Chapter 1: Listening to Stone
“When I sculpt, I choose materials that come from nature but also carry cosmic memory,” says artist Yang Xin (b. 1982), whose practice bridges design, archaeology, and stone carving. From sandstone and marble to basalt and limestone, his works emerge from fragments of the Earth — shaped not by machines, but by gravity, erosion, and time itself.
In Silence No.6, a partial Buddha head rests against a carved grotto, lips gently curved in a timeless smile. The eyes are absent, but not empty — the viewer’s gaze is drawn instead to subtle tension in the face’s contours. “By removing the eyes,” Yang notes, “I invite you to see inward.” This sculpture sits in conversation with ancient Dunhuang manuscripts nearby, a visual translation of the Buddhist idea that all form is illusion.
Chapter 2: Eternity in Layers
Standing beside a reflecting pool, Eternity No.4 towers like a fossilized monument — seven stone segments stacked to form a vertical timeline. Remnants of temples, gates, and windows peek from its layers, evoking memories of Egyptian obelisks, Northern Wei pagodas, and Brutalist towers alike.
“Each layer is a slice of civilization,” Yang explains. “It’s about how time stacks, erodes, and reconfigures memory.” The rugged texture of its base speaks of formation and decay, while the uncut stone at the top gestures toward nature’s return — a meditation on impermanence.
Chapter 3: Stone Planets and Fragile Futures
On the museum’s second floor, the Planet Series takes us further — from sacred ruins to speculative futures. Sculpted as spherical celestial bodies, each stone contains miniature steps, caves, and portals. Carved figures appear mid-motion across their rough surfaces, suggesting that even distant worlds carry traces of human longing and loss.
“To me,” Yang reflects, “every person is a solitary planet, with scars that prove they have lived.” The works evoke a cosmic loneliness, but also resilience — in their scars, they carry memory.
Beyond Technique
Yang’s studio reflects his philosophy: digital renderings and 3D scans coexist with Ming dynasty altar chairs and crumbling stone relics. He draws inspiration from classical manuals like The Mustard Seed Garden Painting Manual, while scanning ancient caves to reimagine them with modern tools.
“Tradition isn’t a cage,” he says. “It’s flowing water. It moves.” In an age of AI-generated art, Yang insists on the value of the human hand — not perfection, but presence. The warmth of each chisel mark, the irregularity of each surface — these, he believes, are the true carriers of meaning.
Exhibition Info:
“Forms Beyond Form” — Yang Xin Solo Exhibition
Avery Museum, Summer 2025
Curated in collaboration with Dunhuang Art Research Project
🕒 Open: Wed–Sun, 10AM–5PM
Book Your Tickets →
