Being drawn to colours that they “associate with sunrise and sunset-times of transition and daily possibility” Livien Yin’s paintings have an awe-inspiring palette and such a delicate, considered finish. “I try to render the way that sunlight feels against the skin, like a caress of the subjects in the painting.” Another recognisable quality of the artists work is their repetition of imagery, specifically hands and fruit. Sometimes the hands frame the face of the subject, and the fruit lies half eaten. And, sometimes the two images come together – a model’s hands lazily peel an orange, another clasps an apple, mid-bite.
Livien Yin explains that their focus on hands is a means a of referencing both manual labour that characterised the first major wave of Chinese immigration and their connection to Chinese culture and cooking; “I like to paint hands to commemorate the cultural legacies and ‘acts of care’ passed down from the generations before us.” Whereas the fruit has a more specific reference – “when ‘paper sons and daughters’ were preparing to be interrogated at Angel Island Immigration Station, they memorised the details of their new identities using something called ‘coaching notes’ which were sometimes secretly sent to them inside fruit.” And, simultaneously, when placed in the hands of women, Livien intends for it to be a metaphor for sexual agency.
les tilleuls \ bleue \ noémie \ nap \ de l’art de garder des secrets \ après la pluie \ elles suivent le pollen gris \ bleues \ l’espèce fabulatrice \ refle-xion
I spent a about an hour this weekend rummaging through my hard drive to find all the props I did for The Mitchell’s vs The Machine… and I Found a Lot! Here is the first batch. Most of these are from an early camp site set that I designed which got fully built out in 3d as our first test environment but never made it into the film due to story changes. This was like, within my first 2 or 3 months on the movie. The last image is the fully 3 version of the cut campsite set. More props to come
