Her new solo present, entitled Darkish Desires, is usually provocative as she progresses her exploration of dreamlike allegories navigating psychology, the surface, and the unknown.
Beforehand, we have seen the narrative options in her work carried alongside by a unified place or second. Her newest items, in distinction, depict idiosyncratic scenes straight impressed by her personal distinct desires and the moments instantly after waking from them, wherein the boundaries between actuality and dreamscape are blurred.
The result’s perceptible and peculiar, tinged with the uncanny and the eerie, and characterised by open narratives, summary parts, and symbolic references.
Psychological well being demons
Most strikingly, Yuri’s new work overtly approaches the demons of psychological well being on the private, occupational, and societal ranges. Key to that is her 2022 portray, The Storm In Me. Right here, Yuri herself acts as each the realistically-rendered therapist and the implied affected person. In her personal phrases, this duality represents the act of “suppressing the darkish aspect of me with rationality”.
Talking in regards to the shift in how nervousness is perceived right now, Yuri says: “Within the modern age, we now not concern dragons. The fears we now have are rather more summary: the concern of catching Covid, the concern of dropping somebody we love, the concern of an financial recession or battle, issues that we now have completely no management over.”
All through this new sequence, Yuri delves deep into the human psyche, contemplating not simply the border between the waking and the sleeping but in addition between the dwelling and the useless.
In her work Will You Bear in mind Me, for instance, she hides ‘memento mori’ (actually, ‘do not forget that you die’) underneath the moonlight in a ﬁeld of ﬂowers by a mysterious physique of water. Yuri says this portray was impressed by ideas of how she could be remembered – or not – when she’s gone. Between being remembered or forgotten, she wonders: “Which one is extra fascinating?”
Pushed by this uncertainty, Yuri deliberately references a number of open narratives of Greek mythology. As a recurring motif in her work, a ﬁgure’s presence ferrying a ship is revealed solely by their reﬂection on water.
This ferryman references Charon of Hades, who carries the souls of the deceased to the underworld throughout the river Acheron. Yuri imagines that the river is also one other infernal river: Lethe, the river of forgetfulness; ingesting from Lethe permits the spirits of the useless to neglect their earthly lives, enabling them to be reincarnated.
Quite a few narrative and visible references inform the conceptual framework of Yuri’s work. These embody painters corresponding to Bernat Martorell, Henry Fuseli, Xu Beihong, and Edward Hopper; collections at The Met; cinematography; and even Bojack Horseman.
Yuri’s portray Metamorphosis, for instance, repurposes imagery from ﬁlms starting from Dr Strangelove (1964), The Truman Present (1998), The Killing of a Sacred Deer (2017), Vertigo (1958), Every little thing In all places All At As soon as (2022), and Paprika (2006).
This cinematic inﬂuence can also be evidenced in her canvases, as she intentionally scales her work to the proportions of a ﬁlm display and builds home windows inside her compositions to resemble the ratios of the cinema display.
Darkish Desires is at Alexander Berggruen, 1018 Madison Avenue, Flooring 3, New York. This exhibition will open Wednesday 7 September, with a 5-7 pm reception on the gallery. It continues till 12 October, from Tuesday-Saturday, 10am-6pm.