Yan Wang Preston
Egongyan Park, Chongqing, China, 20172017

Not on view

No image

Artist or Maker: Yan Wang Preston
China, Henan Province, born 1976, based West Yorkshire, UK
Title: Egongyan Park, Chongqing, China, 2017
Date Made: 2017
Medium: Dye coupler print
Dimensions: Primary support: 37 3/4 × 46 7/8 in. (95.89 × 119.04 cm) Image: 36 1/4 × 45 5/16 in. (92 × 115.09 cm)
Credit Line: Purchased with funds provided by the Ralph M. Parsons Fund
Accession Number: M.2023.88
Classification: Photographs
Collecting Area: Photography
Curatorial Notes: In her Forest series, Yan Wang Preston depicts the controversial reforestation project occurring across China, focusing on the dynamic balance between humans and nature. Mature trees seen flourishing in this urban hardscape were actually harvested from small rural towns left deserted by China’s forced relocation into new, megasized cities. The government recognized that in order to make these efficient, industrialized urban zones liveable, the “cultural greenery” left behind would have to be restored. In Egonyan Park, which appears to be a straightforward image of a park(-like) area, Preston weighs in on the delicate relationship between natural and urban worlds in this tenuous “return to nature.”

Eve Schillo

2024

Not on view

No image

Artist or Maker: Yan Wang Preston
China, Henan Province, born 1976, based West Yorkshire, UK
Title: Egongyan Park, Chongqing, China, 2017
Date Made: 2017
Medium: Dye coupler print
Dimensions: Primary support: 37 3/4 × 46 7/8 in. (95.89 × 119.04 cm) Image: 36 1/4 × 45 5/16 in. (92 × 115.09 cm)
Credit Line: Purchased with funds provided by the Ralph M. Parsons Fund
Accession Number: M.2023.88
Classification: Photographs
Collecting Area: Photography
Curatorial Notes: In her Forest series, Yan Wang Preston depicts the controversial reforestation project occurring across China, focusing on the dynamic balance between humans and nature. Mature trees seen flourishing in this urban hardscape were actually harvested from small rural towns left deserted by China’s forced relocation into new, megasized cities. The government recognized that in order to make these efficient, industrialized urban zones liveable, the “cultural greenery” left behind would have to be restored. In Egonyan Park, which appears to be a straightforward image of a park(-like) area, Preston weighs in on the delicate relationship between natural and urban worlds in this tenuous “return to nature.”

Eve Schillo

2024