@yqin.art #expressionistic #gestural #sensual



Yanqing Low is an emerging figurative artist. She earned her BFA from LASALLE College of the Arts in Singapore, where she currently resides, and has mentored under Rebecca Leveille. She has shown in Singapore and New York, and was recently part of "Adorn Me", an online exclusive with PoetsArtists, and Art on Paper at Site: Brooklyn Gallery. Birthday Suit, a group show that opens 15 March at Site:Brooklyn will also be featuring one of her drawings. saatchiart.com/yqin

2019 Exhibitions

Birthday Suit - Brooklyn Gallery, New York
Adorn Me curated by Carol Hodes, PoetsArtists
Art on Paper - Brooklyn Gallery, New York. 



What role does your art have in society?

I think pictures, like writing, are records of the people we are - the way we think, the things we feel, what we do and see. I don't pretend to know the direction of the human race, but I hope for others to feel something true in the things I make and in so doing connect deeper with their emotional selves. 


What concept or narrative is behind your work?

My larger works have a tendency to be sombre and laden with subtext while the smaller ones may be quite benign with lighthearted musings of the day-to-day. Throughout them runs a thread that relishes in the vitality of our bodily existence and the wide gamut of emotions we are driven to experience. 

How much time does it take to create an artwork? 

Anywhere between a day to a a month, depending on its complexity and materials. 

Who is your art crush?

Currently, Maja Ruznic. The flow of her figures and colors is both eerie and hypnotic. 

What do you dream?

My dreams are quite vivid, often fantastical, populated with monsters, Fae creatures, superheroes, and magic. At times, it could be just a sensations and feelings. The more narrative ones can play out over days and weeks like a TV series, I even get re-runs! But, my favorites are the ones in which I'm gliding through the air with my arms stretched out and the clouds against my skin. Somehow it never gets cold up there, and the cycle of plummeting, lifting, and dropping again is oddly gratifying.

Explain your process.

It starts with drawings and sketches, thinking as I go. Sometimes it is the imagery that sparks a memory or emotion, other times it is the simple flow of the line or the way elements play against each other. Major values and shapes are grouped early on, based on composition concerns and a general idea of the colors I'd like to use and emotions I'd want to elicit. Otherwise, I prefer to work intuitively, charting the minor movements of pigment and gesture as a picture grows in complexity. Often, it is in seeing these quirks and finding opportunities to resolve them that I derive great pleasure. I think a meaningful picture can be made only when the heart, hand, and mind are able to work in unison - one, or two, without the other will always produce something lacking in dimension. I make drawings and dedicated studies daily partly for this reason, partly because I enjoy it, flexing and honing those muscles and instincts as I continue to grow my visual and emotional vocabulary.


Which was your breakthrough piece? Tell us more about it.

'Beautiful Beasts' was made last year when I was studying under Rebecca Leveille. Its origins were more literal - a goddess, made mortal, poised amidst the clouds with a shade of modesty. From my studies, I knew early on that the figure would be central to the piece, but I didn't know how I wanted to paint it. So, I did it the way I was taught to, paying attention to light and form. I floundered for the better part of a week as I tried to connect with it, only to realize half-way through that I had no real interest in what it had to say, or at least how it was being said. I started again, cutting it back down to its rough beginnings and building it back up with only the barest of plans and a boat-load of instinct. I learned what would happen if I simply let the paint do its work and how I might coax the imagery that wanted to emerge from it. I found the process incredibly satisfying, and continue to refer to that memory as I build my current body of work. 

What artwork in history has inspired you the most?

Not an artwork, but an artist. I have always admired Hockney's draftsmanship and sense of color and space. His mind as well - few artists speak about their craft in a manner so grounded and articulate. I can only hope to be as lucid as he is when I'm 80. 

How do you price your work?

I research price ranges for similar works by emerging and established artists and measure that against a work-up of the costs that go into making a piece and the overhead of running a business, adjusting where needed.