In Memory of Memory
Mindy Solomon is delighted to introduce the sophisticated, expressive works of artist Jane Yang D’Hane in her Miami Solo Exhibition debut.
Departing from her roots as a South Korean artist steeped in the tradition of the moon jar form- an iconic symbol of Korean Culture, D’ Haene has positioned herself as a neo-practitioner. She incorporates her own language and life experiences into 3-dimensional investigations of pain, joy and wonder. By working within a historical narrative, D’Haene is able to push the formal boundaries of her medium. This play between form and function elevates the work, introducing a conceptual challenge to the viewer. By confronting traditional forms, D’Haene highlights her own innovations. With her experimentation, D’Haene abandons a lifelong pursuit of perfection, instead creating beauty through imperfection. She expands upon the anomalies of form and color historically created during firing, a process that leaves much to chance. D’Haene embraces imperfection with intention, capturing its aesthetic value. She points towards the balance created between various opposing forces in her work. The vessels are simultaneously terrestrial and other-worldly, abstracted and functional. The work, though derived from tradition, is unconventional.
What makes these pieces so appealing? I believe it is the familiar. The identification with a form so steeped in our perception of pottery that at first glance we may not register the markings that are so deeply personal. The thickness, looseness, roughness. This is not “easy” decorative art, it’s edgy, spirited, and authentic. And yet, we cannot look away. The artist uses all her emotional resources in her quest for perfection- not of symmetry and modulation, but of feeling, expressiveness and the way the piece reveals her truth. As all artists must, D’Haene reckons with the long history of her medium that came before her. She embraces the framework of this history while pushing against it, using tradition as a vehicle for innovation. D’Haene situates herself not as a designer working within the confines of her medium, but as an artist actively toying with the conceptual and technical possibilities of it.
We are thrilled to showcase this work and look forward to the making of many more “memories”.
About Jane Yang-D’Haene
Born in South Korea, Jane Yang-D’Haene draws upon her cultural heritage to create unexpected ceramic work. After moving to New York City in 1984, D’Haene attended the Cooper Hewitt School of Architecture from 1988 to 1992. She went on to work as an interior designer for a major architectural firm, honing her eye for masterful design. However, D’Haene’s own work has evolved past this realm. Since beginning her work in ceramics in 2016, D’Haene has experimented with form and function, quickly establishing herself as an artist capable of innovating the medium.
D’Haene often works within the language of traditional Korean ceramic forms, using parts of this long standing history as a vehicle for experimentation. She builds upon these forms, integrating contemporary techniques, colors, and textures to create sculptural vessels that toe the line between art and design. Through this manipulation of her medium and reinterpretation of her history, D’Haene creates one of a kind objects that breathe new life into a centuries old craft.
