HAPPY END 2010
A man polishing medieval plate armour. A woman working in a bicycle factory. An invention called a Transmitter that takes its creators travelling to a new place of spiritual renewal that is neither East nor West. Happy End, originally presented at Guest Projects, London, was Yu-Chen Wang’s first major joint work using actors to perform the parts of Yu-Chen herself and her partner-collaborator, Andro Semeiko. And at its heart is a story – a work of fiction that propels Yu-Chen and Andro through space and time, on a quest for renewal. In both respects, then, the work is important, the Transmitter’s forward thrust propelling Yu-Chen’s work towards much of what has followed, notably The Splash and a Last Drop, 2011, and Heart To Heart, 2015-16. But it is not just a performative work featuring actors representing two real people who both happen to be the artists behind the work; Happy End incorporates their physical creations in the forms of sculpture and drawings, making an environment that is both an immersive installation and scenery for the imaginary journey of the Transmitter. The trajectory of a journey into infinity (lines of perspective closing in on a vanishing point) seems to have been embodied in one of the work’s other important features, A Dagger, a large, open, double A-shaped frame made of wood and painted yellow, that positioned at a lively angle, seems to be pinning a group of Yu-Chen’s drawings to a wall.