Yin-Yang

As a symbol that abruptly found its way into popular culture in the 1990s, it can carry a nostalgic, even tongue-in-cheek connotation. This nuance is reflected in the varied approaches of the displayed artworks: some are serious, some are humorous, and many capture both qualities simultaneously. 

All works in this exhibition are either black, white or a combination of both. We are fascinated by these stripped-down formal parameters—the contrast of black and white as a constraint. Works implementing monochromatic visual components without color to provide context rely on composition, technique, and subject to convey their stories. This self-imposed limitation is genuinely intriguing. 
 
Conceptually, black and white as a dichotomous pair hold age-old meanings—opposing forces, light and dark, good and evil, truth and falsehood, right and wrong. YIN-YANG complicates this binary opposition by depicting these supposedly contradictory forces as inextricable and interdependent.