Younguk Yi’s repetition, dispersion and journey of modern human condition
In addition to the visual influence of his work, Yi’s title plays an important role in shaping the audience’s experience. His titles are often drawn from everyday life, carefully chosen to inspire thoughts and have an open-ended conversation between text and images. His title adds a layer of meaning to the otherwise abstract composition, suggesting the narrative without specifying a specific explanation. As Yi explains: “Usually, titles appear first – before the brush or even touch the canvas. I collect phrases from my daily life, impress me, and record them as sensory fragments. I see these titles as part of my work, making sure they function beyond the label and beyond the label.”
I think these animals are a reflection of human ambitions, and their bodies become the remains of expected desire. ”
This approach emphasizes a belief in the power of words to increase the depth and complexity of visual art. Instead of providing a clear background or explanation for the image, the title is a subtle provocation that invites the audience to interact with the painting at a deeper, more introspective level. This relationship between images and text reflects Yi’s wider philosophy of art, which emphasizes the importance of questioning existing structures and embracing uncertainty.
The recurring theme in Yi’s work is the depiction of animals. Animals like apes and dogs (historically regarded as objects of progressive scientific research in anatomy and space exploration) see it as a metaphor for the future of human speculation. “I think these animals are a reflection of human ambitions, and their bodies become sites of expected desires,” he said. The repetition of primates indicates that having a human body state, both a sense of familiarity and alienation, and arousing the evolutionary past and future of the human condition.
Through the treatment of primates, YI invites viewers to face the anxiety of human progress, identity and reproduction. The unsettling presence of multiple eyes, body parts fragments and limbs spread creates a sense of discomfort, reflecting the fragmented state of the modern world. Yi’s primate, like his characters, can resist easy classification, symbolizing ambiguity and uncertainty that exist throughout the contemporary world.
The scale of Yi’s painting is another key element of his practice. His work is usually large, full of intricate details on the canvas, and a careful examination is invited. As Yi explains, “The scale of my work depends on the degree of manipulation and what the image undergoes in the initial drawing stage. Rather than sticking to fixed sizes, constructing the composition according to the work needs.” His large-scale paintings amplify the sensory influence of fragmented characters, immersing the audience in a visual world.
Yi’s works often resemble the art of digital or AI generation, thus raising questions about his relationship with technology and artificial intelligence. Yi acknowledged the influence of digital aesthetics on his work, but he knew very well that his practice was more connected than the “structuralist and deconstructive approach” than digital art. He noted: “Although my work does not interact directly with AI or digital technology, it is impossible to completely detach from the influence of modern technological aesthetics. Digital art is a natural evolution of artistic practice, just like how Dadaism embraces mechanical replication. I respect it as an integral part of contemporary visual culture.”
