are minimised, and the series has been interpreted as emphasizing process and contemplation over representation.Influences and conceptual approach
Following his move to Europe, Yang engaged with Romanticism, particularly German Romanticism,, alongside concepts drawn from Daoist philosophy. These influences inform works such as Hundred Layers of Ink (1989-1999), Scroll of Secret Merit (2004), and Double View â Crosses (2014), which explore material immediacy, spirituality, and self-transformation.
Since the early 2000s, YangâÂÂs work has increasingly focused on figurative painting. He frequently employs the meticulous colour technique on silk, using vegetal and mineral pigments. This technique is historically associated with the Lingnan School of painting of the early 20th century. Works from this period include Crying Landscape (2003), Tomorrow Cloudy Sky (2005), Stranger than Paradise (2009âÂÂ2016), Tale of the Eleventh Day (2011âÂÂ2022), and a series of self-portraits.
Calligraphy is a central component of YangâÂÂs practice. In addition to Chinese characters, he uses Western languages, often incorporating deliberate errors and irregularities. Works in this vein include Testament (1991), I Still Remember (1999âÂÂ2019), Oh My God / Oh Diu (2002âÂÂ2005), and Dark Writing (2019).
Oh My God / Oh Diu consists of a calligraphic diptych accompanied by video recordings of the artist writing and vocalizing the phrases âÂÂOh my Godâ and the Cantonese expletive âÂÂOh, diu.â The work that was produced in response to the September 11 attacks, sImilar to many of his figurative works, reflect the artists engagement with current events.
Yang has participated in numerous exhibitions, including:
Yang Jiechang's work is held in the following permanent collections: