Yang Lu

Year of birth: 1992.
Where do you live: Chicago, IL, USA.
Your education: School of the Art Institute of Chicago, BFA.
Describe your art in three words: Abstract, Intuitive, Interdisciplinary.
Your discipline: Painting, Sculpture, Fiber.
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Your work seems to blend the boundaries between structure and chaos. How do you decide when a piece is complete, given the spontaneous and unpredictable nature of your process?

Actually, I decide when a piece is complete based on my intuition. Throughout the creative process, I follow my instincts and emotions. My feelings act as a compass, guiding me through the delicate balance of adding and subtracting elements in my work. It’s less about a strict formula and more about an ongoing conversation with the piece as it evolves. I aim to reach a point where the piece feels perfectly balanced. As I work, I constantly assess the piece. If a part feels overwhelming or excessive, I reduce it. If something feels lacking or insufficient, I enhance it. When I sense that adding even a little more would be too much, and taking away even a little would be too little, the piece is complete.

You incorporate elements of chance and randomness into your work. Can you share more about how you balance this unpredictability with deliberate artistic decisions?  

In my creative process, there are two distinct phases that require deep thought. The first phase happens before I start creating, where I reflect on the concepts, emotions, and questions I want to explore in the work. I consider the kind of thoughts I hope to provoke through the piece. This is a serious and contemplative stage where I thoroughly think through what I want to express. Once I’ve clarified my ideas, I move into the second phase, where I begin the actual creation. Here, I translate my thoughts and reflections into feelings, which I then express using my own abstract symbols. This part of the process is highly intuition-driven. I immerse myself completely and stay open to any random visual effects that might emerge. At this stage, there are no mistakes—it’s a completely free and unrestricted phase. As the piece progresses, however, I start to make more deliberate artistic decisions. I continuously assess the composition, focusing on finding an aesthetic balance. This is where I begin to make conscious choices about what elements to keep and what to adjust, ensuring that the piece reaches its natural state of equilibrium. So, in essence, my creative process is a blend of embracing randomness and making thoughtful, deliberate decisions. These two aspects are intertwined and complement each other throughout the creation of my work.

Yang Lu | Zen I – Maya (Illusion) | 2024

The concept of Zen and abstraction appears central to your series “Beyond Form.” How do you connect the principles of Zen with your approach to abstraction?  

The principles of Zen deeply influence my approach to abstraction in the “Beyond Form” series. Zen teaches us to embrace the present moment and to accept the natural flow of life without resistance. These ideas are central to how I create and understand abstract art. In “Beyond Form,” I explore the harmonious coexistence of form and chaos. Each piece in the series reflects the beauty and the elegance of lines, which emerge spontaneously during the creative process. This spontaneity mirrors the Zen concept of living in the present, where each moment is unique and unrepeatable. My intuitive approach to abstraction aligns with Zen by allowing randomness to guide the creation. Instead of imposing strict rules or forms, I let the artwork develop naturally, trusting that an intrinsic order will emerge from the apparent randomness. This process reflects the Zen idea that true understanding and beauty arise when we let go of control and allow things to be as they are. “Beyond Form” celebrates the elegance of the unpredictable and the beauty of flow. It invites viewers to immerse themselves in a world where form is fluid, and meaning is found in the balance between chaos and order—much like Zen teaches us to find peace in the balance of life. Through this series, I connect Zen and abstraction by embracing the spontaneity of creation and the profound beauty that can be discovered in the present moment.

Yang Lu | Zen II – Path | 2024

The interplay between form and formlessness is a recurring theme in your work. What does this duality mean to you personally, and how do you express it visually?  

In my view, all concepts are abstract, and so are human thoughts. It is abstract ideas that shape this tangible, material world and create what we call “form.” We often say that imagination is boundless and unrestricted. However, when we transform an intangible idea into a work of art in the material world, “form” inevitably emerges. This form tends to be repeated when people create art, forming a set of established habits and rules. So what I aim to do is to use the boundless imagination to break through the “boundaries of form” in the material world and create something entirely new, something that breaks past conventions or common perceptions. For example, traditional painting is often done on a stretched canvas, but in my work, I present it on soft, irregular fabrics. Whereas most painters in the past used paint, I can use materials like resin, wool, and thread, combining their textures and 3D effects to “paint” in an interdisciplinary way. This is akin to a process of creating meaning through action. All dualities are merely one aspect of a single entity; the universe itself is chaotic. A complete understanding comes from exploring and recognizing both aspects together. For instance, it is only through understanding the concept of “limitations” that our understanding of “limitlessness” becomes complete. In my works, the process of transforming intangible thoughts into tangible creations, recognizing “form,” and then “breaking through form” to return to the “formless” can also be seen as a process of exploring understanding.

Your use of materials is quite diverse, from silk and linen to faux leather and resin. How do you select the materials for each piece, and what role do they play in the overall concept?  

Each material has its own unique qualities that evoke specific emotions and associations in viewers. For instance, wool naturally brings to mind warmth and comfort, while resin is often linked to a sense of technology and modernity. Leather, on the other hand, can evoke thoughts of hidden desires, with its texture even triggering the sensation of its scent. The incorporation of various materials not only enriches the viewer’s visual experience but also conveys a sensory experience through this shared feeling. Therefore, I hope that the emotions my artwork evokes in viewers are multidimensional—not just limited to the visual aspect, but engaging multiple senses. Through the contrast and variation of materials, I aim to trigger a psychological “tactile” response and other sensory experiences. This approach helps to create a more immersive and impactful connection between the viewer and the artwork.

Yang Lu | Zen III – Carefree | 2024

Your paintings and sculptures seem to challenge traditional notions of beauty. What do you hope viewers take away from engaging with your work?  

I believe that when artists are free from the constraints of categorization—whether their work is labeled as painting, fiber art, or sculpture—they can create with greater freedom and authenticity. So my work intentionally challenges traditional notions of beauty by eliminating the boundaries between different art disciplines. This approach allows me to explore new forms of expression and to present art in a way that is not confined by conventional definitions. What I hope viewers take away from engaging with my work is the inspiration to follow their inner voice and to pursue their own ideas without fear of the unknown. By encountering art that doesn’t fit into a single category and traditional notions, I want to encourage viewers to embrace the uncertainties and complexities of life, to explore beyond the familiar, and to find their true inner voice. Ultimately, I hope my work not only resonates with individuals on a personal level but also contributes to the broader advancement of interdisciplinary art, pushing the boundaries of what art can be and how it can be experienced.

Yang Lu | Zen IV – Desire | 2024

What advice would you give to emerging artists who are interested in exploring the relationship between philosophy and visual arts in their own practice?  

My advice is to start by deeply engaging with the philosophical ideas that resonate with you personally. Philosophy offers a vast landscape of concepts that can challenge your thinking, inspire your creativity, and provide a strong foundation for your work. Take the time to study, reflect, and internalize these ideas before translating them into your visual language. Then the most important thing is to put it into practice. Don’t be afraid to let your art be a space for questioning and exploration. Art and philosophy both thrive on pushing boundaries and challenging norms, so allow your practice to become a dialogue between thought and expression. This means embracing uncertainty and being open to where your ideas might lead you, even if it’s beyond traditional or expected forms.