A highly coterminous creation of a sculpture from an ongoing series originally envisioned during recurring REM dreams of  artist Kyle Yip. Sculptures that once appeared immaterial are meticulously reverse-engineered into tactile, obdurate objects. 

The Mandukya Upanishad scriptures describe dreaming as one of four states of consciousness, the other three being the waking, sleeping, and turiya state. The dream is an expression of an involuntary psychic process not controlled by our conscious outlook. It describes our status as it is with no regard for our conjectures as to how things should be. Carl Jung has therefore made it a rule to present dreams as physiological facts of nature. That is to say although dreams may be abstract to interpret, they are invaluable for diagnosis because they never lie.

This neo-avantgarde practice of circumventing the artist's subjective input in the creation of art alludes to the original avant-garde with the incorporation of the readymade and serial form. He realized  how visual attention is augmented through the hypnotic, meditative, and subliminal concentration and serial repetition of the readymade.

The manifested dream sculpture represents "soul searching," and contain its latent meaning. It could be read as anti-intellectual, where the material itself also takes a central, even genetic quality in synecdochic relation to the whole series. Language was articulated to work exclusively through symbols, dividing nature into parts and actions. These computer keyboards were created using similar found objects from the dreams in which they were initally conceived, exploring addiction to searching. When Freud talks about the obscurity of the "dream facade," he is not referring to the dream itself, but is rather projecting upon the dream his own misunderstanding. The narrow-mindedness of North American rationalism dismisses the dream as having a false front only because we fail to decipher it. We would be much better off to admit we are dealing with a language that is unintelligible simply because we cannot read it, not because it has a facade. We do not necessarily have to support such a text to begin with, but it is important for us to understand how to read it.

Yip recognizes his work as both the diagnosis of a cultural condition, but also an opportunity for viewers to meditate on their dreams.

Dream Keyboard A1

A highly coterminous creation of a neon sculpture from an ongoing series originally envisioned during recurring REM dreams of  artist Kyle Yip.

He achieved a significant breakthrough in 2017, when he discovered how to consolidate his studies of psychology  with his  art practice within different states of conscious awareness — from different stages of restful awareness and sleeping to dreaming. He possesses the unique ability to perceive then examine artworks which emerge during his dreams in vivid detail.  Images that once appeared immaterial are meticulously reverse-engineered into tactile, obdurate objects.  His research in therapy, rigorous background in classical animation, and avant-garde art practices began to coalesce into new cross-identifactory modes of making art.

This work explores the cosmological and mythological influences within early 1930's classically animated Disney films.  The series, "Close your eyes, make a wish and let your dreams come true." is quoted from the artist's sister's twin sized bed sheet from Disney's Cinderella franchise. The North Star is a ternary star system composed of a primary star offset by two smaller circulating twin stars. The primary star is symbolic of Cinderella's guiding light during a phase of self-doubt and oppression, characterized by the solar eclipse. The manifested dream sculptures represent the "American Dream" itself, and contain their latent meaning. 

Kyle Yip recognizes his work as both the diagnosis of a cultural condition, but also an opportunity for viewers to meditate on t.heir dreams and celebrate childhood nostalgia

Dream Sculpture A1

A highly coterminous creation of a sculpture from an ongoing series originally envisioned during recurring REM dreams of  artist Kyle Yip. Sculptures that once appeared immaterial are meticulously reverse-engineered into tactile, obdurate objects. 

The Mandukya Upanishad scriptures describe dreaming as one of four states of consciousness, the other three being the waking, sleeping, and turiya state. The dream is an expression of an involuntary psychic process not controlled by our conscious outlook. It describes our status as it is with no regard for our conjectures as to how things should be.  Carl Jung has therefore made it a rule to present dreams as physiological facts of nature. That is to say although dreams may be abstract to interpret, they are invaluable for diagnosis because they never lie.

This neo-avantgarde practice of circumventing the artist's subjective input in the creation of art alludes to the original avant-garde with the incorporation of the readymade and serial form. He realized  how visual attention is augmented through the hypnotic, meditative, and subliminal concentration and serial repetition of the readymade.

The manifested dream sculpture represents a "spiritual awakening," and contain its latent meaning. It could be read as anti-intellectual, where the material itself also takes a central, even genetic quality in synecdochic relation to the whole series. When Freud talks about the obscurity of the "dream facade," he is not referring to the dream itself, but is rather projecting upon the dream his own misunderstanding. The narrow-mindedness of North American rationalism dismisses the dream as having a false front only because we fail to decipher it. We would be much better off to admit we are dealing with a language that is unintelligible simply because we cannot read it, not because it has a facade. We do not necessarily have to support such a text to begin with, but it is important for us to understand how to read it.

Yip recognizes his work as both the diagnosis of a cultural condition, but also an opportunity for viewers to meditate on their dreams and celebrate notions of individuality.


Dream Alarm Clock A1

The exact same readymades from an ongoing series originally envisioned during recurring REM dreams of  artist Kyle Yip. Readymades that once appeared immaterial are represented as obdurate objects. 

The Mandukya Upanishad scriptures describe dreaming as one of four states of consciousness, the other three being the waking, sleeping, and turiya state. The dream is an expression of an involuntary psychic process not controlled by our conscious outlook. It describes our status as it is with no regard for our conjectures as to how things should be. They act as a psychic stratum influenced by inherited presuppositions and the freedom of consciousness in its highest degree, since it is continuously redirecting all conscious processes back to preceding pathways. Carl Jung has therefore made it a rule to present dreams as physiological facts of nature. That is to say although dreams may be abstract to interpret, they are invaluable for diagnosis because they never lie.

This neo-avantgarde practice of circumventing the artist's subjective input in the creation of art alludes to the original avant-garde with the incorporation of the readymade and serial form. He realized  how visual attention is augmented through the hypnotic, meditative, and subliminal concentration and serial repetition of the readymade.

The manifested dream readymades symbolize the communication of the divine between the dream and Earth within the mediator  as well as the links between the spiritual and temporal    realm. It could be read as anti-intellectual, where the material itself also takes a central, even genetic quality in synecdochic relation to the whole series. When Freud talks about the obscurity of the "dream facade," he is not referring to the dream itself, but is rather projecting upon the dream his own misunderstanding. The narrow-mindedness of North American rationalism dismisses the dream as having a false front only because we fail to decipher it. We would be much better off to admit we are dealing with a language that is unintelligible simply because we cannot read it, not because it has a facade. We do not necessarily have to support such a text to begin with, but it is important for us to understand how to read it.

Yip recognizes his work as both the diagnosis of a cultural condition, but also an opportunity for viewers to meditate on their dreams.


Dream Readymade Fisher-Price Chatter Telephone A0973HZ, A0973HZ, and A2478D2

A highly coterminous creation of a wall sculpture from an ongoing series originally envisioned during recurring REM dreams of  artist Kyle Yip. Wall sculptures that once appeared immaterial are meticulously reverse-engineered into tactile, obdurate objects.

The Mandukya Upanishad scriptures describe dreaming as one of four states of consciousness, the other three being the waking, sleeping, and turiya state. The dream is an expression of an involuntary psychic process not controlled by our conscious outlook. It describes our status as it is with no regard for our conjectures as to how things should be. Carl Jung has therefore made it a rule to present dreams as physiological facts of nature. That is to say although dreams may be abstract to interpret, they are invaluable for diagnosis because they never lie.

Jung implored his patients to paint imagery from their dreams or fantasies and bring them into concrete reality, putting them in touch with themselves. This work explores the process of psychological  introspection and soul searching by metaphysically translocating the viewer into the dream, acting as portals or annexes into the collective unconscious. The passage into the work or healing is ultimately through the imagination. This work addresses an urgent need in the art world to merge these explorations between personal development and avant-gardist aesthetics.   It plays with the new fixities of identity politics drawn from the color-field of pop physics, binary and transcendence.


Dream Mirror A1

A highly coterminous creation of a painting from an ongoing series originally envisioned during recurring REM dreams of  artist Kyle Yip. Images that once appeared immaterial are meticulously reverse-engineered into tactile, obdurate objects. 

The Mandukya Upanishad scriptures describe dreaming as one of four states of consciousness, the other three being the waking, sleeping, and turiya state. The dream is an expression of an involuntary psychic process not controlled by our conscious outlook. It describes our status as it is with no regard for our conjectures as to how things should be. They act as a psychic stratum influenced by inherited presuppositions and the freedom of consciousness in its highest degree, since it is continuously redirecting all conscious processes back to preceding pathways. Carl Jung has therefore made it a rule to present dreams as physiological facts of nature. That is to say although dreams may be abstract to interpret, they are invaluable for diagnosis because they never lie.

Yip's work explores the psychological and spiritual vitality of art vicariously through his dreams, acting as portals or annexes to metaphysically translocate viewers from their own personal experience to archetypal universalities.

Rainbows are optical illusions caused by the refraction and dispersion of light in airborne water particles in the sky. It is said in the Vedā that the sun emerges every morning riding its golden chariot pulled by seven horses—"ashva," meaning horse as well as the ray in Sanskrit. The golden chariot refers to the seven rays of the sun where the seventh represents white light, and the six others comprise the colors of the rainbow.

Dream Painting B2

A highly coterminous creation of a painting from an ongoing series originally envisioned during recurring REM dreams of  artist Kyle Yip.

He achieved a significant breakthrough in 2017, when he discovered how to consolidate his studies of psychology  with his  art practice within different states of conscious awareness — from different stages of restful awareness and sleeping to dreaming. He possesses the unique ability to perceive then examine artworks which emerge during his dreams in vivid detail.  Images that once appeared immaterial are meticulously reverse-engineered into tactile, obdurate objects. 

 The underlying formal structures is he is exploring have as much to do with the hypnotic, subliminal, and meditative arrangement of repetitive commodity formulas used in marketing displays and web-based media as they have to do with avant-garde aesthetics and cult images. In an information age of the computer screen, a mode of interfacing that has become prevalent in our reading and viewing is this sort of "scanning." This is how we are conditioned to screen information today, visual or other: we scan it (and it often scans us, counting web page hits, storing demographics, and tracking keystroke inputs.) Everything in our world seems subject to processing through mechanical reproduction electronic simulation to the point where the distinctions between man-made and machine-made are difficult to recover. This tension between visual arrest and scansion within the different states of  awareness can reveal how the unconscious has been visually branded by advertising infrastructures redolent of monotonous imagery of the commodity form. The manifested dream paintings represent the "American Dream" itself, and contain their latent meaning. 

Kyle Yip recognizes his work as both the diagnosis of a cultural condition, but also an opportunity for viewers to meditate on their dreams and celebrate notions of individuality.

Dream Painting F12

Dream Painting F9

A highly coterminous creation of a wall sculpture from an ongoing series originally envisioned during recurring REM dreams of the artist.   No matter how radical, most painting operates with "the conception of the picture as representing a world, some sort of worldspace which reads on the picture plane in correspondence with the erect human posture." Furthermore, "a picture that harks back to the natural world evokes a sense of data which are experienced in the normal erect posture. Therefore the Renaissance picture plane affirms verticality as its essential condition." Eyesight itself works through projection. So "the first mark made on a canvas destroys its literal and utter flatness," meaning that absolute flatness is never ascertainable for a field that opens itself to vision. What is ascertainable is a special spaciality which, like flatness, denies the viewer imaginary entry as though they were able to hypothetically walk throughout the depicted space. This sense of space or "optical illusion" is unique to visuality, and substitutes something that "can be traveled through, literally or figuratively, only with the eye." The stage-like depth in illusionist painting history for example originates from the theater. This logic began to reveal the extent to which one characteristic absolutely unique to painting was the flatness of the picture plane itself. "Because flatness was the only condition painting shared with no other art, modernist painting oriented itself to flatness as did nothing else."

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