Yongbo Hayden

Artist Statement

My work rewrites the narrative of queerness and humanness in traditional and modern societies. I draw inspiration in different dichotomies of society and thought (traditional vs modernity, material vs emotional, individualism vs collectivism) and how these differences can be used to both separate yet also bring together the human population. My process first begins as an introspective analysis of the world around me. Then through research I connect those ideas to history where parallels are drawn either as similarities or differences. Through representational storytelling, I am able to re-interpret characters taken from historical writing and actualize them in a dream-like ephemera, expressing the emotional journey of queer people in today’s world. Given this consideration, I find my work is best represented in series.

My artistic style is widely influenced by both surrealism, the historical masters and modern illustrators, as I utilized atmospheric light and vivid color schemes. I render form into all of my subjects, focusing on the head and hands of my figures. Baroque paintings are some of my favorite historical pieces because of their theatrical compositions, dramatic lighting, and beautiful rendering. I'm influenced by are Dirck Van Baburen's character-like, rosy-cheeked figures and Artemisia Gentileschi's fierce and elegant paintings. My work takes the elegance and staging of the Baroque era while approaching with a more illustrative rendering, fluctuating between highly rendered forms and flatter, more textured shapes. I’m currently exploring the 3d potential of glass and metal faceted to 2d paintings. My current inspirations for craft and sculpture are all Chinese women who are paving the way for the industry. Lin Tianmiao's fiber installations, recently awarded emerging sculpture artist Rong Bao Bao and woodworker/puppet maker Liao Wen are all of my favorite artists who are marrying tradition and artistry together. Furthermore, my practice is expanding to include both painting and craftsmanship. This play between mediums explores the ways seemingly opposing materials can complement and supplement one another. I find inspiration in the elasticity of glass, thinking about all the different textures it can add, and how as a transparent medium it can distort or enhance our perception of an image. Metal works well with glass, but is much more study and hard to move. The visual look of metal often juxtaposes the softness of paint. Both 3d materials can become a barrier; the same as a fence or a window separating the viewer from the painting. Or it can become a bridge from the 3d functional world to the 2d imaginary landscape thus challenging the idea of what a painting is.

My most current works center around fictional characters who navigate through different realms of historical and modern cultural queerness. Chinese Peking Opera has been a significant inspiration to my work in terms of its visual aesthetics and historical practices. Through my recent series, these characters are shown in different states of being; from hiding their private life behind curtains ("Belongings), dancing with friends (Category: Opera), leaving home ("Onwards!"), and connecting with each other ("What Led Me to You" and "Let's Share This Peach") this series parallels the experiences of the lgbtq+ community. Through this series I researched and acknowledged the existence of open sexuality of my culture's history by examining written literature and queer love stories of the Qing dynasty. Rather than glorifying the past (which was often riddled with inequality and exploitation) my narratives serve as a way to rebuild and and retell these stories as the modern template for queer representation. Therefore many of my works are sapphic or more gender ambiguous.

Several pieces in my series carry motifs. I scatter different objects that have been used as symbols of the lgbtq+ community as a way to connect with the audience. Objects such as carabiners, frogs, and lavender are several objects that can be seen in my paintings. I'm interested in the psychology of iconography and symbolism, and how it is practiced differently between different cultural identities. The use of creating queer-coded objects is a social mechanism for community and safety, and is also a way to have fun and express oneself. For instance, in "Belongings" the subject is seen relaxing in the room of their patron. On the foreground of the painting, a table is scattered with jewelry and memorabilia. Often times popular opera performers were gifted exquisite jewelry from their patrons. However, there is also a bedazzled coffee cup, frog keychain, and carabiner. In this, there is a parallel between the past and present and how certain objects are used as labels and identifying symbols. This particular piece seeks to comment on the materiality of the queer community. There is strength and community as these certain objects are tied to queer rituals and expression, however it is also a way to be governed. What is the line between expression of identity and gatekeeping? With modern internet such symbolism sometimes get dissolved or adopted by the hegemonic population, lessening the meaning behind the initial intention. All of these nuances are often discussed around my work.

Another piece spotlight, would be "Let's Share This Peach." In this painting I reference a queer story of imperial China called “The Shared Peach” ( 分桃 ). Set 493 BC, this story narrates the relationship between the Duke Ling of Wei and his court official, Mízi Xía, in which Mízi Xí saves half of the eaten fruit for his partner. I used my own characters, one being inspired by the Peking opera dan roles (opera boys who played female roles) and the other more inspired by modern society to retell a sapphic version of this story. The use of forged metal resembles a garden's foliage and gate while inside the two share a precious moment. Through this modern version, I'm able to depict the wholesome moments of love regardless of gender. Interestingly, this is the one paintings that disregards my usage of symbolism, as the peach is simply just a peach. Rather the sharing of it resembles the natural behavior of sharing resources with those who we care for. Sharing food a universal gesture of consideration and kindness, and this piece encapsulates the love between two people is the matter of survival and well-being.

Through these pieces of work I hope to share the modern story of queer existence and the queer community's undeniable potential to change the world, as love always wins.

Biography

Yongbo (they/them) is an interdisciplinary artist who explores the archives of queer existence. The Illinois based artist uses cultural symbols and allusions to pieces of writings to narrate the emotional and physical experiences of the queer community.

Born 2001, in China, then adopted and raised in the United States, Yongbo has always held importance of identity close to their being. Growing up there were scarce resources and opportunities to connect with others who were like them. A large part of their artistic journey is learning about their cultural heritage and relearning about their identity aside from the Western and Eurocentric perspective they grew up with. They approach their work as if they are a historian and writer, researching the subject and material as a way to appreciate the past and inspire a new form of storytelling. Their work is a result of lived anecdotes, societal observations, and historical research on the topic of queer existence presented as a fictional narrative which plays with the contrasting idealistic vision of identity versus the reality of human flaw and contradiction. Yongbo's pieces therefore illustrate full compositions in warm colors that invite the viewer in, yet upon further inspection unveil nuances and details that are waiting to be discovered. Their practice also explores the marrying of formal illustration with crafting skills to confront the audience with multidimensional layers of the narrative. Their recent use of metal and glass create both a "fence" or "window" to the image, representing the what has historically been buried or brought to the publics' attention. They seek to expand their use of materials to found objects and fibers creating a narrative that goes beyond just the canvas. Their work fuses together the past, present, and imaginary with reality--a testament to human society's integral practice of storytelling.

They recently graduated from College for Creative Studies in Detroit, Michigan with a BFA in Illustration and minor is Studio Arts and Crafts. They have been a part of several group shows at PLAYGROUND Detroit (2023), Design Studio 6 (2023), and all four years at College For Creative Studies Student Exhibition (2020-2024) as well as had worked showcased in Michigan's Regional Glass Exhibition in West Bloomfield, MI (2024). They concluded their career at CCS with their senior show "This Was Meant to Be" (2024). They were featured in Whitney Hockman's independently published artist magazine "Spline" in Detroit (2024). Since graduating they are currently based in Chicago, Illinois.

Let's Share This Peach_ 2024_ Acrylic paint on wood panel, forged steel_10.25 x 10.25 in
Lets's Share This Peach Frame Detail_ 2024_ Forged and welded steel_ 6 x 8 in
Belongings_2023-2024_Acrylic paint on wood panel, kiln formed glass, forged steel_48 x 32 in
What Led Me to You_2024_Acrylic paint on canvas, red thread_ 36 x 36 in
Onwards!_2023_Acrylic paint on canvas, red thread, kiln fused glass_36 x 36 in
Category: Opera_2023_Acrylic on wood panel, 22 x 34 in
History Repeats Itself_2024_Blown Glass, 48 x 5 in