“I enjoy twisting and reshaping these forms into ambiguous, hybrid bodies that blur the lines between human and non-human nature.”

Our interview with Fengzee Yang discusses their process and thoughts behind their work.
Interview by Richard Starbuck.

Could you tell us a bit about yourself and your background? Where did you study?

I was born and raised in China and moved to the U.S. at the age of 15. Aside from moving to a new country, I experienced moving a lot in my early childhood. This nomadic background and the migration experience from a young age make me think about the roots and origin of things. I constantly experience getting familiar with new environments, taming the strangeness, and then facing another one. This experience of constantly encountering strangeness changed my relationship with the space in which I live. I found art as a way to express this feeling of dislocation and search for identity. I went to study sculpture at the School of the Art Institute of Chicago and got my BFA degree in 2023. 

The combination of organic forms and what appears to be fossil-like structures in your sculptures suggests a sense of ancient remnants or artefacts. What inspired you to create these pieces, and how do you intend for viewers to connect with the historical or natural themes in your work?

My inspiration comes from various bodies—both human and organic. I enjoy twisting and reshaping these forms into ambiguous, hybrid bodies that blur the lines between human and non-human nature. I am deeply fascinated by elements like rocks and fossils, which take immense periods to form. In essence, they are creatures of time, with time itself acting as the medium through which we perceive them. The intricate details in these natural forms reveal a beauty shaped by time and spontaneous creation, encapsulating processes that are sealed within them. What we see are the remnants built up and then washed away over years beyond our comprehension. Through my work, I aim to mimic this action of time, integrating its role into my creative process. By doing so, I strive to create my own creatures of being, combining different bodies to reflect the intricate, time-worn beauty. I hope viewers connect with these themes by appreciating the historical and natural narratives embedded in my sculptures, seeing them as artifacts that bridge the past and present through the lens of time.

Some of your pieces mix natural textures with man-made elements, like the wooden part in one of the sculptures. Can you discuss the importance of combining these materials and what story or idea you aim to express through this integration?

For me, different materials are used to achieve different narratives. My journey as a sculptor began with clay, a material that fascinates me because of its rich history and natural properties. It’s formed over 2000 years, and achieves a sense of permanence after firing, yet the process is unpredictable, which is influenced by the conditions of wet clay and the kiln. This inherent unpredictability contrasts with the precise control with woodworking, which involves a subtractive process rather than the additive clay sculpting. Integrating both materials—clay and wood—allows me to explore the full spectrum of making through addition and subtraction. For me, different materials are used to achieve different narratives. I also like to think about the interaction of these two materials from their origin. Since they both come from the earth, it suggests a life cycle, and the medium that combines them is the earth—the medium that binds the starting and returning. While the combination of wood and clay may seem irrelevant, they are historically interconnected. By combining these elements, I reveal the profound relationship between these ancient materials. This integration aims to express a narrative of interconnectedness and the cyclical nature of existence, showing the harmony and tension between natural and man-made elements.

The artwork with a circular frame and a central organic object seems to convey a feeling of containment or preservation. What was your intention behind this composition, and how does it relate to themes of preservation, time, or memory in your art?

One of the themes of my work is to explore how memories act as archetypes in my identity. The feelings of containment and preservation were rooted in my childhood experiences. At three months old, I was separated from my parents and began a life of constant migration. This transient existence filled my early memories, leaving me without a true sense of place, home, or security. My nomadic nature continued as I moved to the United States, deepening my sense of alienation and sparking my interest in origins and belonging. I explore these themes by creating shapes that evoke enigmatic organic forms, transforming them into figures that are somehow recognizable yet elusive. These forms express emotions that are undefined, representing a midpoint between the visible and hidden. My work embodies a mix of loss and nostalgia, reflecting the fragments of past realities and potential futures. Emotions, intertwined with history and memory, shape my creations. I was influenced by Carl Jung’s theory on hidden memory and viewed my art as resurfacing forgotten memories. I immerse myself in my work, a process of tearing apart and reassembling my experiences. Through touch, I mimic the comfort of a caretaker, creating an emotional shelter within my art.

Tell us a bit about how you spend your day / studio routine? What is your studio like?

I treat my studio like a true workshop, keeping it simple and only filled with the tools I need to create. I didn't decorate my studio much because I wanted it to be a place purely for creativity and work. The minimal setup helps me focus entirely on my art without distractions. I like to keep my living and working spaces separate. The daily commute is almost like a ritual for me. Every morning, I head straight to my studio, which is about a 40-minute drive from home. I really enjoy the ride, especially along Lakeshore Drive in Chicago. The sight of the majestic Lake Michigan always calms and inspires me. I arrive at the studio with a clear idea of what I want to make, and that keeps me motivated throughout the day. By the time I get to the studio, I'm ready and eager to dive into my work, with a plan in mind that keeps me energized and inspired throughout the day. 

What artwork have you seen recently that has resonated with you?

Recently I’m really fascinated by a Hongkong-based artist Liao Wen. Her series, The Rites of Seasons, explores her deep contemplation and research into pre-modern rituals and the seasonal ceremonies she experienced during her childhood. In this series, she views the body as a porous entity with fluid, ever-changing boundaries, merging humans with other living beings. By inverting the internal and external aspects of the body, her sculptures embody a tension that subtly suggests desire. Her work reflects a profound exploration of the body and its relationship with the natural and mythical worlds, creating a compelling narrative that resonates with the viewer on multiple levels. She is also an amazing woodworker. I visited her studio at the end of 2023. Seeing her treatment of wood was so inspiring and mind-blowing because I challenged my perspective of wood and the potential the material can convey. 

Is there anything new and exciting in the pipeline you would like to tell us about?

Right now I’m working on my upcoming solo show at ARC Gallery in Chicago in November. I’m hoping to make larger installations. In the meantime, I restarted doing oil paintings because I want to explore the potential of 2D works.

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All images courtesy of the artist
Interview publish date: 04/07/2024