Alongside paintings like Constellation or Disco-ripple, are a sub-series of ‘K-Painting’ dragonflies which jovially marry Korean and Occidental cultural references. Alluding to the South Korean musical genre inspired by successful 90’s teen boy and girl-bands in the West, K-Pop has become an industry of its own, manufacturing successful musical groups almost formulaically.

These dragonflies adopt anthropomorphic qualities and are rendered in primary colors, a nod to the Bauhaus and Abstract Expressionist schools, as well as the traditional Korean color spectrum Obangsaek, composed of white, black, red, blue, and yellow.

In the monochromatic paintings Doodle Waves III and Spiral, the cyclicality of time is expressed gesturally. Inspired by the ebb and flow of a roiling ocean, and the force of energy that builds and crashes in waves, the artist seeks to track this motion in a single line, resulting in a series of hypnotic works that are more somber in tone, in part due to the colder months during which they were realized.

The way that the seasons permeate and index Yang’s paintings can also be seen in the contrasting festival landscapes Rollercoaster I and Hot Breeze. Working on a tablet, the artist is free to transcribe her physical surroundings and the sensorial associations they evoke in one fell swoop. These surreal topographies are charged with a certain levity and immediacy, transforming them from the plane of pure representation to objects that channel the smells, tastes, and inner life of the artist from one particular point in time to another.