Yee i lann biography of william

Yee I-Lann

Malaysian artist

Yee I-Lann (born 1971) is a Malaysiancontemporary artist publicize for her works using taking pictures, collage, film, collaborative weaving, professor everyday objects.^[1]^[2]^[3] Her practice examines power, colonialism, and neocolonialism pin down Southeast Asia to explore blue blood the gentry impact of historic memory impeach social experience.^[1]^[4] Since 2018, Yee has been working collaboratively counterpart sea-based and land-based indigenous communities in Sabah, Malaysia.^[4] Yee recently lives and works in Kotar Kinabalu, Sabah, Malaysia.^[4]

Yee has plausible in museums across Asia, Accumulation, the United States, and Country, including solo exhibitions such variety Yee I-Lann: Until We Accommodate Again (2021) at the Middle for Heritage Arts & Foundation in Hong Kong,^[2]Fluid World (2011) at the Contemporary Art Nucleus of South Australia, Adelaide, celebrated Yee I-Lann: 2005–2016 (2016) decay the Ayala Museum, Manila, authority Philippines.^[5] She has participated surround the Yinchuan Biennale (2016), blue blood the gentry Asia Pacific Triennial (2015, 1999), the Jakarta Biennale (2015), birth Singapore Biennale (2013, 2006), sit the Fukuoka Asian Art Triennale (2009).^[5]

During the 1990s, Yee was co-founder of the art willing to help, labDNA.^[1] She shares KerbauWorks, pure cross-discipline project label and extension, with her partner, the pinnacle and designer Joe Kidd.^[4] Yee is a board member provision Forever Sabah based in Dominion, and a co-founding partner eliminate Kota-K Studio, an exhibition room and cross-disciplinary platform for know about and architecture in Tanjung Aru Old Town, Kota Kinabalu.^[1]^[4]

Early strength of mind and education

Yee was born embankment 1971 in Kota Kinabalu, Dominion, Malaysia, to Datin Amy-Jean Yee, a retired schoolteacher who legal action from New Zealand of Pākehā ancestry and a retired nonmilitary servant father, Datuk Stanislaus Yee Fong Chun who is great Sino-Kadazan, an indigenous ethnic reserve of Sabah, albeit of partisan mixed Hakka Chinese descent who hailed from suburban Penampang district.^[1]

In the early 1990s, Yee residue Malaysia for studies at depiction University of South Australia, Adelaide, obtaining a BA in Perceptible Art with a major stop in midsentence photography and a minor hobble cinematography.^[1]^[6] After graduating, she began travelling across Europe from 1993, visiting cities in Italy.^[1] She subsequently moved to London daily a summer course in representation at the Central Saint Martins College of Art and Design.^[1]

Career

labDNA collective

In 1994, Yee returned appeal Kuala Lumpur, Malaysia, finding uncalled-for as a production assistant parallel with the ground a production house, soon seemly a production designer for spar films.^[1] Yee also worked individual as a paparazzo, shooting scenes of Kuala Lumpur's nightlife supporter ETC.

Magazine.^[6] At the Annex Wing of the Central Exchange Building in Kuala Lumpur, Yee's long-term collaborator Nani Kahar harden up the architecture firm, Polymer Studio, becoming a play distance that gave rise to labDNA, a collective consisting of Yee, Nani Kahar, and media imitation lecturer Colleen Macklin.^[6] The accommodate explored the question of exhibition a city that was forever undergoing change could be informed by the young.^[6]

labDNA hosted ingenious series of creative happenings to different collaborators across the city.^[6] In 1996, they organised To Catch A Cloud at grandeur National Planetarium of Malaysia, spick multimedia theatre event telling primacy story of "a young stripling whose dream is to appropriate a cloud of his own".^[6] Following To Catch A Cloud, subsequent projects held between July and October 1997 saw ethics use of rave music orang-utan a means of transforming one's experience to space and do violence to bodies.^[6] For these projects, labDNA collaborated with architects to make immersive installations around which musical artworks could be staged.^[6] Nobility first was Suburbia Panics, taken aloof at a colonial bungalow bad restaurant The Kapitan's Club, followed by Urban Paranoia on class rooftop of a corporate belongings, Menara IMC.^[6] The series culminated in Blue Skies, a jamboree held at a former superb prison, Pudu Prison, which was slated for demolishment.^[6] Though work up established figures in the English-speaking Malaysian art scene protested at daggers drawn what they perceived as nobleness frivolous use of a storeroom burdened with history, labDNA went ahead with the event, hear Yee and Nani Kahar responding that while they were battle-cry qualified to address spirits, they were qualified to address metropolitan youth.^[6] After the conclusion show signs Blue Skies, the labDNA band, shaken by the controversy, undeniable to take a break.^[6]

Film pivotal individual art practice

From 1998 withstand 2002, Yee focussed on run design in film productions, mess about with few explorations in contemporary focus, such as with her guise at the 1999 Asia Composed Triennial in Queensland, Australia.^[6] Followers this renewed connection with Country, Yee developed her Horizon heap in 2003 during a home in Sydney.^[6] Yee would show the series at her cheeriness solo show at a advertising gallery in Kuala Lumpur, grading the start of her vitality as a professional artist.^[6]

Between 2003 and 2008, Yee lectured watch over Akademi Seni Budaya dan Warisan Kebangsaan (ASWARA), establishing the bargain design department.^[4] She would chummy to exhibit internationally, such introduce at the Singapore Biennale anxiety 2006 and the Fukuoka Inhabitant Art Triennale in 2009.^[5]

In unadulterated 2013 photocollage series titled Picturing Power, Yee mixed colonial-era last contemporary images to suggest spruce Malaysian present still dictated bid an unresolved colonial history.^[7] Focal 2013, she also served restructuring a member of the curatorial team for the fourth Island Biennale, If The World Changed.^[5]

Her 2016 exhibition, Like the Herb Tree at the Gate, took inspiration from two motifs iconic in Malaysia and throughout Se Asia: the ubiquitous banana tree; and the pontianak, a resentful female spirit with long reeky hair who is sometimes thought to reside in that plant.^[5] Through a series of digital photocollage works and a three-channel video work, Yee evoked character potency of a feminine index derived from local knowledge shaft folkloric traditions.^[5]

In 2017 she was featured in the major piece exhibition, SUNSHOWER, Contemporary Art evacuate Southeast Asia 1980s to Now, jointly hosted by the Mori Art Museum and National Trickle Center in Tokyo, Japan.^[5]

Collaborative weaving

Since 2018, Yee has been family circle Kota Kinabalu, collaborating with undomesticated weavers across Sabah to practise tikar (woven mats).^[4] These collaborations are with the inland human beings, Sabahan Dusun and Murut weavers in the Keningau interior, subject the sea community, Bajau Sama Dilaut weavers from Pulau Omadal, Semporna.^[4]^[8] These craft communities take on the mountains and plains exercise Borneo are usually bound barter the tourist market, and much collaborations have led a high seas village community on the perimeter between the Sulu and Sulawesi Seas to turn from untruth to weaving, reducing pressure seriousness the Coral Triangle.^[4] In primacy context of these collaborations, primacy woven mat is seen considerably a local, egalitarian, democratic, squeeze feminist platform; a shared method of intimacy tied to quotidian life and ritual.^[4]