Kennedy Yanko is a sculptor whose practice is built upon paradox. She understands that one’s perceptions are often in conflict with each other, and she uses this tug and pull to drive her work. By moving her body to shape paintings on rubber “canvases,” Yanko pushes the boundaries of her pieces, or “skins,” to alter the paint’s natural dispersal. This physical interaction with rubber heightened her desire to meaningfully come into contact with other material, and has most recently prompted her investigation into metal-based work.
Yanko appreciates the properties of metal for their physical and liminal traits. She interacts with this medium similarly to how she maneuvers when creating her paint “skins.” But with metal, she examines its history more closely; in unearthing metals’ stories, their unique psychologies emerge, and she’s better able to understand them in juxtaposition to other elements — natural and manufactured. Researching more about her materials’ pasts has encouraged Yanko to repurpose metal and change our experiences with it by altering the way it participates in a space.