Dustin Yellin: Ruins of the Painted Day

Dustin Yellin: Ruins of the Painted Day

 

Dries Van Noten is delighted to present ‘Ruins of the Painted Day‘, an exhibition by Dustin Yellin at The Little House

FEBRUARY 27TH, 2024 — APRIL 6TH, 2024

 

Ruins of the Painted Day

Dustin Yellin tells stories that weave together the diverse forces of nature and technology. Through his multidisciplinary body of work, which includes object making, painting and animation, Yellin draws attention to the interconnectivity of all beings and things. His approach tunnels across traditionally siloed fields so as to crystallize the idea that both the human world, and all other worlds around us, are a collection of enmeshed networks – even if many are hidden.

 

Yellin’s glass works in particular, in which paint and images clipped from various print media are embedded within laminated glass sheets to form grand pictographic allegories, invite viewers to engage with the legions of their own consciousness and its embodied emotions, as well as that of our collective society and its infrastructures. The artist balances descriptive poetry with a prescriptive social practice so as to span new ways of seeing and being, and build a bridge to a more holistic world.

 

INTERVIEW OF DUSTIN YELLIN

CAN YOU DESCRIBE YOUR CREATIVE PROCESS FROM THE INITIAL IDEA TO THE FINISHED PRODUCT?

 

I came out of the womb, my eyes opened, I gasped. For many moons, I tried to decipher what the body was, what the earth is. As I aged, I began to question everything that exists. I find it strange to eat animals. I am an animal. Memories stack up like sediment on my synapses. I bleed ideas that become maps of what I’m trying to understand, that then turn into the flesh of my practice.

 

IF YOU HAD TO DEFINE YOUR ART STYLE IN WORDS, WHAT WOULD THEY BE?

 

Cartographies of consciousness.

 

⁠HOW DO YOU SEE THE CONNECTION BETWEEN YOUR ARTWORKS AND DRIES VAN NOTEN?

 

When I was young and learning about fashion, I fell in love with Dries and wanted to get out of my dirty clothes. Dries has an affinity for drawing inspiration from natural phenomena. His tenacity for detail, use of color, poetic narratives, and meticulous precision make me want to ride on his shoulders through the forest.

 

⁠CAN YOU TALK ABOUT THE IMPORTANCE OF COLOR, TEXTURE, AND SPACE IN YOUR WORK?

 

Without color, I am sad. Without texture, I cannot taste. Without space, there is no time.

 

WHAT WAS THE MOST CHALLENGING PIECE ON DISPLAY FOR THIS EXHIBITION?

 

The Clatter of Ballistics.

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